Every year, as August fades into September, Natyarangam, the dance wing of Narada Gana Sabha, hosts its much-anticipated annual thematic dance festival. This prestigious event serves as a unique convergence point for eminent musicians, dancers, and scholars. It offers a refreshing platform where young and talented dancers can showcase their art, gain exposure, and delve deeply into the chosen theme to create a full-length presentation.
In a significant tradition, each edition of the festival embraces a different theme, presenting a golden opportunity for the dancers to adapt and express their creativity. This year’s theme, titled ‘Rithu Bharatham’, features an exploration of the six traditional Indian seasons, thus sparking the imagination of participating artists. While the festival committee provided an extensive guideline that included sources ranging from the classical works of Kalidasa to Sangam literature, and from Ragamala paintings to various festivals, these requirements posed a challenge for the dancers to capture the essence of each season fully. The result was a somewhat repetitive pattern in the performances due to the rigid template that was set out.
The festival kicked off with Rama Vaidyanathan’s performance on ‘Vasantha Rithu’ (Spring). Rama organized her piece into five nuanced segments that began with Saumya (season of Equanimity) and concluded with Apeksha (hope). Her innovative approach to portraying night and day effectively captured the cyclical nature of time associated with the season. She employed a compelling soundscape to elevate her visual storytelling — this included rhythmic melodies mimicking the scattering of seeds, swara passages to represent the blooming of flowers, and music highlighting the lotus flower upon which goddess Saraswathi stands. This intricate buildup culminated in an evocative performance of the song ‘Saraswathi namosthuthe’ by G.N. Balasubramaniam in raga Saraswathi.
The portrayal of Kamadeva, god of love, on his vahana, a parrot, was a graceful entry and exit of a scene that depicted the natural beauty of spring. Although the vivid description of serene breezes, fluttering birds, and vibrant landscapes was slightly overstretched, the performance captured various cultural elements such as the raas dance, the use of colors during the Holi festival, and the traditional portrayal of Vasantha Ritu as a newlywed season. S. Vasudevan’s thoughtful soundscape, bolstered by instruments like the ghatam, kanjira, and sitar combined with suitable ragas, further enhanced the experience.
Transitioning from the gentle allure of Spring, it was time for Apoorva Jayaraman’s depiction of ‘Grishma Rithu’ (Summer).
. Draped in thematic costume, Apoorva chose verses from Kalidasa’s Ritu Samharam to bring Kamadeva back into the spotlight. Her portrayal of the lethargy and exhaustion inherent in the season was inspired, using symbolic imagery such as the drooping sugarcane bow, the wilting floral arrows, and the tired parrot. A particularly poignant moment was the abhinaya sequence illustrating a mother quenching her child’s thirst with the last drop of water she had before embarking on a long journey for more.
Although the season’s broader narrative was rich with content, certain elements such as the colors and atmosphere seemed overshadowed. The repeated use of identical musical cues did not aid in evoking the full scope of summer’s characteristics. Despite its challenges, Apoorva’s portrayal added depth through rhythmic jathis to represent the flaming sun and swaras depicting a peacock’s call.
Next came Vaibhav Arekar’s presentation of ‘Varsha — Harvest of Lost Dreams,’ focusing on the rainy season. With an ensemble of black-clad musicians providing a somber backdrop, Vaibhav’s portrayal depicted a farmer’s deep connection with nature and his emotional journey. The narrative explored his hopes as he prepared the land for rain, followed by despair when the rains failed to come, embodying the turmoil with intensity and concluding with his humble surrender to nature.
The most striking scene featured a solitary figure lying under a spotlight, arms rising slowly with fluid, graceful movements, exuding a profound sense of intimacy and introspection. Vaibhav masterfully drew parallels between the bond of clouds and the earth to a man’s connection with his beloved, making for an impactful interpretation of the monsoon. Incorporating elements such as jathi korvais and adavus, the performance combined traditional dance techniques with evocative storytelling. Works from Dikshitar’s ‘Anandamrithakarshini,’ Sangam poetry, and the literary giants Kalidasa and Bharatiyar were seamlessly integrated into the musical expression.
While the monsoon often heralds joy and excitement, Vaibhav’s rendition predominantly showcased the underlying angst and anguish of the season, drawing from childhood memories and evoking profound emotions. Although Ragamala paintings served as an inspirational source, their utilization in this festival could have been more sensitively handled. Rama’s projected image, Apoorva’s partitioned fabric panels, and Vaibhav’s straightforward projection could have embraced the paintings’ essence with better finesse.
Thus, Natyarangam’s ‘Rithu Bharatham’ successfully blended dance, music, and literature, albeit with areas for artistic refinement. Each season was given life through classical dance, offering both performers and audiences a unique cultural journey through Bharatanatyam’s rich textures and evocative expressions. This festival continues to be a tribute to India’s diverse cultural heritage, encapsulated through the timeless art of dance.
