When asked what advice she would give to youngsters contemplating to learn two dance forms, she said, “When you have started learning something, stick to it.
Hithaishy is also trained in bharatanatyam.
Her performance ended with Kalinga Narthanam thillana, a vibrant piece which describes Krishna’s victory over the five headed serpent king, Kalinga. In this highly theatrical piece she held the audience in a trance with her wonderful abhinaya. The artist adorned the role of a Parakiya Nayika or the other woman with equal ease in Mariyada Teliyakane, where she admonished a man making advances at her. The item ended with rhythmic intricate patterns on the rim of a brass plate. This was followed by the description of Manmatha being burnt alive, as he tried to destroy the sanctity of Shiva’s penance. Another highlight of the event was the incorporation of a plate in the piece Shankara Shrigiri, also a composition of Swathi Thirunal, beginning with a shloka describing the vibrant personality of Lord Shiva. The piece, taken from the dance-drama Vipranarayana Charithram, was appreciated by all. In sync with the true beauty of Kuchipudi style, she went on to perform a pathra pravesha daravu where she played the role of Devadevi, a devadasi trying to entice Saint Vipranarayana. Her next piece, a Jayadeva ashtapadi, titled Pasyathi disi disi in raag Ragamalika had Radha pining for Krishna. The energetic performance went on to describe the form and powers of Lord Shiva, praising him as the one who opposed Yama. She began with Nrithyathi Nrithyathi, a composition of Swathi Thirunal, in which she portrayed the role of Lord Shiva, dancing to the syllable dhrikttom dhrikttom. The performance, that was organised by the Indian Council of Cultural Relations was nothing less than exhilarating.
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