Inspiration often travels in unexpected ways—crossing oceans, cultures, and generations to take root in new places. The idea of Trayi Varnam, performed by Sahitya Ramkumar, Chetaniya Sravanthi and Anju Arvind originates from the Varnam Salon in the US, where Indian classical dancers come together to explore tradition and honour it through their practice. “A group of Indian dancers in the US initiated the Varnam Salon, and we felt inspired to create something similar,” Sahitya says. The performance in Hyderabad is a choreographic experiment: three dancers presenting three solo varnams, each offering a unique interpretation of the same classical form.
The concept took shape over three months, with each artiste choreographing her own varnam, which is a poetic, complex centrepiece of the Bharatanatyam margam. “We wanted to explore what happens when three reflective bodies choreograph varnams independently and present them together,” Sahitya explains. The aim is to uncover new textures and possibilities within a shared tradition.
Although all three pieces revolve around Lord Shiva, each one reflects a different language, time period, and emotional perspective. Anju, whose varnam is in Tamil, chooses to focus on sringara, or aesthetic longing, rather than devotional reverence. “It is in praise of Lord Shiva, but the tone is not devotional. And because it was written in the early 19th century, I consider the historical context just as important,” she elaborates.
Anju approaches her choreography by considering when the varnam was composed, how it resonates today, and how she relates to it personally. These three lenses help her build an interpretation that is layered and stays true to the source material.
For Sahitya, the emotional centre of her piece is inspired by a lecture that redefines sringara. “It’s less about falling in love with a deity and more about the yearning that exists within us,” she says. Her choreography draws from the Brihadeeswara Temple in Tanjavur, where the deity of her piece resides. She integrates iconography from the temple, including the karanas engraved there from the Natya Shastra. “Since I’m trained in karana, these movements naturally found their place in the choreography, my piece is more about Tanjavur than the deity” she adds.
Chetaniya’s piece also expresses longing, but her focus is on Shiva as Nataraja, the cosmic dancer. “I want to see him dance — just once,” she says. Her varnam centres around the sensory presence of the deity: his ornaments, his flowing hair, the Ganga, and the Pancha Bhuta. “I try to show how he exists in water, fire, air, everywhere. I can feel him, but I can’t see him. That desire for a glimpse is what drives the choreography.”
While their approaches vary, all three dancers preserve the traditional structure of the varnam, which includes a trikala jathi in the first half, interwoven with sahityam, and a second half filled with swarams. “We haven’t altered the format, we’ve simply reimagined the visuals while staying faithful to the poet’s original intent,” Sahitya explains.
Performing a varnam, which lasts between 30 to 40 minutes, presents its own challenges — particularly in making it accessible to contemporary audiences who may not be familiar with classical dance vocabulary. “The varnam is traditionally performed for a knowledgeable audience, but clarity in choreography can help bridge that gap. When you’re clear about the emotion you want to convey, it can connect with anyone,” Anju says.
Sahitya adds that audience understanding also evolves with time. “The shastras say the dancer trains to perform and the audience trains to perceive. We’ve seen people come to shows repeatedly and develop a deeper appreciation, even without any formal background in dance or poetry.”
The decision to present three pieces back-to-back is intentional. “It’s rare for performers to choose only varnams. They are time-consuming and emotionally intense,” the group notes. “But by presenting three, we hope the audience leaves with a better understanding of the structure and meaning of the form. It’s a way to entertain and educate.”
On finding their artistic voices, the dancers describe the process as ongoing. “I’m still discovering my voice, and that’s what I love about working in a classical form,” Sahitya says. Anju reflects on her two-decade journey: “At first, I focused on nritya, but I realised I needed to strengthen my abhinaya as well. It’s a constant process of refining and growing.” Chetaniya calls Trayi Varnam a personal milestone. “Usually, we inherit pieces as they are taught, but creating our own gives us room to think, explore, and evolve.” While Hyderabad may not have the volume of performances seen in other cities, its open atmosphere offers a space to innovate. “There may be fewer opportunities here, but that gives us the freedom to create our own. The audience is diverse, and there’s room to experiment. We’re far from saturation, and that allows every performance to feel like the beginning of something new,” Sahitya concludes.
Tickets at INR 300.
July 13, 6 pm.
At Rangabhoomi Spaces, Serilingampalle.
Email: anshula.u@newindianexpress.com
X: @indulgexpress
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