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Photos: S.Thanthoni

Spellbinding performances: (from left) K.Shanmuga Sundaram, L.Narendra Kumar, Binesh Mahadevan and Prof. A.Lakshman.

Natyanjali Trust conducted a festival that was different — one that featured only male dancers. The Nartaka Dance Fest (November 23-25), held at the R.K.Swamy Auditorium, Mylapore, was inaugurated by C.V.Chandrasekar, Bharatanatyam exponent.

The Natyanjali Trust, established by Jayalakshmi Satagopan, a senior disciple of Pandanallur Subbaraya Pillai, has been promoting the art for the past 27 years. After the founder’s demise, daughter Prema Satish, from the same lineage, is continuing the good work.

The idea was to encourage male dancers who rarely got an opportunity to give solo performances, observed Prema. “This is the first time the Nartaka cash award, instituted in memory of my mother, the late Jayalakshmi Satagopan, is being awarded to a male dancer,” she said. The recipient was C.V.Chandrasekar, who was conferred the honour by Nandini Ramani, Bharatanatyam artist and critic. Inaugurating the event, CVC said that it was an irony that while renowned gurus were men there was reluctance among the audience to accept a male dancer. “It has taken nearly 60 years for me to be accepted,” he said.

K. Shanmuga Sundaram, disciple of K.J.Sarasa, was the first to make his graceful presence on the stage. The concert began with a pushpanjali in Gambeera Nattai on a serene note. This was followed by ‘Mahadeva Sambo,’ a composition of Thanjavur Sankara Iyer in Revati.

The highlight of his recital was the varnam in Charukesi composed by Lalgudi Jayaraman. Shanmugam depicted the pranks of Krishna with involvement.

Articulate L. Narendra Kumar, disciple of Shanta Dhananjayan and V.P.Dhananjayan, held the audience spellbound. Accompanied by the mridangam, ganjira and the chenda, the tala scaled new heights. Narendra Kumar presented Dasavataram with rhythmic movements, the body swaying with absolute control as the episodes were narrated. Kurmam, Narasimha avataram, Krishna and vamanam were especially good. The whole presentation centred on a celebration of creation and evolution culminating in Annamayya’s composition ‘Nannatibathuku Natakamu’ (Revati).

Binesh Mahadevan, disciple of Ranganayaki Jayaraman, exhibited control and confidence. ‘Mayil Vahana’ (Mohanam), was a multihued piece on Lord Subramanya. Endowed with a commanding stage presence, Binesh lent colour to the piece, “Ondranavan Iraivan Uyarvanavan,”

Expressive portrayals brought alive the stories of Markandeya and Kannappar, with the choreography helping in a big way.

Nritta, consistently perfect araimandi and accurate arm movements marked the performance of A. Lakshman, another disciple of Sarasa. He performed to recorded music in which he had done the nattuvangam. The highlight of his show was the varnam in Karnataka Kaapi, by Swati Tirunal, where his abhinaya and footwork proved that he was an accomplished artiste of great acumen.

Capturing the audience attention depicting the love-lorn nayika, Lakshman sustained it with his presentation of “Chittikave Seethae” (Kalyani). A thillana in Kadhanakuthuhalam brought the curtain down.

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