It isn’t just the Golconda Fort — one of Hyderabad’s most visited historical sites — that is going to be adored this Saturday. Everyone is also looking forward to a beautiful Bharatanatyam performance by danseuse Rama Vaidyanathan and a troupe of 20 dancers.
Organised by Paramparaa Foundation, this performance is part of its annual cultural festival celebrating Indian dance, music, and art, set against the backdrop of temples and historical sites across Telangana and Andhra Pradesh. The performance, titled Nimagna, will weave dance, movement, and storytelling, exploring the myriad ways of experiencing rasa, or emotion.
The 90-minute performance is divided into five sections — Guru Stotram, Kamakshi, Kashi, Raghuveera, and Rasaleela. Speaking about the inspiration behind the production, Rama shared, “Nimagna is undoubtedly a result of my years of dialogue with Bharatanatyam. The word ‘nimagna’ means immersion, and unless one is completely immersed in an activity, excellence in that field will not emerge. I have strived to be immersed in dance, and that essence is exactly what Nimagna, the dance production, reflects. It was premiered at the Neeta Mukesh Ambani Cultural Centre in Mumbai because it was a grand stage.”
She said that the storytelling in Nimagna is not centred on an individual but emerges as a collective immersion in the dance form. As both choreographer and dancer, she finds the process challenging yet exciting. The production is visualised holistically, where every dancer contributes equally to the narrative rather than playing secondary roles.
Elaborating on the creative process, Rama noted that working with 20 highly trained dancers was a challenge that required thoughtful planning, trial and error, and numerous rehearsals. “The different pieces in Nimagna are not directly connected, but each represents a different form of immersion — whether in dance, philosophy, or the act of surrendering one’s body, mind, and soul to the art form. It is akin to plunging into a deep lake, surrendering to the water, allowing it to engulf you. In the same way, this production is about plunging into the idiom of dance, surrendering to it, and allowing it to take over completely,” she added.
Reflecting on past performances, she expressed her joy about performing for the Parampara series, describing the audience as deeply engaged in both mythology and philosophy. “I have performed before for the Parampara series, and it has been a fantastic experience. The audience is deeply initiated not only in dance but also in mythology and philosophy, allowing them to connect with the stories we tell through movement. It is truly a joy to perform for such an audience, and I am eagerly looking forward to performing in Hyderabad at the historic Golconda Fort. It feels like two histories coming together, enhancing each other. The visual imagery we create through dance will undoubtedly be enriched by the backdrop of the fort,” she shared.
On the nature of collaboration in Nimagana, she highlighted that the choreography is not solely hers — it belongs to all 20 dancers, who align with her vision and contribute to the performance’s emotional depth. “They are completely in sync with my vision and contribute to the visual storytelling beyond just executing movements. It is not a mechanical process where they merely follow counts and positions. Instead, there is a deep sense of rasanubhava (aesthetic experience) that the entire group collectively feels, and this resonance translates to the audience,” she noted, adding, “We have had an intense creative process, discussing literature, sahityam (lyrics), and the poet’s vision to understand how best to translate it through dance. I am truly fortunate to have a group of dancers who align so closely with my artistic vision.”
One of the most profound moments in Nimagana, she shared, is the depiction of Kashi, where life and death coexist on the banks of the river Ganga. This duality — one space celebrating life while another mourns death — mirrors the eternal cycle of creation and dissolution, making it a deeply meaningful sequence within the production.
When asked about her dance philosophy, she described herself as ‘the small’ and dance as ‘the big’, akin to Jeevatma (individual soul) and Paramatma (universal soul). “My body is transient, but dance will remain beyond me. This sense of awe and surrender is the driving force behind my passion for choreography, creation, and pushing boundaries. The humility I hold toward this great tradition, its grammar, its medium, and its idiom is what allows me to truly understand and surrender to it,” the dancer concluded.