Last week, a few well-known dancers in Hyderabad — belonging to different genres, came together and launched an association called Association of Classical Dancers of Hyderabad. K.V. Ramanachari IAS (Retd.) inaugurated the association at the open air theatre of CCRT, Madhapur. Bharatanatyam exponent Ananda Shankar while speaking at the event cautioned the artistes to put aside that element of ‘ego’ and work for the progress of this common mission and added she would extend her support, playing an advisory role.

Then followed a milieu of dance forms — Bharatanatyam, Kuchipudi, Vilasini Natyam, Odissi and Kathak, presented by artistes of these genres, each choosing a couple of numbers. All the numbers chosen for the occasion focussed on Lord Shiva, aptly titled ‘Shivarpanam’.

Bharatanatyam was presented by students of Geeta Ganesan, convener of this organisation and its think tank. The dances began with Pushpanjali, Vinayaka Sthuti in Amruta Vahini. The Tamil number Andal Arasanin Tirunandanan in praise of Lord Nataraja’s cosmic dance was a novel presentation, explaining its glory emanating in different colours. The navarasa part that came into delineation involving Lord Shiva and his consort Sivakami was a laudable presentation, merging into Ardhanareeswara form. These dances were choreographed by Geetha Ganesan and presented by Amrutha, Amulya, Aditi, Subhanvita, Shivani and Amruta.

The Kuchipudi dance section went to the share of disciples of Yasoda Thakore, another activist of this newly-launched organisation. Sindhuja was featured in a number Ananda Tandavamade Sivudu in ragamalika, choreographed by Vempati Chinna Satyam.

Gullapudi Ramana Kumari belonging to the Keluchran Mahaptra’s lineage of disciples presented a scintillating Odissi number that lays stress on Satvikabhinayam. One could watch the Tribhanga postures associated with this style. This was choreographed by Deba Prasad Das.

Kathak exponent Sanjay Kumar Joshi and his disciples came out with Ganesha Vandana, Tulasidas wrote on Goddess Kali in raag Durga in Dadra and Drupad bani. This had a major combination of a few pirouettes in the footwork part. There was Tarana too, replete with rhythmic intricacies, capturing techniques of Kathak, presented again towards the end of the programme also loaded with pirouettes.

Poojita Krishna Jyothi presented a number in ‘Vilasini’ style belonging originally to Devadasis. Anupama Kailash choreographed this number written by Kasinatha Kavi, adapting Pancha Ratra Agama Sastra and ended with ‘Salam Jati’, a typical Vilasini Natyam in praise of Chidambareswara.

Mangalampalli Hari, Radhika Vamsi and Rajani performed a piece on Lord Shiva in Bharatanatyam style, delineating all the attributes of the Lord including his genesis of the birth of Ganga. This was based on Dayananda Saraswathi’s number set in Revathi.