Look Into My Eyes 10

Chapter 18

Nihan was driving the car with Arpita beside him, the two engaged in playful banter, particularly Arpita making jokes directed at Mahitha, who was sitting in the back seat. Arpita shared, "Nihan, I asked her if anything happened between Eshwar and her, like lovey-dovey things, but she kept steering the conversation towards the case history of the patients."

Nihan, in response, decided to address the matter directly. He stopped the car and turned to Mahitha, saying, "Ammu, after the dance class, why don't you spend a little time with Eshwar? I haven't seen you guys moving closely."

Mahitha chuckled and gracefully got down from the car, saying, "Bye."

Nihan, leaning out of the car window, declared, "I'll phone Eshwar to pick you up in the evening. Have dinner together. I'll manage things at home. Until I call you, don't even think about coming home."

Shocked, Mahitha responded, "Nihan!"

Arpita, catching onto the playful exchange, winked mischievously at Mahitha.

Nihan, with a determined grin, added, "That's final," and drove away.

Mahitha walked inside Vishnuvardhan's studio, where the familiar melody of "Hariharsanam" filled the air. Vishnuvardhan's wife greeted her, saying, "Mahitha, you sit. He'll be coming. He's in the kitchen. Don't mind."

Mahitha smiled graciously and took a seat near the tape recorder. Once the session was over, she found herself instinctively repeating the song, losing herself in its soothing notes.

Vishnuvardhan, noticing her appreciation, smiled as he walked in from the kitchen. "I've noticed you. You give a lot of importance to this song. Why?" he inquired.

Mahitha, with a serene smile, stood and replied, "Nothing, Sir."

Vishnuvardhan started saying to Mahitha "Natyam, also known as Nrityam, is a dance form that encompasses both Angikam and Lasyam. Angikam refers to the movement of the body, including the rhythmic coordination of the feet and hands. On the other hand, Lasyam involves expressing bhava, or feelings, through facial expressions. When performing Natyam, one embodies the Shiva swaroopa through Angikam and invokes the essence of Parvati through Lasyam.

In the Lalitha Sahasranamam, it is said, "Lasya priya layakari," which signifies that Parvati is fond of Lasyam, the expressive dance form. Therefore, when a dancer seamlessly combines Angikam and Lasyam in Natyam, it is believed that the divine presence of Shiva and Parvati resides within their body.

Furthermore, the space where the dance takes place is considered the kailasham. This sacred area becomes a vessel for the divine energy and symbolism associated with Shiva and Parvati, creating a spiritual connection between the dancer, the art form, and the divine entities they embody. In this way, Natyam becomes a profound and spiritual experience, intertwining the physical, expressive, and divine elements in the rhythmic movements and expressions of the dance"

Mahitha listened quietly, Vishnuvardhan continued to share his insights, "Natyam is the way to reach the lord, and mukti-that's the greatness of our Bharatiya sanskriti. Nrityam is like dhyanam; even though one is dancing, their heart touches the soul, intertwining with the paramatma."

Vishnuvardhan showed Mahitha a photo and asked, "Do you know who he is?"

Mahitha immediately recognized him as Nataraja Rama Krishna, with whom she had learned Kuchipudi during her school days for two years.

Vishnuvardhan continued, sharing more about Nataraja Rama Krishna ( Andhra Pradesh). He explained that he is renowned for reviving Perini Shivatandavam, a 700-year-old dance form, and bringing international fame to it along with Kuchipudi, another traditional dance form. Perini dance form almost disappeared after the decline of the Kakatiya dynasty but Dr. Nataraja Ramakrishna brought renaissance in Perini dance

Once, he performed Perini Shiva Thandavam from evening until morning. Vishnuvardhan shared the historical significance with Mahitha, saying, "Do you know the greatness of Perini Shiva Thandavam? It played a crucial role in establishing the veerarasam (essence of bravery) in the Kakatiya Dynasty. Warriors would perform this dance before heading to war, as it heightened their shoury (valor) and pratapas (majesty). Even a person confined to a bed, if they witnessed the Thandavam, would be inspired to take up a sword and join the battle."

Vishnuvardhan expressed a sentiment of pride, saying, "We should be proud that we are heirs of our rich sanskriti, our natya kala. It's our responsibility to ensure that this art form, with its cultural legacy, continues to pass down from one generation to another."

Vishnuvardhan began teaching dance to Mahitha, and as the practice progressed, she became increasingly engrossed. After two hours, the dance session concluded.

Upon stepping out of the dance studio, Mahitha noticed Eshwar waiting for her in the car. Without hesitation, she went straight to the car, sitting beside him. Eshwar started driving, and Mahitha found herself lost in thoughts, particularly about the song "Hariharsanam" and the earlier conversation with Nihan.

As they approached Eshwar's quarters, he silently walked inside, and Mahitha followed suit. In the kitchen, Eshwar asked in a hushed tone, "Will you have anything?" He then fetched a water bottle for her. She took a sip and remarked, "Eshwar, I had planned to go home, take a shower, and get ready nicely before coming here. But you brought me directly."

Eshwar, casually, asked, "Why did you want to get ready?"

Mahitha looked at him and replied with a playful tone, "For what? Seriously, to impress you."

A smile crept onto Eshwar's lips, and he blushed slightly. Mahitha burst into laughter at his reaction. Trying to maintain seriousness, Eshwar said, "Stop it, Ammu. Tell me, why did you want to come here?"

She replied, "Before that, I want to take a shower."

Eshwar suggested, "You go and take a bath. You'll find a dress on my bed."

"Really?" she asked, a hint of doubt in her voice, walked into Eshwar's bedroom

Ignore mistakes

Keep smiling

Chandanakshi