Performing before cosmic dancer most fulfilling: Padma Subrahmanyam

The temple is known for its architectural, literary and historical splendour. According to Tamil tradition, for Saivites ‘koil’ (temple) refers to Chidambaram and for Vaishnavites it is Srirangam. It is also believed that Chidambaram represents the heart of universe. And only here, the passages of four gopurams have complete representation of all 108 karanas (the basic units of dance). Interestingly, the dance panels in the gopuramas are accompanied by relevant verses from Natya Shastra. While all 108 karanas are represented by sculptures of dancing Goddess (Ambal), the Lord (Nataraja) dances in the sanctum sactorum.

Being a dancer, Chidambaram has been part and parcel of my life. Nothing can be as rewarding or as gratifying or as mind-blowing as performing before the Lord of cosmos. It was here that I began my research in 1962 and found that 108 Karanas are movements and not just static poses. The dance sculptures are like photographs of moving dancers. As a dancer, I was able to reconstruct these movements and also get the bigger picture with the help of literature and inscriptions. No controversy has ever stopped or banned dance programmes in this temple. The annual Natyanjali festival has always been a rewarding experience.

Overwhelming. Several lectures and music and dance programmes were held on the temple premises to mark special occasion. I did a couple of solo items on Thevaram and Nataraja. Then seven of my disciples and I presented a special show of all 108 karanas on stage. For the first time, we sang and danced with live orchestra for 45 minutes. It was my humble dedication to Him, to return where it all started and where it all belonged.

Yet another pleasing sight was the huge number of youngsters who kept thronging the Nataraja temple to witness the consecration.