Storytelling is the most effective method of imparting wisdom. Whether it is India’s Panchatantra Tales or Greece’s Aesop’s fables, the purpose is the same — to entertain and educate.
It was stories such as these that Lavanya Sankar strung together for her dance ballet, ‘Kathamritam.’ It was presented to commemorate the 10th anniversary of Lavanya’s ‘Abhyasa Academy of Classical Dance,’ Coimbatore. She drew parallels between the tales and mythology, selecting stories and episodes with common themes. More than a hundred students of various age groups enacted the stories. That she gave her heart and soul to the production was evident in every detail, from the stage décor and management to the script, compeering, orchestra, costumes and make-up.
‘Kathamritam’ had four themes with two stories in each — one from the Tales and the other from mythology/history. Each episode was introduced with two relevant couplets from the Thirukkural by the dancers with sprightly jatis. The changing slides at the backdrop narrated the story pictorially.
The stories of the ant and the dove and that of Krishna and Sudama were used to showcase friendship. The forest scene was a visual extravaganza with trees, majestic elephants, somersaulting monkeys, colourful birds and even dragon flies. The masks and props were different, yet appropriate. The visual presentation of the ants moving in a long disciplined line was wonderful. Sudama’s amazement at the opulence of Krishna’s palace was well enacted.
The famous tale of the four friends — the pigeon, the rabbit, the deer and the mouse — and a scene from the Mahabharata were used to throw light on the second theme. After Yudhishtra lost Draupadi in the game of dice, a furious Bhima was ready to part ways with him. It was Arjuna, who made him realise the power of unity. And, in the end, they won back what they had lost.
The story of the lion and the mouse from Aesop’s Fables brought forth the message that one should not go by appearances. The dancer playing the mouse was adorable. The less-known episode from the Mahabharata — of Bhima’s encounter with a frail-looking Hanuman when he goes to get the Sowgandhika flower was appropriate.
The power of love was presented with the story of the sparrow which saves the lives of the parrots that gave it shelter for just a night. An episode from Buddha’s life was its parallel. The grand finale was the thillana in Nalinakanti, specially composed for this occasion by percussionist K. Parthasarathy; all 123 students participated in this.
Lavanya banked on a team of knowledgeable and talented people for the production. Dr. Raghuraman’s simple but compelling lyrics were set to tune by Pozhakkudi G.R. Praveen, who sang them with effect. The jatis were added by Lavanya and K. Parthasarathy, who created the ambience of the forest and his konnakkol was marked by speed and clarity. Lavanya’s nattuvangam was majestic and her choreography, tasteful. Guruvayur G.K. Rajamani (violin), G. Nataraj (flute) and Eshwar Rao (sitar) lent excellent support.
On the occasion Lavanya Ananth was awarded the title, ‘Abhyasa Nritya Vardhini’ by chief guest Urmila Sathyanarayanan, director, Natya Sankalpaa, Chennai. Lavanya also announced an endowment in memory of her late mother, Sundari Sankar. “It would assist talented but underprivileged students of dance,” she said.
