‘Guru aradhana,’ a dance offering by the family and disciples of Sri Rajarajeswari Bharatanatya Kala Mandir was held at the Veer Savarkar Auditorium, Shivaji Park, Mumbai. The event marked the 73rd year of the institution that brought pristine Bharatanatyam from Tiruvidaimarudhur to Mumbai.
Chants of Rudram, collage of the Big Temple, archived images of Panchapakesa nattuvanar, author of Abhinaya Navaneetam , Kuppiah Pillai, the first natyacharya to get Sangeet Natak Akademi award, the scholarship of other members of the lineage were projected in the backdrop with narration by Sivakami.
The progeny of Kuppiah Pillai, Guru Govindraj Pillai, Karunambal and T.K. Mahalingam Pillai, institutionalised the guru-sishya module overcoming the location and language barriers.
Post this, Preeti Warrier anchored the dance event that proved the power of numbers. Credit goes to the backstage management by Mythili Kalyanasundaram and team for ensuring the neat aharya and logistics of entry and exit.
Young dancers in colourful costumes presented a Slokam in Bhoopalam that propitiated the guru as Brahma Vishnu Siva. Moving to the simple geetham, ‘Sree Gana Natha’ in Malahari, the power of numbers was again evidenced. Swarajathi in Khamas was an example of group coordination with dancers entering and exiting from two sides of the stage space in perfect synchronisation, a hallmark of Rajarajeswari’s training. The silhouette poses in the end sequences received applause.
The simple lyrics of ‘Shankari Shankuru’ in Saveri, Adi Tisra Nadai, sung with involvement by Vidya Harikrishna, highlighted the attributes of Parvati as Akhilandeswari. Three rows of young dancers contributed to a closing pose — one row almost seated, one in half sitting and the third in standing, which was an illustration of perfect body language.
‘Yadava Kula Tilakam’ a varnam in Sriragam, Adi talam, incorporated stories of Krishna stealing butter, vanquishing Kalinga and the impoverished Sudhama. The extended raas was rhythmic and musical. The senior dancers shared the swaras, jatis and abhinaya segments with equal élan and seamless expertise. ‘Kutrala Kuravanji’ had Vasantavalli and friends playing with a ball of flowers. The quick tempo, swarams and lyrics of ‘Pandadinare’ were interesting. Shruti Natanakumar as Vasantavalli was a picture of agility and grace.
Sequence from Krishna Karnamritham, was presented with poise and precision by Bharathi Murthy, granddaughter of Guru Mahalingam Pillai. The majesty of Nataraja was brought out in ‘Kalai thooki’ in Bhagesri presented by senior dancers. Thillana with cross rhythms and complex formations, was a sample of the choreographic genius of Guru Kalyanasundaram.
The recital concluded with Tiruppugazh, ‘Yeru mayil’ that had capsuled story segments of the six abodes and graphic poses. Gurus Kalyanasundaram, Vasantkumar and Harikrishna took turns in the nattuvangam. Vidya Harikrishna added melody to the rhythm with her dulcet voice.
Rajesh Srinivasan on the mridangam, R.C. Sekar on the ghatam, Narayanan on the violin and Kumar Krishnan on the flute made up for a lively orchestra.
Johny Joseph, Chief Guest of the evening said that he was transported to another world. “Patronised earlier by the Thanjavur kings, the family came here to conquer Mumbai. The influence of masterji is seen all over the world, my daughter was also groomed here. They are masterji and mami for all.”
Sunil Kothari, dance historian and critic, spoke about learning his first margam under masterji, strict disciplinarian but a loving guru. Both guru and sishya at 80 plus, the disciple prostrated fully on stage to pay respect to his guru.
“True work of an art is but a shadow of divine perfection” was his statement.
