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 Passing the torch: Youth, discipline, and the dance of tradition- Anurag Chauhane-mail: anuragchauhanoffice@gmail.com Photos: Innie Singh August 4, 2025 Sunday morning at Sangeet Vidya Niketan unfolded with a quiet energy, measured, anticipatory, and rooted in the elegance of classical Indian arts. Anand Utsav 2025 drew a discerning audience, and it was the Bharatanatyam presentation that marked a definitive moment of the day. Led by Guru Ananya Chatterjee, the Bharatanatyam wing of SVN, now completing its first year, presented a performance marked by clarity of form, finesse, and restraint. But beyond technique, what stood out was the pedagogy on display. The spotlight remained firmly on the students, not merely as executors of choreography but as bearers of knowledge. Each performer stepped forward to introduce their piece, articulating the context with clarity and purpose. This deliberate shift, with the guru seated among the musicians, rendering nattuvangam and guiding the bols, spoke volumes. It reflected a conscious refusal to occupy the center stage and, in doing so, she empowered her students to take ownership of it with confidence.  The repertoire reflected a thoughtfully constructed arc. It opened with foundational adavus - Tatta in raag Bhairav, Natta in raag Yaman, Paraval in Hameer, Kuditta Mettu in Tilak Kamod, and Makuta in Bhupali - gradually progressing into more intermediate material. The senior students presented Asamyukta Hastas, offering a glimpse into how pure technique translates into expressive vocabulary. The concluding piece, Swaramala in raag Vrindavani Sarang, composed in the format of an introductory Jathiswaram, was pedagogical by nature yet pulsed with a melodic and rhythmic charm that kept it far from didactic.  The composition of the group itself was a delight to witness. While the presence of adult learners brought a quiet grace and dignity to the performance, it was the young dancers who stood out with their instinctive rhythm and fluidity. Their commitment and comfort on stage were deeply heartening. That classical dance continues to find resonance across generations is a testament to both its timelessness and the inclusive approach of the guru. It is rare to see students not positioned as background performers but as central figures in their own right, dancing with individuality and conviction.  The live ensemble elevated the performance to a level of refined completeness. Ratul S Kumar on mridangam provided the rhythmic foundation with assurance. Nikhil Kumar's flute added delicate melodic textures that complemented the dancers' movements beautifully. Sukant Nayak's vocals brought emotional depth to the narrative moments, and Ananya Chatterjee's nattuvangam, precise and nuanced, seamlessly held all elements together. Their collective presence was not merely accompaniment but an integral part of the performance's architecture. Although I was able to attend only the Bharatanatyam section, I am told that the festival also featured performances in Kathak and Odissi. That such a diverse representation of classical forms was curated within one platform speaks to SVN's broader vision, a space where tradition is studied, lived, and shared with care. The festival was a thoughtful offering made possible by the commitment and curatorial insight of Madhur Gupta, founder of Sangeet Vidya Niketan. His efforts in creating a platform where classical dance is not only performed but experienced with sensitivity and depth deserve special acknowledgment. Anand Utsav was not an event; it was a testimony to the quiet work that goes into nurturing the next generation of dancers and audiences alike.  Anurag Chauhan, an award-winning social worker and arts impresario, combines literature and philanthropy to inspire positive change. His impactful storytelling and cultural events enrich lives and communities. |
