When tradition is given new dimensions
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Some prefer group productions while some go solo. But dancers, on the whole, seem to have something up their sleeve. CHITRA SWAMINATHAN
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REHEARSAL: Dhananjayan and Shantha Dhananjayan with their disciples will present `Thirukkural'. Photo: Shaju John
Margazhi is no longer only about margam. The wide and varied crowd that this much-looked-forward-to cultural event draws inspires dancers to add new dimensions to the traditional repertoire, delve into mythology to get ideas for thematic presentations and develop unusual concepts. Here's a glimpse of what the artistes have lined up for the season.
Padma Subramaniam
"Swatinrityamala," based as the name suggests on the compositions of Swati Tirunal, is probably the highlight of my presentation this December. Then there is "Ramaya Thubyam Namaha," Shakti Darshanam" and "Sangamam." The last one is particularly interesting as it focuses on the commonality between two poets or work. For instance, Muthuswami Dikshitar and Rabindranath Tagore.
Chitra Visweswaran
I am doing a solo, "Naseema," (without boundaries) based on the traditional texts. In an age, when it is being questioned whether classical art forms are still relevant, the answer is, it's in the eyes of the interpreter. And this is the essence of "Naseema." I will also be staging some of my older productions such as "Namamritha sangamam" "Nritya Shrinkala and "Dwarakanatham Baje."
C. V. Chandrasekhar
I have choreographed a Kumbeshwar Kuruvanji on Lord Kumbanathar of Kumbakonam, which will be performed by my daughters Chitra and Manjari. A few months ago, Adyar K. Lakshmanan and I had staged a recital that was well received. We will be presenting it again at the Bharat Kalachar. My daughter Chitra will present "Gita Govindam."
Priyadarshini Govind
I generally like to stick to the traditional format, which I find exciting. An amazing combination of nritta and abhinaya, it is always a challenge to present it perfectly. At the same time, it also gives you the space and freedom to be imaginative and choreograph fresh compositions. And this is what I have done for the season, introducing a tani avartanam for a tillana by setting up a percussion piece.
Dhananjayans
This time we have worked hard on creating a unique thematic piece "Satyam Sivam Sundaram," which our school Bharatakalanjali is presenting along with the Fine Arts Society of Yogaville in Virginia. It's based on the teachings of Swami Sachidananda, the essence being 'truth is one but paths are many.' The artistes are from Yogaville and were trained by us, and our disciple, Padmarani Rasiah Cantu. The lyrics are drawn from the works of Mahakavi Bharatiar and Muthukannappan.
This programme, dedicated to the swamiji, will also be staged in Coimbatore and Kerala. Besides, this major collaborative effort, we will also be staging one of our old productions, "Thirukkural Bharatam" — conveying the philosophy of Thirukkural through the classical dance form.
Urmila Satyanarayanan
The traditional repertoire is my staple diet. I think one can never tire of watching it because there's quite a variety. This time around I have chosen songs in praise of Narayana and Siva to do a thematic margam x "Shivam Narayanam". Then there are also my old productions "Panchali Shabadam" and "Tyagaraja Vaibhavam."
Anita Ratnam
My presentation, "Arya Tara" will combine the old and new. The first half, a group show, has five pieces that focus on five goddesses. The lyrics have been taken from slokas and traditional compositions. The second half, a solo by me, is about Buddhist goddess Tara. An experimental piece, it's an excerpt from my production "Seven Graces" that I staged recently in New York. It has no lyrics, and the commissioned music has the meditative quality of Buddhist chanting.
Alarmelvalli
'Are you doing something different' is thrown at you year after year. I do not think one should be innovative for the sake of being innovative. Or try to do something under pressure. Particularly, the growing craze for thematic presentation is amusing, when there is a margam that is versatile, vibrant and offers enough variety. This year I am doing two pieces which I thoroughly enjoyed choreographing. One is a verse from the Sangam period and describes the pathos of loss. Another is an invocation on Surya. These pieces will be incorporated suitably into the margam.
Srikala Bharath
I am doing a solo piece "Amrapalli", where I will go through the emotional journey of the beautiful royal courtesan. Another interesting presentation is "Mahila Mahima" that will showcase women as embodiment of courage.
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