Rithu Bharatam — the 26th edition of Natyarangam’s annual dance festival — celebrated the beauty of nature through dance. The six-day festival, held recently, showcased an array of established and young dancers who delved into the six Indian seasons, weaving together elements from Kalidasa’s “Rithu Samharam,” Sangam literature, and Ragamala paintings to create a rich tapestry of art and culture.
The themes and concepts provided by the esteemed resource persons — Dr. Sudha Seshayyan, R.K. Shriram Kumar, Monali Bala, and S. Raghuraman — were profoundly intricate, presenting a formidable challenge for the dancers. Despite the complexity, each performer delivered their part with commendable skill.
On the fourth day of the festival, the spotlight was on ‘Sharad Rithu’ — signifying the autumn season — presented by Ramya Suresh, a senior disciple and daughter-in-law of the renowned guru Indira Kadambi. Ramya’s performance was a brilliant exhibition that highlighted the angika (expression through body movements) and Aharya abhinayas (expression through costume and makeup). Her attire meticulously mirrored the autumn season. A light, flowing, colorful skirt and a handmade garland adorned her neck, effectively portraying the changing colors of autumn.
The ambiance was enhanced by Surya Rao’s exceptional lighting, which added to the visual grandeur of the performance. The orchestra team, comprising of T.V. Ramprasad (vocals), Sri Vinay Nagarajan (mridangam), Pranav Dath (rhythm pads), Vivek Krishna (flute), Rakshita Ramesh (veena), and Apeksha Kamath (narration), along with Shubha Dhar providing vocal support, delivered a seamless fusion of Carnatic raga, tanam, Hindustani tarana, and a Bengali touch.
Ramya’s portrayal convincingly depicted the profound love between a fallen leaf and the earth, illustrating the passage of time. Her fluid and evenly-paced movements transformed her lithe frame into swaying leaves, intertwining with the branches of a tree. Concept, script, and choreography were infused with a metaphysical bent, creating evocative imagery reminiscent of Ragamala paintings.
The symbolism of Sharad Rithu featured shades of the Christian allegory ‘The Pilgrim’s Progress,’ serving as a profound reminder to humankind to shed superficial layers and seek deeper introspection and liberation. Ramya concluded her performance with a tribute to Devi through a vibrant traditional Navratri dance, carried out during the Durga Puja celebrations.
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As John Keats’ famous line “When winter comes, can spring be far behind?” suggests, the next day, ‘Hemanth Rithu’ — portraying the pre-winter season — took center stage with Uma Satyanarayanan’s thematic presentation. A senior disciple of guru Chitra Visweswaran, Uma showcased the nuances of her extensive training through graceful glides, light-footed leaps, and the swift transitions within Angikabhinaya (expressions through body language).
Uma’s portrayal of natural seasonal changes countered the erratic weather patterns experienced in contemporary times. Her depiction of ‘Hemanth Rithu’ brought forth the long-forgotten splendor associated with pre-winter — a season of renewal and hope. From Dakshinayan (winter solstice) to Uttarayan (summer solstice), Uma’s performance sketched a diversity of festivals through mythology, Sangam poetry, and Ragamala references.
In particular, Uma’s skill in puppetry received spontaneous applause, highlighting her unparalleled ability to execute puppetry movements to rhythmic support. Her mukhabhinaya (facial expressions) had its moments, though a greater range of facial mobility was desired to fully express the lyrical content.
The climax of Uma’s performance was the portrayal of the nayika’s (heroine’s) anguish and longing for her beloved, effectively communicated. Her vocal rendition and depiction of the bandish (musical composition) in Maru Bihag left a spellbinding impression on the audience. A gentle reminder to the vocalist Janani Hamsini and Sai Santhanam (nattuvangam) to be mindful of vocal output during performances was noted. Uma concluded with Raag Surya, heralding the dawn of new beginnings as the Sun God majestically moved in the Uttarayan direction.
The festival continued its exploration of seasonal beauty with ‘Sisiram’ — the late winter season — presented by Indu and Nidheeshkumar. This season, a prelude to blossoming, took on a philosophical dimension, masterfully portrayed by the enthusiastic dance duo. Their performance was layered with abstract concepts, bringing together sensitive segments using the dance idiom.
The orchestra, featuring S. Adithyanarayanan on vocals and supporting musicians on instruments including mridangam, flute, violin, and veena, provided a seamless musical foundation. Indu and Nidheesh’s portrayal was remarkable, with varied yatis (rhythmic patterns) mirroring the four stages of life — Srotovaha (infancy), Mridanga (childhood), Sama (youth), Damaru (old age), and Gopuchcha (infinity).
Indu portrayed a pregnant heroine, isolated in her thoughts, with powerful guidance from the symbolic tree. Finally, she depicted Goddess Kali, destroying aspects of the manifested form such as desire and ego, before returning to a state of peace and oneness.
Indu and Nidheesh, founder directors of the Indisha Trust, received accolades for their dedication and exceptional presentation of ‘Sisiram – A prelude to blossoming,’ which left the audience in deep reflection and appreciation for the timeless rhythms of nature.
