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Music Season
TAMIL ISAI SANGAM
Sentiments of a pining devotee
LALITHASAI
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The dancers took the audience through a journey of the life of Nammazhvar and his works.
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Photo:B. Jothi Ramalingam
Well-defined abhinaya: A scene from ‘Parangusanayaki’.
Led by Krishnakumari Narendran on the nattuvangam, the students of Abhinaya Natyalaya, presented ‘Parangusanayaki,’ based on Nammazhwar pasurangal. The dancers took the audience through a journey of the life of Nammazhvar and his works. They gave visual dimension to about 15 hymns of the Azhwar. Aided by the music of Kunnakkudi Vaidyanathan, they captured the emotion. The choreography had been d
one, keeping in mind the grammar of Nayaka (Lord Krishna), Nayaki (Azhwar) bhava. The greatness of the birth of Nammazhwar was brought out in the first scene. In this Madurakavi, one of the 12 Azhwars, makes his way to Thirukurugur by following a divine light. Reaching the destination, he finds a child, with eyes closed, sitting in the hollow of a tree wrapped like a new born. The stage was set, natural and apt for the story.
The first pasuram dictated to Madhurakavi by Nammazhwar, who accepts the latter as his guru, was ‘Uyar vara uyar nalam udaiyavan…’ set in Nattai. This was followed by a group dance for the same pasuram in Mallari. Here the speedy footwork caught the eye but called for more uniformity. Nrithya Jagannathan, senior student of the dance school, who entered the stage at this juncture as Parangusanayaki was easily the star of the evening. She gave life to the pasurams, sung with feeling by Girija Rangasamy and Indumathi, through her well-defined abinaya. This was particularly evident when she moved on to the verse, ‘Aadi Aadi Angam Karaindhu’ in Thodi when the nayaki looks out for the dark-hued Krishna. She showed a natural flair for nritta that was well woven into the lyrics.
Krishnakumari’s skills as choreographer came to the fore in the dialogue between Nritya and Divya (gypsy). The folkdance ‘Kundram Eri’ set in Senchuruti matched the sequence. Nritya’s abinaya to ‘Megangalo Uraieer’ (Ragam Manolayam) when she asks the clouds to convey her bhakti to Lord Krishna was a straight interpretation, word by word. She handled the sancharis well and so did Nandini, Poorna Pushkala, Poorani and Vaishnavi who accompanied her as friends. Lakshmi, handled the role as the nayaki’s mother with dignity.
The highlight was the portrayal of Dasavataram, on toes, as though Nritya was bringing out the Viswaroopam. “I decided to set it this way in accordance to the lines ‘Andam Mozha Ezha Mudi Padam Ezha’ that visualises the gigantic dimensions the Lord’s feet and crown take,” Krishnakumari.
The presentation featured 15 hymns and ended with a verse from ‘Tiruvaimozhi.’ The recital was ably supported by Mohanram on the mridangam, Srinivasan on the tabla and Natarajan on the flute.
Krishnakumari Narendran, dance teacher for 35 years, has so far presented 54 projects. ‘Parangusanayaki’ is her 52nd project. ‘Sri Venkatdri Vaibhavam’ has been staged 59 times so far. Scene settings are a specialty of her ballets.
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