Kalady Sanskrit University staff's journey from fitness to arangettam
A desire to keep their bodies fit and flexible as old age beckoned saw Betty Varghese, Sunitha Rani, Manju, and Sheeja George — four non-teaching staff of Sree Sankaracharya University of Sanskrit (SSUS) at Kalady — practice Bharatanatyam.
An arangettam (debut) performance soon followed on the university campus, further cementing their journey as classical dancers.
'None of us has a classical dance background,' Betty, a 53-year-old engineer with the university, reflects.
However, she wanted to take up an exercise regime to ensure she remained agile and flexible, in addition to, of course, losing weight.
'When I shared my thoughts with Sushma, a final year Mohiniyattam student, she suggested dancing as a remedy. Well, that was the start,' Betty says.
As for Sheeja George, an assistant with the painting department of the university, never in her wildest dreams had she thought she'd learn classical dance or perform on stage. 'For me, the buck stopped with Zumba,' Sheeja says.
But what got her learning Bharatanatyam?
'Everything for me and the other three began when we started practising the steps for Thiruvathira, which was to be performed for the university's Onam celebrations. Since we didn't have a dance background, we found it difficult to pick up the steps,' Sheeja adds.
So, when they discussed it with their colleagues, one of them suggested seeking help from the students of the Dance Department.
'That's how we got in contact with the Mohiniyattom student Sushama,' says Sheeja.
The three began taking dance tuitions from Sushama after working hours from 5pm to 6pm. Betty also joined in and the quorum was complete.
'The initial days were tough for us,' says Betty. With no exercise, their bodies were rigid and Bharatanatyam not only requires flexibility but also stamina by the truck-load.
'It was tough doing the 'Araimandi'. So you can imagine how tough it would have been for us to do the muzhumandi. But after a year and a half of practice and performances, I can do Araimandi easily,' Betty adds. She was also able to reduce her weight.
'Besides the weight loss and flexibility that we have achieved, the most important gift that dance has given is mental happiness. Dance is a true stress-buster,' agree Betty and Sheeja.
But why Bharatanatayam? 'The dance, unlike Mohiniyattam, has vigorous movements and steps. Since our main agenda was exercise we opted to go with this dance form. Now, we will be continuing our dance classes and would love to perform on stage if chances present themselves,' says Sreeja, who is 52.
Betty and others point out that they have gained the confidence to perform on stage.
The Bharatanatyam Arangettam, something that has never happened in a university until now, has got other staff in the university keen to join the dance classes as well.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
&w=3840&q=100)

Business Standard
10 hours ago
- Business Standard
Kamal Haasan's dual role: DMK views one RS seat as small price to pay
Haasan is a self-proclaimed atheist but on most other political issues, he has been flexible premium Aditi Phadnis Listen to This Article He is more than just an actor. He is a trained Bharatanatyam dancer, an accomplished singer, a choreographer and director, the only one to have got 19 Filmfare awards, the most by any Indian. Seven films starring him have made it to the short list of the Oscars 'foreign films' category. He is fluent in English, French, and six Indian languages, including Kannada. His politics, however, is confusing. His electoral performance in that arena sub-par. Kamal Haasan will shortly become member of the Rajya Sabha with support from the Dravida Munnetra Kazhagam (DMK) although his party, Makkal Neethi Maiam (MNM),


Indian Express
3 days ago
- Indian Express
Shobana mourns the loss of her beloved childhood friend Anita Menon; shares their old photos: ‘Farewell kiddo'
Renowned dancer-choreographer and National Award-winning actor Shobana's childhood friend Anita Menon has passed away. She breathed her last in the early hours of Tuesday. Taking to social media, Shobana penned an emotional note in memory of her dear friend and shared a few pictures from their childhood. She also expressed her deepest condolences to Anita's bereaved family. 'Farewell kiddo. My dear friend. Rest in peace. No more words. My heartfelt condolences to Babu Uncle and Sue Aunty, Satish Menon, Aveesha and Anisha (sic),' the Thudarum actor wrote on Instagram. While one of the black-and-white pictures showed the actor posing with a beaming Anita, another photo, seemingly from their even younger days, featured Anita happily resting her head on Shobana's shoulder as the latter relished a banana. According to Manorama Online, Anita and her family were Shobana's neighbours during her childhood days in Mylapore, Chennai. Although Anita was younger, Shobana shared a close camaraderie with her, which must have been strengthened by their mutual love for dance. Anita was, according to her official website, the recipient of the prestigious Performing Arts Fellowship in 2014 from the US' Regional Arts and Culture Council. She was the founder of Anjali School of Dance, established to 'provide training in Bharatanatyam to students in the greater Portland area' as well. She also directed theatrical productions that were adaptations of William Shakespeare's A Midsummer Night's Dream and Agatha Christie's Death on the Nile. 'Her productions were known for their big dance numbers using several styles of dance, including Indian folk, ballet, hip hop, jazz and Bollywood,' the note on the website read. A post shared by Shobana Chandrakumar (@shobana_danseuse) Known for her powerful performances, Shobana has won the National Film Award for Best Actress twice and ranks among one of the finest actors in the country. Besides her home ground of Malayalam cinema, she has also worked in Tamil, Telugu, Hindi and Kannada films, leaving a lasting impression in every industry she entered. After a five-year hiatus, she returned to the silver screen playing a key role in director Nag Ashwin's Kalki 2898 AD, featuring Prabhas, Deepika Padukone, Amitabh Bachchan and Kamal Haasan. Shobana was most recently seen in Tharun Moorthy's Thudarum, where she shared the screen with Mohanlal, marking the return of one of Malayalam cinema's most beloved on-screen couples.


The Hindu
4 days ago
- The Hindu
Dancer-couple Nirupama and Rajendra revisit the Ramayana in ‘Rama Katha Vismaya'
The Ramayana, an ancient epic, has been retold through various art forms over the centuries, especially through classical dance styles such as Bharatanatyam, Kathak, and Odissi. In recent times, many dancers have continued this tradition by presenting Rama's story to life on stage in fresh and engaging ways. One such production was 'Rama Katha Vismaya', a full-length performance, curated and presented by dancer-couple Nirupama and Rajendra. Staged at Chowdiah Hall in Bengaluru, the production featured nearly 60 artistes from the Abhinava Dance Company. The duo framed the epic as a tale being narrated to Krishna by Yashoda as a bedtime story. When she reaches the sequence where Ravana abducts Sita, little Krishna suddenly leaps out of his bed and shouts, 'Saumitri, bring my bow and arrow', leaving Yashoda both startled and confused . According to Nirupama and Rajendra, this moment, drawn from Leela Sukar's Krishna Karnamritam, where Krishna recalls his past life as Rama, inspired them to come up with this thematic production. Colourful costumes (by Rajendra), vibrant lighting design (by Ajay Vijendra), choreography that incorporates diverse styles, musical score ranging from classical to folk, and grand sets and LED projections added to the appeal. The presentation began with a group of girls wielding peacock feather fans and a group of boys holding bows and arrows, highlighting the common link between Rama and Krishna. Their dynamic formations and movements for this segment, leading to the introduction of Rama, were skillfully choreographed. A brief depiction of Rama's previous avatars by Rajendra was interesting. And Nirupama explored her dramatic skills with conviction in her role as Soorpanakha. At one corner of the stage, Yashoda continued her narration to Krishna — the rakshasas, disturbing the rituals, being vanquished by Rama and Lakshmana, the breaking of Shiva Danush by Rama followed by Sita swayamvaram, the entry of Rama, Lakshmana and Sita into Dandakaranya forest, appearances of Soorpanaka, Maricha (the golden deer), and finally the abduction of Sita. There were some interesting segments too. For instance, in the Sita abduction scene, the depiction of Ravana's duality was done convincingly. Ravana is usually portrayed as arriving disguised as a sage seeking alms, only to disappear and reemerge in his majestic, royal form. But, here, the variation was creatively presented as two dancers appeared on stage and moved in perfect unison to convey the idea that the two personas were, in fact, one and not separate. , The introduction of Ravana was yet another riveting visualisation. In utter darkness, glowing masks (used to indicate the ten faces of Ravana) began to swirl across the stage, before gradually settling into a formation behind the dancer — the embodiment of Ravana, the ten-headed king. Even the scene about Rama's exile was dealt with differently. Instead of the usual depiction of the sadness that engulfs the people of Ayodhya when Rama leaves for his exile, the dancers showcase the happiness and reverance with which Dandakaranya forest welcomes them when they enter it. However, the presence of a group of dancers, dressed as flowers, trees, birds and animals, who were constantly moving on stage was disturbing and looked a bit amateurish. The production aimed to include elements that would attract a wide audience, but the core of Rama's character and the narrative were lost amid a flurry of activity on stage. A moment of repose could have significantly elevated its impact. Credits: Lyrics are by Ashtavadhani R. Ganesh. Music is by Praveen D Rao. He had combined varied sounds, and swara patterns in such a way that they match the pace of the choreography. But one wished for some moments of tranquility to offset the high energy levels, for greater impact. Direction and visuals are by Vinod Gowda, and . artistic direction and choreography by Nirupama and Rajendra.