BY JYOTHSNA HEGDE
Kennesaw, GA, June 27, 2025: On June 14, 2025, the stage at Kennesaw State University’s Dance Theater came alive with Divinity, a luminous Bharatanatyam production by the Deeksha School of Performing Arts, under the artistic direction of Anupa Guha Thakurta. Divinity unfolded as a resplendent offering of the soul, a tribute to the Late Padma Bhushan Guru Saroja Vaidyanathan, whose spiritual and artistic legacy guided every movement, a beacon of hope for underprivileged children through its fundraising partnership with Asha for Education and a radiant celebration of culture, community, and collective upliftment.
“Divinity – A Swarna Saroja Presentation” is my humble tribute to both the divine force and the divine incarnation of Bharatanatyam in the form of our Guru – Late Saroja Vaidyanathan who danced her way into the world of the divine 21 months back,” said Anupa Thakurta. “Swarna Saroja commemorates Guruji’s invaluable contributions to the world of Bharatanatyam and honors her enduring legacy. The show was not merely an act of seeking blessings from Guruji, nor was it merely a ritual of paying homage or an attempt to carry her legacy. It was a heartfelt expression of my love, faith, and reverence towards her and the divinity within all of us.”
Rooted in tradition yet brimming with fresh relevance, Divinity brought together over 75 performers in a spiritual and artistic offering that transcended the boundaries of stage and spectator. Orchestrated with immense care, it was also a call to action—raising funds for Asha for Education, a nonprofit that works across India to uplift underprivileged children through access to education.
“This year, like in the past, we have decided to raise funds for underprivileged children through Asha for Education, a non-profit working in various parts of India. Their cause is worthy, meaningful, and makes an immediate impact in the lives of children. Please support them in any way you can,” urged Anupa Thakurta.
The event’s resonance extended well beyond the stage. Abir Thakurta, the show’s Producer, Lighting Designer, and Screenplay Writer, reflected on the immense support the production received: “We are deeply grateful for the overwhelming response from our community. When the show was announced—an astonishing 70% of seats were reserved within the first five days of ticketing. Your enthusiasm and commitment meant so much to us, and we reached out to our ticketed guests to confirm their presence, as the show approached, to allow us to accommodate some eager patrons from a waiting list. Our heartfelt thanks go to our sponsors, whose generosity and support flowed freely, affirming the value of our efforts without hesitation. Above all, we extend our profound appreciation to everyone for championing and making this event a true celebration of art and creativity.”
With over 75 dancers commanding the stage, the production fused ancient tradition with contemporary resonance, channeling the transformative power of Bharatanatyam to elevate both spirit and society. In this space where myth met movement, Divinity stood as a living testament to the enduring beauty of classical dance—its ability to honor lineage, stir emotion, and spark change.
At the heart of the evening was Bharatanatyam—a sacred and scholarly art form dating back over two millennia. Once performed in temples as a form of ritual worship, Bharatanatyam has evolved to become a deeply expressive, contemporary performance tradition that remains firmly anchored in its spiritual roots.
The production demonstrated Bharatanatyam’s rich vocabulary of rhythm, movement, and expression (abhinaya), highlighting its ability to transcend storytelling and become a force for empathy and social transformation. From mythological narratives to modern themes of liberation and identity, the evening’s repertoire reflected the form’s timeless flexibility and depth.
Lighting design by Abir Thakurta beautifully enhanced the mood and visual storytelling of each piece, seamlessly blending with the choreography to elevate the production’s overall aesthetic. His thoughtful use of light and shadow added depth, drama, and divine ambiance to the stage, making the entire experience truly immersive.
Each piece served as a prism into divinity, refracting the sacred into myriad shades of emotion, rhythm, and storytelling. From meditative invocations to spirited celebrations, the choreography offered portals into different dimensions of the divine—each item a testament to the depth of Bharatanatyam as both spiritual practice and living tradition.
The stage awakened with the reverberation of cosmic rhythm as Shambho Natanam, the dance of the Divine Masculine, unfolded. Sage Patanjali’s yearning met the celestial cadence of Nataraja, whose limbs struck fire into silence. In a vision shaped by Rama Vaidyanathan, Shiva descended—not only in might but in mercy—his Tandava shaking illusions loose, revealing force held within compassion.
A prayer rose, gentle and golden, as we stepped into the realm of Vasudevasutam The Divine Supreme. Born of Devaki, raised in the shadows of fear, Krishna emerged from myth into movement. Crafted by Saroja Vaidyanathan, his stories unfolded: a child, a warrior, a whisperer of truths. The tale rippled through space—Kamsa’s fall, Arjuna’s awakening, the soul’s eternal witness.
Anupa Thakuria’s choreography of “Pushpanjali Alaripu The Divine Offering” unfolded as a truly captivating and reverent commencement to the recital. The initial Pushpanjali segment, meticulously set to the timeless Adi Talam and melodic Ragam Jog, transcended mere movement to become a living prayer. This segment beautifully fulfilled its traditional role, invoking a distinct sense of blessing and establishing a deeply reverent tone that resonated throughout the performance space.
Seamlessly transitioning from this spiritual overture, the Alaripu emerged as a vibrant and invigorating Nritta piece. Performed to a precise tapestry of rhythmic syllables and set to Adi Talam and Theenr Jatni, this segment served as far more than just a warm-up. True to its Tamil meaning of “flowering,” the Alaripu symbolized the blossoming of each dancer’s individual energy and collective grace. The stage came alive with rhythmic movements that were both crisp and expansive, while the intricate footwork demonstrated remarkable precision and agility. The dancers moved with a clear sense of joy and dedication, preparing not just their bodies but also their minds for the artistic journey ahead.
Rama Vaidyanathan’s choreography for Shambho Natanam The Divine Masculine was a masterclass in conveying immense spiritual power through the Bharatanatyam idiom. Set to the evocative Ragam Latanapriya and the rhythmic complexities of Talam Khanda Chapu, the dance vividly brought forth the essence of Lord Nataraja’s cosmic dance. Vaidyanathan’s interpretation of Sage Patanjali’s unwavering devotion and Shiva’s subsequent granting of Darshan was communicated not just through narrative but through compelling physicality. The movements were marked by a commanding presence and intricate adavus that perfectly mirrored the concept of Shiva’s rhythmic creation and dissolution. The piece’s strength lay in its ability to translate profound philosophical ideas into dynamic, expressive dance, celebrating the divine masculine energy with a compelling blend of precision and grandeur.
The choreography of “Vasudevasutam The Divine Supreme” offered a deeply engaging and emotionally rich portrayal of Lord Krishna’s transformative early life. Performed with sensitivity to Ragam Valaji and Adi Talam, the dance articulated the narrative through nuanced abhinaya and dynamic nritta. The dancers skillfully conveyed the poignant separation of Krishna from Vasudeva and Devaki, using expressive mudras and facial gestures to evoke tenderness and sorrow. The tension and resilience inherent in facing Kamsa’s relentless threats were powerfully demonstrated through sharp, decisive movements, building towards the climactic portrayal of young Krishna’s triumph over Chanura. The performance’s strength was its ability to transcend mere storytelling, illustrating how these formidable challenges were integral to Krishna’s evolution into the Jagat Guru, culminating in a piece that was both technically strong and profoundly moving.
Anupa Thakuria’s choreography of Swaranjali 2.0, a reinterpretation of Guru Saroja Vaidyanathan’s signature nritta piece, was a vibrant celebration of dance as a universal language. Set to a intricate blend of Ragamalika and Talamalika, the performance exuded pure joy and boundless energy. The choreography adeptly highlighted the beauty and grace inherent in Bharatanatyam, with the dancers executing intricate rhythmic patterns and expressive movements that truly reflected their passion and dedication. This piece transcended mere technique, becoming a heartfelt homage to life, creativity, and the enduring human spirit, synonymous with the legacy of its original Guru.
Anupa Thakuria’s The Tiny Steps unfolded as a delightful and effervescent medley, perfectly encapsulating the innocence and playfulness of young dancers. Set to Adi Talam, the choreography artfully harnessed the natural exuberance of the children, allowing them to express themselves with uninhibited joy. A charming segment dedicated to Lord Krishna’s childhood antics saw the dancers embodying his divine innocence and mischievous charm through light-footed movements and winsome expressions. This transitioned beautifully into a devotional portion honoring Goddess Meenakshi, where the young performers displayed a surprising depth of reverence and grace. The piece collectively celebrated childhood spirit while introducing elements of devotion and classical form in an accessible and engaging manner. The choreography included simplified korvais (sequences), charming mimicry, and lively jatiswaram elements to delight the audience.
Janakita – Invoking the Divine Blessings, choreographed by Saroja Vaidyanathan and set to Ragam Nattal and Adi Talam, was a sweeping invocation of Hindu deities. The choreography followed a traditional Bharatanatyam margam structure, with layered devotion expressed through intricate jathis, expressive hastas, and controlled movements to honor Ganesha, Kartikeya, Saraswati, Mahalakshmi, and Shiva, building a spiritual crescendo of gratitude and grace. Each deity was depicted with their unique iconographic symbolism—veena for Saraswati, lotus and coins for Mahalakshmi, and damaru for Shiva—conveyed skillfully through codified hand gestures.
Swarnam Saroja – Homage to the Divine Guru, set to Ragam Hamsavinodhini and Adi Talam, honored Guru Saroja Vaidyanathan’s legacy. Choreographed by both the Guru and Anupa Thakurta, this piece showcased rhythmic mastery through complex jathis and subtle abhinaya. The choreography paid tribute to her contributions by blending traditional elements with personal creative touches, reflecting a lineage of devotion and excellence. Dancers paid homage through synchronized movements, elegant mudras, and moments of stillness that allowed reverence to resonate. The piece elegantly wove together complex movements with the celebratory song, creating a vibrant tapestry that honored the Guru’s life and artistry through the very essence of Bharatanatyam’s demanding technique and expressive potential.
Parashakti – The Divine Feminine Energy, choreographed by Saroja Vaidyanathan, illuminated the essence of the universal mother through Ragam Hamsadhwani and Adi Talam. With commanding presence, dancers embodied the three forms of Shakti—Durga, Kali, and Parvati—using powerful stances (karanas), sharp movements, and layered symbolism to evoke strength, protection, and nurturing grace. Each manifestation was characterized by distinct bhavas and body dynamics—from the fierce leaps of Kali to the maternal caress of Parvati.The dancers conveyed the immense creative power and force of shakti through movements that ranged from fierce and commanding to nurturing and graceful. The piece skillfully illustrated the dynamic interplay of creation and destruction, symbolizing the universal mother as the supreme goddess. Through its robust vocabulary of Bharatanatyam, the performance highlighted the inherent strength and pervasive influence of the divine feminine with compelling artistry.
Main Toh Nahin Javoon – Divine Offerings, choreographed by Rama Vaidyanathan and set to Ragam MohanKalyani and Adi Talam, was a tender portrayal of Krishna’s reluctance to face teasing Gopikas. This piece used sanchari bhavas (transient emotions) and expressive abhinaya to navigate divine love, exploring the interplay of shringara rasa (romantic devotion) and spiritual surrender. The dancers employed nuanced facial expressions, delicate movements, and expressive hand gestures to convey emotional vulnerability. The piece’s strength lay in its ability to bring a well-known narrative to life with heartfelt expression and delicate movements, capturing the divine playfulness and spiritual depth of the story.
Malhar Jam – The Divine Bliss of Dance, choreographed by Anupa Guha Thakurta and set, as its name suggests, to Ragam Malhar and Adi Talam, the choreography brilliantly captured the raga’s historical association with monsoon rains and its ability to evoke emotions tied to nature’s cycles, bursting onto the stage with energy and joy. This contemporary take infused classical adavus with folk-inspired movements, using Bharatanatyam’s rhythmic complexity and spatial geometry to evoke monsoon ecstasy and the joy of uninhibited dance. The choreography included expansive leaps, swirling group patterns, and joyous clapping sequences, blending classical rigor with folk exuberance. The piece was a testament to the power of dance to interpret natural phenomena and evoke a sense of divine bliss, showcasing a spirited blend of traditional technique with an effervescent energy.
Not Made for your eyes,” co-choreographed by Shruti Prathip and Puja Shah, presented a profound and challenging narrative through the vocabulary of Bharatanatyam. With deliberate pauses, deconstructed movement patterns, and emotionally charged abhinaya, the piece subverted the male gaze, highlighting the complexity and agency of women The piece courageously explored themes of patriarchal control and suppressed female agency, depicting an initial state of confinement through constrained movements. The choreography then dramatically shifted, embodying the emergence of liberated womanhood. The dancers’ movements became imbued with striking resilience, defiance, and a palpable sense of self-determination, utilizing the powerful karanas of Bharatanatyam to their fullest extent. This performance was a compelling act of reclaiming the female gaze, successfully challenging historical portrayals of women as mere muses and celebrating their multifaceted identities and unbound agency with a bold and transformative artistic vision.
Rama Vaidyanathan’s Thillana Amritavarshini, performed as a solo, was a vibrant and evocative dance composition that celebrated the divine melody of Mother Nature. Set to the atmospheric Raga Amritavarshini and Adi Talam, the choreography seamlessly blended intricate rhythmic passages with graceful poses. The Thillana showcased dancers’ agility, crisp footwork, and vibrant nritta sequences. The piece vividly portrayed the earth’s nurturing of the oceans’ essence, evoking nature’s bounty, it embodied the cyclical beauty of rain, light, and life. With repeated motifs and symmetrical formations, dancers mirrored rainfall, flowing rivers, and the lushness of Earth.
Choreographed by Anupa Thakurta, Saraswati Vandana – The Divine Knowledge was a captivating invocation that opened the performance with poise and reverence. The piece paid homage to Goddess Saraswati, the deity of wisdom, music, speech, and learning, using the classical vocabulary of Bharatanatyam to create a serene and spiritually resonant experience. Thakurta’s choreography stood out for its meditative quality, with soft footwork, subtle jathis, and expressive mudras that elegantly depicted the goddess’s attributes—the veena, the swan, the white garments, and the book of knowledge. The dancers moved with grace and clarity, successfully conveying a sense of purity and inner stillness. This beautifully rendered prayer was not only a visual delight but also an effective invocation of blessings for wisdom and the removal of ignorance—a fitting and graceful opening to the evening.
Bhairavi Vandana – The Divine Grace and Power of Feminine Energy, choreographed by Anupa Guha Thakurta, offered a stirring prayer to Linga Bhairavi, a fierce avatar of the Mother Goddess. The dance utilized vigorous movements, sharp poses, and alternating tempos to reflect her duality—nurturing yet powerful—revealing her ability to bless, protect, and destroy illusions. The choreography focused on depicting the immense power, grace, and compassion of this fierce form of Durga. Through robust movements and compelling abhinaya, the dancers personified Bhairavi’s nurturing yet omnipotent presence, embodying her as a Mahavidya and consort of Dakshinamurti. The piece’s strength lay in its ability to translate complex theological concepts of creative and nurturing universal aspects into dynamic and expressive dance, aiming to convey the goddess’s protective grace and her capacity to help overcome life’s concerns.
Saroja Vaidyanathan’s Thillana The Divine Rhythm was a dynamic and technically demanding piece, characteristic of the vibrant thillana compositions typically performed at the conclusion of a Carnatic concert. Set to Adi Talam with the emotive melodic structure of Behaag, the choreography was a true celebration of movement, rhythm, and expression. The dancers executed intricate footwork with remarkable precision and lively movements, showcasing their exceptional technical skill and mastery over rhythm. This thillana allowed the performers to convey a joyous culmination of emotions and stories through their bodies, providing a powerful display of pure dance that left a lasting impression of rhythmic prowess and expressive energy.
Choreographed by Anupa Thakurta and set to the lively Malayalam folk song “Aai Aayai Thara Vanna” in a vibrant ragam and thalam framework, Finale – The Divine Celebration brought the evening to a rousing and heartfelt close. This exuberant concluding piece united the entire ensemble in a joyous fusion of Bharatanatyam and folk dance, symbolizing community, cultural vitality, and the sacred interconnectedness of all beings. The choreography embraced circular group formations, rhythmic percussive steps, and dynamic interactions between dancers, creating a celebratory atmosphere that was both inclusive and immersive. The popular folk song’s underlying themes—community well-being, social harmony, and moral values—were beautifully echoed in the ensemble’s energy and unity on stage. More than just a finale, this performance stood as a moving tribute to the divine presence in everyday life, blending classical tradition with folk vibrancy to affirm the timeless power of dance as a vessel for collective joy, spiritual reflection, and cultural togetherness. The divine, once ethereal and distant, now danced among us—woven into every smile, every swirling skirt, every beating heart on and off the stage.
This was no mere conclusion; it was a luminous reminder of life’s sacred interconnection, sculpted by love, lit by spirit, and bound together by the music of our collective soul.
Each composition showcased how Bharatanatyam’s core grammar can adapt to poetic, political, devotional, or emotional narratives. Whether it was the innocence of Krishna’s childhood in “Tiny Steps”, the collective power in “Finale”, or the rhythmic mastery of “Swarnam Saroja”, every piece embodied grace, discipline, and expressive storytelling.
The dancers’ physical vocabulary—rooted in ancient texts but constantly evolving—acted as a language of both spiritual reverence and contemporary resonance.
Deeksha School of Performing Arts: A Legacy in Motion
Founded in 2007 by Anupa Guha Thakurta, Deeksha School has trained over 300 students and become a beacon for excellence in classical dance education. Anupa’s vision reflects a harmonious blend of classical discipline and modern relevance. With academic credentials in English and Mass Communication and a deep-rooted training in Bharatanatyam, she brings both intellect and intuition to her teaching and choreography.
Her role as a faculty member at Kennesaw State University’s dance department and her continued dedication to her guru’s legacy were palpable throughout the evening.
“Divinity” was a massive collaborative effort involving dozens of volunteers, artists, technicians, and supporters. From lighting and narration to costume design and music, every detail was meticulously crafted. The event raised vital funds for Asha for Education, amplifying the role of the arts in driving social good.
As the curtain fell on the final piece, the audience was left with a profound sense of connection—to tradition, to community, and to the divine.
