From Raichur to Tumakuru, a student’s passion for dance found a wider audience at Dasara, where teamwork, cultural storytelling and the courage to perform turned a festival appearance into a personal milestoneFor Sri Vallaba, a student from Raichur, Tumkur Dasara was more than a festival to attend. It was a chance to perform before a large audience, express his passion for dance, and be part of a production that brought classical and western dance together to tell the story of Goddess Chamundi and Mahishasura.
Tumakuru: When Sri Vallaba stepped onto the stage at Tumakuru Dasara, he was not simply performing a dance routine. He presented weeks of ideas, days of practice, and a passion he says helps him in his studies as much as on stage.
Originally from Raichur, Vallaba moved to Tumakuru to pursue his education. A Western dancer and member of his college’s cultural team, he had experienced Tumakuru Dasara from both sides of the stage, first as a spectator and now as a performer.
For him, the difference was special. The festival that had brought him into the audience was now giving him an opportunity to introduce himself to thousands of people through the art he loves.
NewsFlash Daily™ Speaks to Young Dancer Sri Vallaba About Tumakuru Dasara
Speaking about Tumakuru Dasara, it is so beautiful. The whole city is shining. I liked each and every bit of it,” Vallaba told NewsFlash Daily™, Yesterday was special for me because I performed on the stage.
His description of the celebrations was simple: “Every corner of Tumakuru is being celebrated through Dasara.”
But behind the lights, music, and cheering crowds was a team of young dancers working to turn a cultural story into a performance.
A Dance Performance That Brought Two Styles Together
The team chose the story of Mahishasura and Goddess Chamundi, a narrative associated with the victory of good over evil. They had considered themes from the Ramayana and Mahabharata before settling on the story, which offered an opportunity to bring performers from different dance backgrounds together.
The production used classical dance to represent divine energy and Western dance to portray Mahishasura and the forces of evil. Traditional Bharatanatyam-style costumes contrasted with the black and gold outfits worn by the Western dancers, helping communicate the distinction between the characters.
For Vallaba and his teammates, dance was not only about movement. It was also a way to tell a story to people who might otherwise experience it through words alone.
The audience’s response made the effort worthwhile. Spectators cheered throughout the performance, while the presence of their college principal, department head and lecturers added to the occasion. Their standing ovation became one of the moments the team remembered most.
“We did not expect that we would be able to do this so well. The audience response was very good, and our efforts were worth it,” Vallaba said.
Seven to Eight Days of Practice Behind the Spotlight
The performance involved around 20 dancers. The team spent approximately three to four days developing the choreography, followed by another four to five days of practice.
The dancers generally rehearsed after their classes, fitting preparation around their academic schedules. They faced challenges along the way but worked through them together.
“When an opportunity is in front of me, why should I leave it? This was the biggest opportunity for me so far,” Vallaba said.
He credited the people who helped transform the idea into a stage production. Bharath worked on audio remixes, gathered the dancers’ views and performed the role of Mahishasura.
Priyanka helped teach the dancers and resolve difficulties during practice, while Ann supported the team backstage. Avinash choreographed the production and broke down difficult steps to make them easier to learn.
Their contributions helped bring together performers with different strengths and responsibilities.
For Vallaba, the experience also reinforced a lesson he considers essential to dance: preparation matters.
“Practice is everything. Without enough practice, we cannot give 100 per cent,” he said, adding that starting early gives performers time to identify mistakes and correct them.
For Vallaba, Dance Is More Than a Hobby
Away from the stage, Vallaba balances his education with his commitment to dance. He said his parents support his interest as long as he gives equal importance to his studies.
“My parents do not have a problem with me dancing. They tell me to balance both studies and dance, and I try to manage them equally,” he said.
He believes dance has a positive influence on his academic life, helping him feel refreshed and return to his work with renewed energy.
“Dance is not my hobby; it is my passion,” Vallaba said. “If I am scoring well and studying properly today, I believe dance is one of the main reasons behind it. It refreshes me.”
That connection between education and performance is part of what makes the opportunity meaningful to him. He does not see dance as something separate from his future, but as a passion that gives him confidence and helps him manage other responsibilities.
He also places greater value on the opportunity to perform than on winning or losing competitions.
“For me, the stage is like God, or next to God. Whenever I enter the stage, I first bow and offer a namaskar as a mark of respect,” he said.
A Festival That Can Make Room for Its Performers and Visitors
Having attended several programmes as well as performed at the festival, Vallaba also offered suggestions for making Tumkur Dasara more comfortable for everyone.
Rainfall during the celebrations made covered seating a concern, particularly for ordinary visitors watching performances for long periods. He suggested extending German tents beyond the VIP section so more members of the public could enjoy the programmes without standing or sitting in the rain.
He also recommended providing drinking water and refreshments for performers who spend long hours preparing and waiting backstage. Although he described the changing rooms and green rooms as well organised, he felt that water and snacks would improve the experience for participants.
Despite these suggestions, Vallaba praised the festival’s arrangements and highlighted the water fountain at Amanikere, the Ambari bus ride and the exhibition as attractions that added to the celebrations.
His experience captures another side of a city-wide festival. While visitors come to enjoy the festivities, young performers see an opportunity to develop their confidence, represent their teams and share their talents with a larger audience.
For Vallaba, the most important memory of Tumakuru Dasara may not be the applause alone. It is the experience of stepping onto a major stage, working with a team and allowing people who had never seen him dance to discover his passion.
As Tumakuru continues to celebrate Dasara, his story is a reminder that festivals are not only about the performances people watch. They are also about the young people who prepare behind the scenes, take their first steps into the spotlight and find a wider audience for the things they love.
