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Music Season
BRAHMA GANA SABHA
An evening of beauty
ANJANA RAJAN
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The varnam, presented in the devadasi tradition, was powerful in its simplicity.
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Photo: R. Ragu
Aesthetic: Nartaki Nataraj
Nartaki Nataraj’s Bharatanayam recital at Brahma Gana Sabha stood out for the genuineness of feeling behind every moment of storytelling. No matter how much we talk of Bharatanatyam today being a devotional art, it is only rarely that the inherent spirituality of the form, the mysticism of the scriptures as conveyed through mudras and music, becomes visible. To relate to the spiritual essence without allowing the dance technique to disintegrate into a mash of feelin
g is not easy. That Nartaki managed this feat is certainly a result of unwavering dedication and holistic practice.
Presented in pure Tamil, the programme, without the cosmetic veneer, was aesthetically designed. Even before the curtain went up, the melodious tones of vocalist Roshini Ganesh, backed by a mellow orchestra, set the mood.
Ambience was created by the use of a conch and a temple bell, which — unlike even the real version we often hear in temples while a concert is on — blended with the sruti.
Nartaki, who presented the entire programme in keeping with the devadasi tradition rather than the more refined repertoire set by the Thanjavur Quartet, began with a sollukattu, a warming up piece, in the raga Nagaswaravali. She then presented an Andal pasuram, “Nayakanaay ninra,” in which the gopis request the gatekeeper of Nandagopa’s palace to open the doors and allow them inside, saying the Lord has promised to hand them over a drum (parai).
At the opening of the door, depicting the figure of Mahavishnu in repose and the subsequent impassioned anjali posture of Andal, Nartaki seemed not to be performing but communing. The pasuram was chosen for its appropriateness on this particular day of Margazhi.
This feeling was carried through to the varnam, “Munnam Avarudaya Naamam Kettal,” in ragamalika, Adi tala, again presented according to the devadasi tradition. While jati sequences interspersed the lines, they did not jar with the mood of the piece, partly because in the nritta, there was no effort to show off the dexterity of the dancer. Devoid of swara passages, the song had less nritta overall. This helped the varnam convey the message of the lyrics, whose passion increases with every line, in an undisturbed manner. However, the credit for undiluted concentration goes to Nartaki. Establishing the situation, she showed a group of girls playing a game and attracted by a temple procession. The heroine, till now an innocent girl easily upset by her inability to gel with the games of her peers, loses her heart to the deity, Siva, and henceforth forgets everything else. With a spirited enactment of the procession, this is where the varnam began. The heroine was shown growing enraptured, hearing of his exploits, his epithets, asking questions and delving deeper into the mystery of Shiva who has captured her heart.
Among the enduring images created by Nartaki were the mesmerised heroine, mocked at by her friends, a worry to her distraught mother — who finally applies vibhuti all over her daughter’s body to wake her from her trance — as well as the awakening of the kundalini and the final namaskar, when the nayika realises the futility of the physical body.
The varnam was powerful in its simplicity. It had the effect of deep meditation.
A lullaby set to Arabhi and Chakravakam, in which the devadasi blesses a child who is not hers, was another unusual piece. Love pouring out of her eyes, delicately caring for and rocking the baby, the dancer held the hall spellbound. It was an evening of beauty distilled through tears.
The well balanced orchestra stood out for its softer moments, which in the age of over amplification are rare. Melody was all-pervading. Besides vocalist Roshini Ganesh, the credit for this goes to violin by Kalai Arasan and flute by Ramana.
By taking turns to play, the two instrumentalists not only gave each other opportunities but enhanced the soundscape.
Nattuvangam was aptly handled by Balakrishnan and mridangam by Nagai Narayanan, who never tried to overpower the proceedings with his rhythms. Extra percussions and other effects were provided by Parthasarathy.
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