Every year, between the months of August and September, the dance wing of Narada Gana Sabha, Natyarangam, presents its annual thematic dance festival. This festival has become a cornerstone event, renowned for bringing together eminent personalities, including accomplished musicians, seasoned dancers, and distinguished scholars, onto a single platform. The significance of this festival extends beyond mere entertainment; it offers young and talented dancers a unique opportunity to perform, conceptualize, and create full-length presentations focused on carefully chosen themes.
Each edition of the festival adopts a distinct theme, challenging the participants to explore and innovate within specific conceptual frameworks. This year’s theme, ‘Rithu Bharatham,’ centers on the six seasons, offering an expansive canvas for artistic expression. The theme inspired participants to delve into the multifaceted nature of each season, although adhering to the festival committee’s guidelines proved to be challenging. The dancers were required to incorporate a wide range of works, ranging from classical texts like Kalidasa’s literature to Sangam poetry, and from Ragamala paintings to traditional festivals. This comprehensive template, however well-intentioned, resulted in a somewhat repetitive pattern across the various performances.
The festival was inaugurated with a captivating performance by Rama Vaidyanathan, who presented ‘Vasantha Rithu’ (Spring). She segmented the Spring season into five parts: Saumya (season of Equanimity), Punaravarthana (Rejuvenation), Kama roopini (Love), Bahu Varnani (Multi-Hued), and Apeksha (Hope). The performance vividly illustrated the transition between night and day, effectively conveying the temporal cycles associated with the spring season.
Vaidyanathan employed an intricate soundscape, enhancing her visual storytelling with rhythmic melodies and a blend of swara passages. Significant moments included the depiction of seed scattering and the portrayal of various spring flowers, culminating in an homage to the lotus flower, synonymous with the goddess Saraswathi. A detailed exploration of the song ‘Saraswathi Namosthuthe,’ composed by G.N. Balaubramaniam in raga Saraswathi, further enriched the performance.
Another highlight featured Manmatha’s graceful entry and exit on his vahana, the Parrot, set against vivid imagery of cool breezes, swaying palms, vibrant birds, and peacocks. However, the extended descriptions of these natural elements occasionally disrupted the intended mood. The effective use of colors during the Holi festival and the portrayal of Vasantha Rithu as a newlywed were imaginatively rendered, contributing to the thematic richness of the presentation.
The innovative soundscape, masterfully crafted by S. Vasudevan, incorporated instruments such as the ghatam, kanjira, and sitar, alongside appropriate ragas that provided a dynamic auditory experience.
. Next in line was the depiction of ‘Grishma Rithu’ (Summer) by Apoorva Jayaraman. Draped in a waistcoat atop her costume, Jayaraman revisited the character of Manmatha using verses from Kalidasa’s Ritu Samharam to present Kamadeva. The wilting flora, tired vahana, and the spirit of lethargy inherent in the summer season were skillfully conveyed.
An evocative abhinaya sequence poignantly highlighted the issue of water scarcity. A mother quenching her child’s thirst with the scant water available, before embarking on a long journey to fetch more, added a profound emotional layer to the performance. Despite the myriad seasonal descriptions, the overall atmosphere and the feel of the summer season were sometimes overshadowed by narrative elements. The costume choices did not always reflect the seasonal themes effectively.
Rhythmic jathis, used to denote the blazing sun and fire, along with swaras depicting peacocks, were interesting, yet the recurring musical phrases reduced their impact over time. The focus of the festival then shifted to a theatrical mode with Vaibhav Arekar’s presentation of ‘Varsha — Harvest of Lost Dreams.’ Arekar’s performance, underscored by an imaginative soundscape and a talented musical ensemble, explored the rainy season (Varsha Rithu) through a compelling narrative.
The storyline followed a farmer’s connection with nature, portraying his anticipation and despair as the rains failed to arrive. The narrative effectively captured his disappointment and anger, culminating in a portrayal of his total surrender to the forces of nature. Arekar used graceful hand movements to convey intimacy, drawing analogies between the clouds and the Earth, and the bond between man and his beloved, thus enriching the theatrical experience.
Dance elements like Jathi korvais and adavus were deftly used to represent the sun’s energy and the monsoon’s intensity. Music compositions from Dikshitar, Sangam poetry, along with works by Kalidasa and Bharatiyar, were seamlessly woven into the performance.
While the monsoon typically evokes joy and anticipation, Arekar’s performance focused on themes of angst and fury, with only brief glimpses of joyous childhood memories. The use of Ragamala paintings as visual references was a commendable idea; however, the implementation sometimes fell short. For instance, Rama used projected images, Apoorva split the visuals into fabric panels, and Vaibhav used straightforward projections, each technique failing to fully honor the rich tradition of Ragamala paintings.
In conclusion, while Natyarangam’s Rithu Bharatham festival was a tapestry of creativity and cultural exploration, there were areas where greater sensitivity towards traditional art forms could have been exercised. Nonetheless, the festival succeeded in bringing the essence of the six seasons to life through the medium of dance.
