CVHS senior makes her classical Indian solo dance debut

A silence fell over the crowd as the dynamic rhythm of the mridangam danced with the violin, accompanied by a soft yet compelling voice. As the orchestra continued to play, applause suddenly erupted in the audience as the dancer herself emerged from the wings. Friends and family members gathered in the Center for the Arts on Saturday, March 29 to celebrate senior Reema Kakaday’s solo Indian classical dance debut, known as her Bharatanatyam Arangetram.

Bharatanatyam is one of the oldest classical dance forms originating from Southern India. Through the conveyance of graceful movements and the orchestra’s melodious music, emphasis is placed on the spirituality and storytelling of the dance rather than solely on the technicalities. A student performs her Arangetram after 11 to 13 years of training.

“I will never forget my first Bharatanatyam practice; at six years old I was convinced that the ancient art form was easy because all I learned was the simple Thatadava stamping step,” recalled Kakaday. “Boy, was I wrong! That was just the first step of a long journey filled with unimaginable hard work and dedication.”

Having danced jazz, tap, and other forms of dance since she was three, Kakaday joined the Nrithyollasa Dance Academy at the age of six and trained under Guru, Smt. Indumathy Ganesh. Since then, she has participated in several of the Bharatanatyam academy’s productions across the Bay Area, as well as in other professional dance performances throughout California.

The performance itself began with a prayer to the Hindu god Ganesh, the remover of obstacles. The prayer was then followed by Bharatanjali, an offering to the Hindu pantheon of Gods and Goddesses. During Ganapati Shlokam, the dancer seeked the blessings of Ganesh (Lord Ganesha) and described him as a majestic figure whose splendor is that of one million suns. Next, the dancer demonstrated abstract dance movements in rhythmic patterns in Jathiswaram. Kakaday concluded the first half of the performance with Varnam, which is considered the most elaborate piece in the Bharatanatyam, where the dancer describes the great stories of Lord Krishna, the eighth incarnation of Lord Vishnu.

The second half of the performance featured dances such as Mahadeva Shiva Shambho, which captured Lord Shiva’s qualities of surpassing beauty, compassion, and mighty strength. In Maiya Mori, the dancer told the story of Mother Yashoda’s confrontation with Krishna about stealing butter, and Krishna, though after many convincing stories, ultimately confesses. Bhavgeet: Phulale Re Kshan Maajhe featured the portrayal of a young bride who expressed her excitement and joy of falling in love for the first time. Considered the grand finale of an Arangetram, the Thillana displayed intricate footwork; the dancer concluded each segment by striking graceful poses.

From start to finish, Kakaday remained animated in her expression, delivering both a captivating and riveting performance. Even as the performance approached its two-hour end, Kakaday still gave a spirited portrayal of the various stories in each piece; through controlled movements, hand gestures, and even the way she directed her eyes, Kakaday’s diligence and profound passion for dance were evident.

“It didn’t take long for me to realize that I have never done anything as rigorous, or as satisfying, as this,” said Kakaday.