In a scenario where artistes have to contend with sparse attendance for dance programmes, what draws art-loving audiences across age groups and tastes to return repeatedly to watch the same dance-dramas in the aesthetic ambience of Kalakshetra? This, when each of them lasts two-and-a-half hours.?
The holistic vision of a woman that inspired a brilliant team of artistes and scholars who created something that would have popular appeal while maintaining aesthetics in presentation.
The dancers and musicians have changed over the years, but the productions, especially the Ramayana series, continues to hold sway.
Prof.Janardhanan, who has been a vital part of these productions, has played a major role in their revival by training a new generation of artistes.
Every year, a festival is held in February to commemorate the birthday of the visionary Rukmini Devi Arundale, the founder of Kalakshetra.
Kailasanathan as Kannappar.
Two episodes of the Ramayana – ‘Paduka Pattabishekam’ and ‘Sabari Moksham’ – were featured this year, along with ‘Kannapar Kuravanji’, a captivating presentation. The storyline was simple. Kurava prince Thinnappar is sent on a mission to protect his people from the attacks of wild boars. Reaching the valley, he is drawn to the sound of the temple bells from Kailayagiri mountain. Going up the hill, he is besotted by the Shivalinga he sees, and surrenders himself to the lord. The priest is not convinced, and to make everyone realise the depth of Thinnappar’s devotion, Shiva tests him. The eyes of the linga start bleeding, and Thinnappar offers his eyes. Shiva appears in front of him and blesses him. This devotion saw Thinnappar being celebrated as Kannappar.
Rukmini Devi conceptualised this popular story as a dance presentation, blending classical and folk elements.
| Photo Credit:
Courtesy: Kalakshetra Foundation
Rukmini Devi conceptualised this popular story as a dance presentation, blending classical and folk elements. It was premiered in 1962, with music by Papanasam Sivan. During its latest show, it was still delightful, and sustained interest. From the character introduction, every scene was packed with detail. The choreographic shifts in the group for the Malayala Bhagavati puja sequence, the demonstration of handling varied armaments for hunting, a touch of humour in the hunting scenes, and Kannappar’s ritual of offering meat and carrying water in his mouth for the abishekam, were all done with finesse.
The impact of the story depends on the dancer playing the main role, and Kailasanathan immersed himself into the role, bringing out varied facets and emotions of Kannapar commendably. Jayakrishnan supported him in equal measure, playing the role of Naanan, his friend. The choreographic pattern of each scene, colour of the costumes and detailing of ornamentation were an aesthetic fit.
Kailasanathan brought out the varied facets and emtions of the devotee in his performance.
| Photo Credit:
Courtesy: Kalakshetra Foundation
It was a rich tapestry of music where classical ragas such as Kamboji, Kalyani, Saveri and Surutti were used so beautifully that one didn’t realise where the folk and classical streams blended.
The singular use of the flute, violin and percussion instruments in certain places added great impact.
The musical ensemble needs to be lauded for the manner in which they brought to life Papanasam Sivan’s score. The ease with which singer Hariprasad moved from one phrase to another, evoking the necessary bhava, was exemplary. Sasidhar’s fine nuances on the flute and MV Srinivas’ violin embellished the flow. Mridangam by Srikanth Pai and Maddalam by Karthik Balaji were impactful. Lokesh Raj conducted the recital.
Published – March 19, 2025 03:50 pm IST
Friday Review
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bharatanatyam
