Kuchipudi exponent, creative choreographer, guru and author P. Ramadevi received the title ‘Nattiyakkalai Sudar’ from Pollachi Tamizhisai Sangam on the inaugural day of its 29th dance festival. She then presented a fitting sample of her art, with her disciples, at the Arutchelvar N. Mahalingam Auditorium.
Balanatya Manjari Trust, Chennai, impressed spectators with a colourful Bharatanatyam presentation of Krishna leela. The dancer who donned the role of Krishna was full of verve and moved around the stage with delightful ease. Guru Sikkil Vasanthakumari and her supportive orchestra provided a strong back-up for the dancers.
Enjoyable depictionAnvitha Mohankumar, disciple of Lakshmi Jayapriya and Archana Narayanamurthy, proved that she had absorbed the guidance by her gurus very well. With more experience, she is sure to add more bhava to her performance. Her depiction of the spring season and the various forms of Lord Siva for the varnam, ‘Saamiyai Azhaiththodi’ by K.N. Dhandayudhapani Pillai, was enjoyable. The padam, ‘Chinna Chinna Paadham Vaithu’ and the Kavadichindhu by Bharatiar, ‘Villinai Otha Puruvam,’ were more impressive, though. Mother Yashodha’s affection and Krishna’s Kalinga nardanam were beautiful to watch. Valli Thirumanam episode for the Kavadichindu had a touch of humour.
The thillana in Kadhana Kuthuhalam by M. Balamuralikrishna, interspersed with jatis, gave a lively finish to Anvitha’s Bharatanatyam. Guru Archana, a lively performer herself, followed her disciple with her eyes, while wielding the cymbals efficiently. Randhini Arvind led the orchestra with her melodious voice. Satish on the violin and Senthil on the mridangam gave excellent support.
Shruthi Shoby ’s disciples (Srishti School of Classical Dance, Chennai) presented Kuchipudi and Mohiniyattom bringing out the special features of each genre. They began with the sloka ‘Agre Pashyaami,’ describing the beauty of the young Lord Krishna and followed it up with ‘Maanasa Sanchara Re’ in Kuchipudi style. Mohiniyattom followed with Cholkattu.
Malavika, Prajila, Sumithra and Anagha performed the Cholkattu with gentle swaying and flowing movements.
An expressive and agile Shankari performed complicated jatis on a brass plate, in typical Kuchipudi style, for Oothukkadu Venkatakavi’s song, ‘Maragathamanimaya.’ ‘Karuna Cheyvaan Enthu’ by Iriyamman Thampi in Mohiniyattom style, was soft and soothing. The team concluded with Annamayya’s lively song ‘Brahmamokate.’
On the final day, Meenakshi Chitharanjan made a devout offering to Lord Siva with her ‘Thedi Kandu Konden.’ She began with a lively group presentation of ‘Sivaanandakkoothu’ from Thirumoolar’s ‘Thirumandiram,’ depicting Lord Siva’s dance with Shakti in boundless space. The varnam was based on Thirunavukkarasar’s ‘Thiruthandagam’- ‘Munnam Avanudaiya Naamam Kaettaal.’ Set to Harikhambodi with jatis composed by Mayavaram T. Viswanathan, this song describes how love can slowly intensify thus making one forget one’s identity.
Meenakshi Chitharanjan brought to life the girl in love, depicting her thrill when she hears the name of the Lord, her joy when she hears about His beauty and her total submission to Him. When she convincingly depicted the lines ‘Thannai Marandhaal, Than Naamam Kettaal, Thalaippattaal Nangai Thalivan Thaale,’ one could not help but wonder whether a person can love the Lord so intensely. Appropriate verses were included in between to enhance the beauty of the varnam.
Meenakshi’s depiction of ‘madhurya bhakti’ through Thirugnana Sambandar’s ‘Siraiyaarum Madakkiliye,’ was charming. Seeing a parrot, the nayika calls it, offers it honey and milk and pleads with it to utter the name of her Lord once. After flying about for some time, the parrot utters ‘Ohm Nama Sivaaya.’ The thrilled nayika showers her affection on the parrot and lets it fly. T he spectators were equally thrilled when they heard the parrot’s voice through the mike. (It was by one of the members of the orchestra)
The journey of devotion culminated with Thirunavukkarasar’s ‘Thiru Angamalai,’ presented as a thillana by Meenakshi and her group.
The poet hails the beauty of the Lord and points out that if they do not think of the Lord, praise His qualities and bow unto Him, their existence has no meaning. He concludes the poem with the declaration that he was able to seek and find the Lord in his own heart, though Vishnu and Brahma failed in their attempt to measure His full form – proving that God cannot be seen or measured, but must be experienced.
Meenakshi’s dignified performance was enhanced by an orchestra led by Girija Ramaswamy. Pandanallur S. Pandian’s nattuvangam, Mayuram Viswanathan’s mridangam and Kandadevi Vijayabhaskaran’s melting violin added to the impressiveness.
Dr. Nalla G. Palaniswamy, chairman, Kovai Medical Centre and Hospital, was awarded the title, ‘Maruththuva Kalaimani’ on the concluding day of the week-long fest.
The others who performed were Deekshanethra Jayaprakash and Narayani Muthumaran (guru-Pandanallur S. Pandian), G. Rathesh Babu of Bhilai and his disciples, Subhiksha Sundararaman (guru- Amutha Dhandapani), Diya Gopalan (guru- Gayathri Sriram and Minal Prabhu), Kirthana Devarakonda (guru-Kanya Ramachandran Dayaliya), Sharmila Guptha (guru-Padmini Ramachandran) and a group performance by the disciples of Subhashini Chandrasekaran.
