P. Hymavathi's dance repertoire included performances from seven dance styles.

It was a mix of half-a-dozen numbers from Indian classical dance styles plus a folk number ‘Lavani' of Maharashtra that dancer P. Hymavathi presented at Ravindra Bharati. She took a single item from each of these styles and called it ‘Sapta Natya Tarang'. The chosen styles were Odissi, Kathak, Bharatanatyam, Andhra Natyam, Kuchipudi, Mohiniattam and a folk number, Lavani. The chosen numbers, however, were fundamental in nature, not demanding much of classical excellence. Hymavathi was originally a folk dancer, took to the art of Kuchipudi and did certificate and diploma courses. She later underwent training from different gurus of the rest of the styles she presented on the occasion.

The opening number Hymavathi presented was Mangalacharan from Odissi style, keeping a small idol of the deity of Jagannadha on the stage. She learnt this art from Sonali Acharya. This devotional number was a simple rendition for which she danced with occasional ‘tribhanga' posturing for which the style is well known. To give time to reset her make-up for the next dance style, rendition of Annamacharya kirtanas by children belonging to Gjnana Saraswati Music and Dance Academy to a tabla support was arranged. These bits definitely disturbed the continuance of the mood of dance.

The Kathak piece Bandhare Beechdagar Mori in Bairagi was more in need of aAbhinaya. Her lehanga, the ankle length skirt, completely covered the ankles and feet tied with the gGhungru and these small bells on the ankle only surfaced while dancing the final steps. The footwork ended in a crescendo. B. Gopal Pundit and Lakshmi Srinivas are her Kathak gurus.

Hymavathi should have taken a varnam from the Bharatanatyam repertoire to give a real taste of the style but went for a light number Natanam Adinar in Vasanta, which she learnt from Vijayalakshmi. This needed some posturing of Lord Siva as Natararaja but she was seen struggling to balance herself.

Then appeared an Andhranatyam piece, she learned from Sunila Prakash, in which she presented Siva Kaivaram', a temple dance number, with the pallavi running as Gangadhara vara Ganga set in Kaanada ragam. This was the most impressive part of all the dances she presented on this occasion.

Narayana Teertha's Tarangam set in ragamalika, she learnt from guru D.V. Satyanarayana, was the Kuchipudi number in which she accommodated the traditional ‘dance on brass plate' but avoided keeping water filled pitcher on the head that generally went with this.

The Mohiniattam brought in an unusual number in praise of Lord Siva, Sambho Siva Sambho in ragamalika. Vijayalaskhmi again was its choreographer. The final piece was a Lavani folk number of Maharashtra.

If the dancer desires to make lasting impact with these styles, it would have been better if she went in for an extra number in all these styles with more classical element and reserved the rendition of Annammayya kirtanas by the budding talent as a separate chunk in the programme.

The event was inaugurated by city's Mayor B. Karteeka Reddy and C. Parthasarathi, IAS, Commissioner, Information and Public Relations.