Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | Friday Review | Cinema Plus | Young World | Property Plus | Quest | Folio |

Jubilant mood: Sudharani Raghupathy and her group.

Senior Bharatnatyam dancer Sudharani Raghupathy is “reviving a tradition” with “Mammudha – Dust to Life” (to be premiered on December 9 at the Narada Gana Sabha).

Now, who is Mammudha? Manmatha is referred to as Mammudha in rural South India and for the first time he is the subject of a thematic dance presentation. Why “Dust to life” because he is said to have been resurrected to be immortalised after he was burnt to ashes by Siva.

Conceived, produced and directed by Sudharani’s son Anirudha, a mridangam artiste, “Mammudha” has been choreographed in operatic style.

More like a theatre production, it will have dialogue and combine Bharatanatyam, theru-k-koothu, folk and modern dance. The soundscape, which has been done by Anirudha, is also a mix of Carnatic, folk and western compositions.

“Cupid is universal. Love perpetuates life and every civilisation and culture,” says the graceful Sudharani. “Research revealed that Manmatha represents everything good such as the spring, blooming flowers, uniting young couples and is a symbol of fertility.”

It was during a visit to their village near Kumbakonam (it is also held in other villages), where the Mammudha Vizha is held for 15 days every year that the idea to pay a music and dance tribute to the god of love came about.

“Anirudha was quite struck by the way the villagers celebrated with some of them dressed as Manmatha and his consort Rathi. There are even temples in some of these villages dedicated to Manmatha. There is a group that believes he was burnt and mourn over it, while another is of the view that he was resurrected and returned as light visible only to Rathi’s eyes.”

Says Anirudha, “What set me thinking about this colourful festival is the relevance of desire more than ever in today’s world.” R. Kausalya researched the subject and supported the production with necessary inputs. Other sources of information were “Manmadha Rathi Janana Kandam” and “Skanda Puranam.” For authenticity, the students of Bharatalaya (Sudharani’s dance school) were trained by experts P.K.Sambandan in theru koothu and R. Thenmozhi Rajendran in folk dance.

“As for modern dance, my exposure to western dance during my stay in the U.S. in the Sixties, helped. My students are thrilled by the experience of training in new styles. Each of the 26 characters has a specific role and vital to the presentation,” says Sudharani, who will play Manmatha. “Initially, I was hesitant to take it up but was urged by my students and well-wishers. Once a dancer always a dancer. The excitement of performing can never fade. And this is the first time I am donning a male role,” she smiles.

Resource and finance are vital in putting together such a production, where the best from each field are roped in.

“Despite sponsorships, it has not been easy, especially when you have a formidable line-up of artistes and technicians. I was determined to do something of this nature and proportion. Sikkil Gurucharan has rendered the Carnatic portions. Then there’s S. Rajeswari, former principal of the Music College, V.V.Ramani for costumes, props and stage décor and Mithran Devanesan is doing the lighting. For months we have been coordinating and rehearsing. It’s sheer passion that has kept up our spirits,” smiles Anirudha.

Printer friendly page  
Send this article to Friends by E-Mail