New Delhi June 06: Aayam, the New Delhi-based Bharatanatyam institution founded by Guru Sindhu Mishra, presented the third edition of Nrityadhara, an annual showcase of classical dance, at LTG Auditorium. The production brought together over 100 dancers, ranging from beginners to seasoned disciples, in a celebration of artistic accomplishment and the continuity of one of Bharatanatyam’s most distinguished lineages. The event was graced by renowned Bharatanatyam dancer and former Member of Rajya Sabha, Sonal Mansingh, who attended as the Chief Guest.
Conceived and directed by Guru Sindhu Mishra, Nrityadhara 3 showcased the Bharatanatyam bani of Guru K.N. Dandayudhapani Pillai, a tradition known for its rhythmic sophistication, striking visual geometry and dramatic movement vocabulary. The lineage was transmitted to Sindhu Mishra by her guru, Sri K.N. Dakshinamoorthy, and remains the foundation of her pedagogy and choreography at Aayam, which she established over two decades ago.
The programme opened with an effervescent rendition of a Kriti, Ananda Nartana Ganapatim Bhavaye, performed by senior disciples Apoorva Bhatnagar, Satakshi Gupta and Vibhooti Bhardwaj, setting a tone of devotion and artistic inquiry. Aayam’s youngest dancers followed with Angikam Bhuvanam, an invocatory shloka introduced to beginners as an offering to Lord Shiva, presented with sincerity and enthusiasm by the little dancers.
Senior disciple Arundhati Chakravarty then brought warmth and emotional depth to Krishna Nee Begane Baro, a beloved composition depicting Yashoda’s search for her mischievous son Krishna. Junior students followed with Mushak Vaahan, a Pushpanjali dedicated to Lord Ganesha, showcasing the young dancers’ enthusiasm and dedication through a combination of nritta and abhinaya.
This was followed by another presentation by the intermediate students- Jatiswaram in Ragamalika set to Misra Chapu tala, foregrounding their command over intricate rhythmic structures and elegant korvais.
Senior disciple Tanusha Tyagi performed beautifully a padam, “तन छार �याल कपाल भूषन” which is also an unusual excerpt from Ramcharitmanas. It relates an episode from Shiva and Parvati’s wedding celebrations, where the people of Himachal, upon seeing Shiva’s wedding procession, are shocked to see a terrifying band of ghosts, demons, spirits. Maena, the mother, unwilling to believe that her beautiful daughter is fated to marry such a fiend, attempts to convince Parvati into abandoning the wedding, to the extent that she is ready to give up her life for it!
The programme was followed with a piece, the well known Sri Ramchandra Kripalu Bhajamana, which was admirably presented by the beginner batch of adult students. For many of them, this was their first experience on stage as they showcased the diligence with which they had grasped the intricacies of the choreography in a very short time. The evening concluded with a thillana set to Paras raga and Adi tala, performed by the senior batch of Aayam. The vibrant choreography showcased intricate rhythmic patterns and quick footwork, offering a quintessential visualisation of the Dandayudhapani Pillai bani.
Commenting on the evening, Guru Sindhu Mishra said, “Nrityadhara is not merely a performance, it is a mirror of the learning process itself. When over a hundred students come together on one stage, each at a different point in their journey, what you witness is not just technique but devotion, discipline and the living continuity of a tradition. The bani of Guru K.N. Dandayudhapani Pillai carries within it a vocabulary that has been shaped over generations, and it is our privilege and responsibility to carry it forward. This evening belongs to every student who has trusted the process and every guru who came before us.”
Nrityadhara 3 stood as a testament to Aayam’s enduring commitment to classical excellence and not merely preserving a tradition, but passing it forward, one dancer at a time.