Versatile, aesthetic
B. RAMADEVI
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There was much to delight the audience at Natyanjali presented at the Perur Patteeswarar temple.
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REGAL DEPICTION: Lakshmanan and his group performing at the Natyanajali. Photo: M. Periasamy.
Shivanjali, the temple of fine arts, Coimbatore, presented a spectacular dance performance on the second day of the Natyanjali organised by Rotary Club of Coimbatore Metropolis at Patteeswarar temple, Perur.
The troupe exhibited its versatility in the selection of songs and presentation. Their first item was the `misra alarippu' followed by `Muthaiththaru,' the famous Thiruppugazh.
The Nattakkurinji varnam by Papanasam Sivan, "Swami," and "Naanundhan Adimai'' were crisp and emotionally appealing. ``Sri Ramachandra Krupaalu,'' a composition by Tulsidas came soon after in the form of a padam with value additions that enhanced the already devout bhajan that praised the beauty, valour and mercy of the Lord.
The episode of Sita Kalyanam was depicted beautifully.
Archana as Hanuman was superb. She transformed herself into the quintessential devotee, and enacted the sloka, ``Aanjaneyam Adhipaatalaananam."
Kamakshi Jayaraman and Vimala Chandrasekhar deserve kudos for the excellent training they have imparted to their disciples.
Six paths of devotion
Lakshman Nritya, the troupe from Chennai with guru A. Lakshman and his disciples, offered ``Shanmatham." Adi Sankara established six paths of devotion with separate presiding deities and systems of worship viz., Gaanapatyam (Ganapathy), Kaumaaram (Murugan), Sowram (Surya), Shaaktham (Shakti), Shaivam (Siva) and Vaishnavam (Vishnu). Taking their inspiration from this, the troupe presented six songs, a song for each deity.
They presented "Gajavadana, Karuna Sadhana'' in Sriranjani on Vinayaka, "Villinai Otha Puruvam Valaiththanai Velava'' on Murugan (Bharathiar), ``Karya Karana Swaroopane'' (Lalitha Sivakumar) in Surya on Surya, ``Paahimaam Sri Raja Rajeshwari'' (Mahadeva Iyer) in Janaranjanai on Shakti, ``Aananda Natana Prakaasham'' (Dikshitar) in Kedaaram on Siva, and a pulsating tillana (Othukkadu Venkatasubbaiyer) on Vishnu.
The selection of these songs gave them a lot of scope for abhinaya. The choreography was aesthetic. ``Valli Thirumanam'' episode was particularly praiseworthy.
A. Lakshman's regal depiction of Siva's dance was full of force, majesty and deftness. While portraying Mahishasura Mardhini, Jyotsna Jagannathan proved effectively that a merciful mother will not hesitate to be cruel, if one chooses the wrong path.
The talented orchestra comprised Sharanya Krishnan (vocal), Subhadra Ravi, (nattuvangam), Nellai Kannan (mridangam) and Sigamani (violin). Nellai Kannan's mridangam deserves special appreciation.
With grace and speed
The third and final item of the day was the Kuchipudi recital by Uma Muralikrishna and her troupe. Blending grace with speed, she began with an invocation to Goddess Saraswati, ``Jayamu Lalitha Kalaa Vaaniki'' following the sloka, ``Aashritam Bhuvanam Yasya." ``Ammaa, Aanandadaayini," a varnam in Gambhira Naattai by Balamurali Krishna was handled deftly. Her abhinaya explained the meaning of the sahitya even to those who did not follow Telugu.
No Kuchipudi performance is complete without the dance on the `tambalam' and she presented this special item for the swaras. Her disciples, Divyasena and Shakti started ``Koluvaithiva Rangashaayee'' impressively but before they could prove their skill the electronic device let them down and they retired halfway with poise. Uma's tillana in Kunthalavarali (Balamurali Krishna) was full of life. With a live orchestra, Uma's Kuchipudi would have made a more favourable mark on the spectators.
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