A complex Advaita Vedanta concept, ‘Tat Tvam Asi’ (or That Thou Art), refers to the idea that the individual’s true self is part of the Divine. Bringing this abstract notion to life would be a challenging endeavour for any seasoned artiste. However, ‘Tat Tvam Asi’ was beautifully embodied by 15-year-old Bharatanatyam dancer Manognya Ghanalinga as she presented her arangetram or debut performance recently.
Manognya is a passionate young dancer who has been guided in her Bharatanatyam learning journey under the expert tutelage of Guru Smt. Nikhila Kiran at the Natyanivedan School of Dance for ten years. Her unwavering dedication to the mastery of this ancient art form and a commitment to preserving it in today’s modern context was palpable as she performed each item with grace and maturity beyond her years. The chosen margam or repertoire required physical poise and expressive finesse, both of which were ably displayed by the young dancer.
Manognya’s recital at the UNSW Science Theatre commenced with a traditional Pushpanjali and Ganesha Vandana – set in raga Gambheeranattai and thala Khanda Chapu. The dancer set the tone of what was to follow: energetic execution of intricate rhythmic patterns combined with vibrant expression. Incorporating all the classic Ganesha motifs, the item showcased some very impressive footwork and floorwork across the jathis, ending with a stunning jump where the dancer finished in a seated pose on the floor!
Next was Tridevi Kauthvam which was set in Ragamalika and Thalamalika. With lyrics composed by Dr Meenakshi Srinivasan (founder and principal of Sydney Sanskrit School), the item extolled the virtues of the divine feminine in Saraswati, Lakshmi and Parvati and cleverly included the dancer’s own name, Manognya! Meaning charming or delightful, she wonderfully epitomised this quality of hers as she seemed to be enjoying herself while portraying the goddesses.
The centrepiece of the repertoire, the varnam combines both nritta and natya where pure dance is showcased alongside abhinaya or expressive storytelling, in what is the ultimate test of the debutante dancer’s skills. Composed in raga Reethigowla and thala Adi, the piece centred on Lord Krishna, a deity often explored in the Natyanivedan universe. Manognya sincerely rendered Krishna’s leela as she took the audience on a captivating journey through his divine play. When Krishna kills the cart demon Shakatasura, Manognya stunned the audience with six perfectly executed cartwheels which aptly befitted the demon’s name as well as the dancer’s athleticism. Another striking feature of the item was her depiction of Krishna’s Vishwaroopam as the chanting of Bhagavad Gita verses in the background filled the auditorium. Manognya Ghanalinga
The second half of the evening featured pieces that pushed the boundaries of Bharatanatyam, truly rooting the art form in today’s modern context. An audience favourite, the ‘Yoga Anthem,’ set in the newly discovered raga Bharata and thala Adi, was presented. Skilfully combining yoga postures with the medium of Bharatanatyam, it was an exceptionally remarkable part of the whole repertoire. Manognya treated the audience to various yogasanas such as padmasana (lotus pose), Surya Namaskara (Sun Salutations) and chakra bandhasana (bound wheel pose) demonstrating her nimble flexibility and the intrinsic link between yoga and Bharanatyam.
Following this was an innovative ‘thematic presentation’ on lobha or greed, set in the times of the pandemic. The dancer’s effervescent depiction of shopping, ordering from delivery apps, handwashing, and ultimately giving to charity provided nostalgia and light-hearted moments.
The evening concluded with an energetic Thillana set in raga Kadanakutuhala and thala Adi closely followed by the Mangalam where amidst the backdrop of the sacred Mantra Pushpa hymn, Manognya’s joyous triumph was unmistakable.
Expertly accompanied by a distinguished ensemble including Smt. Hema Venugoplan on vocals, Guru Smt. Nikhila Kiran on nattuvangam, Sumukha Jagadeesh on mridangam, Jeiram Jegatheesan on rhythm pad, Kranthi Kira Mudigonda on violin, and Jathusan Jeyarasa on flute, it was clear that Manognya’s performance drew strength from their unwavering support.
“Bharatanatyam has encouraged me to express myself,” Manognya Ghanalinga observed later. “Dance provides the satisfaction of immersing myself with a higher power and entering another realm of concentration.” This refined stance highlighting the central concept of Tat Tvam Asi, was evident in Manognya’s dancing prowess, commitment and bhakti or devotion underpinning each piece of the repertoire.
Read more: When Nandini Menon took Bharatanatyam into the Dreamtime
