Lamakaan celebrates its 5th anniversary with events from 10-15th March.

Opening this week-long celebrations is an enchanting "Vilasini Natyam" by Pujita Krishna Jyoti a well decorated performer in this fast receding dance of Vilasini dance - a fore runner to BharataNatyam and other classical dances.

Pujita Krishna Jyoti represents the young face of Vilasini Natyam – the rare dance form of Andhra Pradesh revived from extinction. She is also a Kuchipudi dancer, trained under Dr. Anupama Kylash and Dr. Vedantam Ramalingam Shastry. She is also a student of Vilasini Natyam under Padmabhushan Swapnasundari. Apart from Kuchipudi and Vilasini Natyam, she has also briefly studied Bharata Natyam, Kathak and Odissi.

Pujita was awarded Medici Scholarship for the Arts at UCI. She received grant by the Center for Asian Studies for her thesis titled 'Revival of Vilasini Natyam at the Ranganathaswamy Temple, Hyderabad'.

During the time at the University of California, she had the privilege of being under the direct guidance of Donald McKayle, a former Martha Graham company member and an illustrious name in modern dance in America, with whom she studied choreography for stage. Further, she had the unique advantage of taking classes in the Horton and Paul Taylor technique of modern dance. She have had an eclectic training in Jazz, having learned elements of Broadway school of Jazz and that popularized by Mad Maddox, now being taught at UCI by the London based dancer and choreographer Sheron Wray. She has also received some instruction in world dance forms like Flamenco and Afro-Brazilian and recreational/social dance forms like Argentinian Tango, Swing, Waltz and Salsa.

History of Vilasini Natyam:

The cultural history of the Telugu people indicates the existence of two formal dance streams - One performed by men (Purusha Sampradaayam) and the other by women (Stree Sampradaayam). References to a Sthree Sampradayam abound in the archival, epigraphic and literary sources, establishing the vital artistic presence of female singer -dancers in temples, royal courts and public theatres, certainly from the 10th century AD. They were referred to by various terms including Vilasini, Swamini and Bhogini, (colloquially Saani and Bogam) and their troupes termed Chinna Melam or Nattuva Melam. By mid 20th century, these artists were called the Kalavantulu - a term which derives from Kalavati (a woman who excels in the arts). When the Anti-Devadasi Dedication Act was passed, the consecration of singer-dancers in temples was banned. It was then that the art of the Kalavantulu began to decline. Saanis and Bhogams were distanced from mainstream social life only thereafter.

Vilasini Natyam represents the ritual, ceremonial and dance operatic legacy of this group, a section of whose last living artists have taught dancer Swapnasundari. This art differs in technique from the Purusha sampradayam presently represented by Kuchipudi. Though Vilasini Natyam movements appear quintessentially feminine, its hundred-odd Adavus (dance-units) include the Tandava (vigorous) and Lasya (soft) aspects. Vilasini Natyam's complex Abhinaya is widely admired. Its extensive repertoire comprises Temple dances, Court dances and Dance operas of the hereditary female singer-dancers of Telugu origin.

All are welcome. Entry - Free.