A celebration of grace and tradition: Andhra Natyam Seminar at Lamakaan

- Aswin Pillarisetty

June 26, 2025

On Sunday, June 22nd, the intimate cultural space of Lamakaan, Banjara Hills in Hyderabad, transformed into a sanctum of tradition, learning, and artistic grace. The occasion was a seminar titled 'Andhranatyam: Bridging Eras,' led by Nikitha Andhranatyam, a dedicated practitioner and scholar of this lesser-known classical dance form from the Telugu-speaking regions.

With over 11 years of experience and a Master's in Andhranatyam from Potti Sreeramulu Telugu University, Nikitha took the audience on a deeply enriching journey into the sacred and historical depths of Andhranatyam, a classical temple dance tradition that spans more than 2,000 years.

What truly made the session stand out was not only Nikitha's mastery of the subject but also her remarkable ability to weave together technical, spiritual, and historical insights that resonated with everyone in the room, from artistes to everyday folks. She kicked off the seminar by exploring the roots of Andhranatyam, tracing it back to Trilinga Desam - the land of the three lingas (Kaleshwaram, Srisailam, and Draksharamam). Through this, she illustrated how geography, temple culture, and Telugu identity are intricately linked in the development of this beautiful art form.

Andhranatyam: Bridging Eras - Nikitha

Nikitha

One of the standout moments was the discussion on the Agama Shastras, especially the Kriya Pada, which outlines how temple architecture and rituals were crafted to incorporate dance as a sacred offering (upachara). Nikitha highlighted the importance of the Nritya Mandapam - a space that is both structural and spiritual, where dance serves as a form of worship rather than just entertainment.

The seminar laid out a clear and organized understanding of the three main branches of Andhranatyam:

Agama Nartanam - ritualistic dance performed inside temples as part of worship
Asthana Nartanam - sophisticated performances focused on abhinaya in royal courts and mandapams
Prabandha Nartanam - storytelling traditions like Navajanardhana Parijatam and Bhamakalapam, rich in devotion and literary beauty

Nikitha also bravely tackled the colonial and post-colonial effects on temple arts. With heartfelt clarity, she discussed how sacred traditions were often misinterpreted during British rule, leading to reforms like the Madras Devadasis (Prevention of Dedication) Act. Although this was meant to be a progressive step, it unintentionally severed the connection between temple dance and sacred spaces, pushing traditions like Andhranatyam to the brink of extinction.

A heartfelt tribute was paid to Dr. Nataraja Ramakrishna, the iconic revivalist who, back in the 1970s, journeyed throughout Andhra Pradesh to connect with elderly temple dancers and document fading traditions. His relentless dedication led to the recognition, formalization, and establishment of Andhranatyam, ensuring that this beautiful art form would be passed down to future generations.

Nikitha highlighted the contemporary challenges that Andhranatyam faces today:
- A lack of public awareness
- Limited institutional support
- Insufficient academic and digital documentation
- Confusion with Bharatanatyam or Perini
- An identity crisis post-bifurcation, where the term "Andhranatyam" is often mistakenly seen as exclusive to Andhra Pradesh, despite its historical roots across all three Telugu regions

Even with these hurdles, the seminar powerfully advocated for Andhranatyam's rightful status as a classical dance form, fulfilling all the necessary criteria:
A scriptural foundation (Naṭya Shastra, Abhinaya Darpanam, Agamas)
A structured repertoire (Nritta, Nritya, Natya)
A codified technique and vocabulary
A sacred and courtly heritage
Integration with Carnatic music
A living guru-shishya parampara

Andhranatyam: Bridging Eras - Gunda Sai Manaswini

Andhranatyam: Bridging Eras - Gunda Sai Manaswini

Gunda Sai Manaswini

The session wrapped up with a captivating live performance by Gunda Sai Manaswini, a talented young artiste and disciple of Satwika Penna. Manaswini showcased three stunning pieces that represented the three traditions - Agama, Asthana, and Prabandha Nartanam. Her elegance, precision, and emotional depth left a profound impact, beautifully bridging the gap between theory and lived experience.

A special mention must be made of Nikitha's digital outreach project, @andhranatyam.meme_ries on Instagram. She's doing a good job blending memes, visual storytelling, and cultural insights to connect the dots between tradition and modern life. It's a fresh and essential approach to engage younger audiences, especially in an age where digital presence is key to revival.

This seminar was more than just an academic event - it felt like a genuine cultural revival. Nikitha's vision, clarity, and commitment served as a powerful reminder that reviving art isn't just about keeping it alive; it's about reclaiming identity, memory, and spiritual heritage.

It's vital for us as a community to keep supporting these initiatives. With passionate artistes like Nikitha and talented performers like Manaswini at the forefront, Andhranatyam isn't just surviving - it's thriving quietly, powerfully, and beautifully.

Aswin Pillarisetty is currently based in Toronto, Canada, and serves as the President of Telugu Vahini (Canada), a non-profit organization that promotes Telugu cultural heritage.