Aesthetic and spiritual
B. RAMADEVI
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The theme-based recitals by the dance groups, at this year’s dance festival at Perur, were rewarding and enriching.
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Photos: S. Siva Saravanan and K. Ananthan
Creative choreography: (Clockwise from top left) Students of Abhinava and Noopur dance group, Bangalore, and Kanaka Sabai School of Fine Arts, Chennai.
Nirupama Rajendra of Abhinava Dance Company, Bangalore, made an immediate conquest when she appeared on the beautifully designed stage inside Patteeswarar temple, Perur, to introduce the dance items she was going to present. Through her explanations,
she made sure that the spectators did not miss anything that was worth noticing. Her objective was to draw the youngsters to the ancient dance form and she succeeded in it. Her troupe presented ‘Lasya Ranjani’ that had been choreographed based on some of the 108 karanas of Bharatanatyam. The solemn ‘Ganesha Panchakam’ that depicted the greatness of Ganesha also included joyful scenes from the Ganesha Chathurti celebrations in Mumbai.
The jatiswaram by Lalgudi Jayaraman in Rasikapriya was presented with a slightly modern orchestration. ‘Kalinganarthanam,’ composed by Dr. Ganesh and set to Rajkumar Bharati’s music was a great visual treat. Nirupama was absolutely full of life and even remembered to depict how slimy and slippery Kalinga was when Krishna danced on his head. The concluding sloka was from ‘Isopanishad,’ praying for the welfare of the whole creation.
Crisp and clear
Dedication and commitment were the hallmarks of Karunasagari’s Bharatanatyam recital on the theme, ‘Panchakritya Paramanandam,’ based on the five important activities of Lord Siva — creation , protection, destruction, concealment and showing mercy. This piece included ‘Nandhi Sollu,’ a unique pattern of rhythm that had speed as well as grace. The four types of tala patterns — mridangam, damru, gopuchha and ganga — were demonstrated in ‘Yati,’ choreographed by her guru Shrijit Krishna. Obviously a lot of research had gone into her theme-based recital. Her explanations were crisp, clear and adequate. The spectators could easily relate to ‘Aarupadai Veedu,’ a dance drama presented by Kanaka Sabai School of Fine Arts, Chennai. The most important episodes for each abode were depicted by the dancers. Kavadiyattam, kummi, kolattam and Valli’s aalolam added pep to the interesting show. Choreography and nattuvangam were by guru Sasirekha Rammohan. Roshini Ganesh (vocal support), Ramanan (mridangam), Sunil (violin) and Patanjali Sridhar (flute) comprised the pleasing and supportive orchestra.
Elaborate footwork
Kathak by Hari and Chetna of ‘Noopur,’ Bangalore, was breath-taking to say the least. They began with ‘Omkar,’ that included the invocation from the Vedas, ‘Asatho Maa Sadgamaya.’ Their jugalbandhi was presented as a rhythmic dialogue between the percussionists and the dancers. ‘Talmal’ was a pure dance piece with elaborate footwork of rhythmic intensity and lovely swirls.
Swati Tirunal’s ‘Chaliye Kunjan Mein,’ not only depicted Radha’s yearning for Krishna but also brought out the jeevatma’s quest for union with the Paramatma. The concluding item was Sivanjali with relevant stotras on Siva. When the curtains were brought down with the Mrityunjaya mantra, an inexplicable peace pervaded the atmosphere. The couple had taken care of every small detail.
The pleasing costume, vibrant music and creative choreography added to the ingenious blending of romance and devotion. This year’s Perur Natyanjali, jointly sponsored by Rotary Club of Coimbatore Metropolis and the Department of HR&CE, Government of Tamil Nadu, gave spectators an aesthetically rewarding and spiritually uplifting experience.
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