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 Sahayatra - A confluence of emotions and expressions- YK Sandhya Sharmae-mail: ykss77@yahoo.com July 25, 2026 An enchanting morning of Bharatanatyam unfolded at Medai, Bengaluru, on July 12, 2026 where two accomplished dancers, Rakshita Raghunathan and Sagara B.S., presented Sahayatra—a thoughtfully curated recital that brought together two distinct Bharatanatyam traditions on a single stage. Despite their differing stylistic lineages, the performances blended harmoniously, offering the audience an aesthetically rich and emotionally fulfilling experience. Reflecting the timeless values of the guru–shishya parampara, the recital was marked by refined choreography, graceful nritta, and evocative abhinaya.  Rakshita Raghunathan The recital commenced with Mallari in khanda triputa tala, presented by Rakshita Raghunathan, a disciple of Ramya Ramanarayan. Traditionally performed as an inaugural item in Bharatanatyam, the Mallari traces its origins to temple processions in which dancers accompanied the ceremonial procession of deities carried in palanquins through temple precincts. Rakshita brought this ancient tradition to life through elegant choreography, flawless adavus, and graceful movement patterns. She followed it with a moving interpretation of a Krishna Karnamrita verse from the Bhagavata Purana, creating a deeply devotional atmosphere through expressive abhinaya. Rakshita next presented the Swarajati "E Mayaladira" in Huseni raga and rupaka tala, composed by Melattur Venkatarama Sastri. Through nuanced angika and satvika abhinaya, she vividly portrayed the emotional world of a heroine tormented by separation from her beloved. The heroine's longing, anxiety, despair, feigned anger, and emotional vulnerability were portrayed with remarkable sensitivity. Her preparations to welcome her beloved, the joy of anticipation, the pain of disappointment, and even flashes of jealousy at the thought of a rival found eloquent expression. Gradually, these emotions transcended earthly love and blossomed into complete surrender and divine devotion, symbolizing the transformation of human love into unwavering bhakti towards Lord Krishna. Rakshita's rhythmic footwork, precise adavus, graceful postures, and refined stage presence captivated the audience throughout. Equally commendable was her flawless execution of the intricate jatis composed by the veteran dance exponent Mylapore Gowri Ammal.  Sagara B.S The second half of the programme featured Sagara B.S, Bengaluru-based Bharatanatyam artiste, teacher, and founder of Nritya Sagara Kala Kendra, whose mature artistry and emotional depth left a lasting impression. She began with the Padavarnam "Ma Moham Thaane Meerudhe" in Natakuranji raga and rupaka tala, composed by K.N. Dandayudhapani Pillai. Completely immersing herself in the character, Sagara delivered a profoundly moving portrayal of the heroine consumed by the agony of separation. With polished abhinaya and sparkling nritta passages, she beautifully conveyed the heroine's emotional turbulence, longing, and inner conflicts. The central figure in the heroine's heart was Lord Venkateswara of Tirumala. Her intense yearning for his divine presence gradually evolved into complete surrender and spiritual fulfilment. Sagara expressed these emotional transitions with remarkable conviction and continuity, while her swift and elegant nritta sequences effectively mirrored the heroine's inner emotional landscape. The recital concluded with an innovative interpretation of Saint Kanakadasa's celebrated Devaranama "Baro Krishnayya." Departing from conventional presentations, Sagara introduced a unique and touching concept: a pregnant woman lovingly inviting baby Krishna to dwell within her womb. Through this imaginative portrayal, she expressed a mother's longing to nurture the Divine himself within her, transforming maternal love into a sublime spiritual experience. Her naturalistic portrayal of a pregnant woman's movements, combined with heartfelt abhinaya, brought authenticity and emotional warmth to the presentation, earning wholehearted appreciation from the audience. Overall, Sahayatra truly lived up to its meaningful title. Bringing together two dancers trained in different Bharatanatyam traditions, the programme celebrated diversity within unity while preserving the classical beauty, discipline, and spiritual essence of Bharatanatyam. It was a memorable artistic journey that highlighted both individuality and harmony in equal measure.  YK Sandhya Sharma is a Kannada author, poetess and dance-drama critic. |
