A dance production with the man as protagonist  

‘Ashtanayakan’, a unique production, was based on eight poems that presented the male perspective 

March 10, 2022 06:50 pm | Updated March 13, 2022 01:54 pm IST

V.P. Dhananjayan as Senjina Vaanan.

V.P. Dhananjayan as Senjina Vaanan. | Photo Credit: Special Arrangement

‘Adhuvum solluval, yarukkagilum bhayama’ and many more padams like these portraying a nayika pining for love and the emotions of anger, jealousy, dejection, anticipation, are the staple of a classical dance repertoire. There are hardly any compositions that talk about the feelings of the nayaka.

A Janardhanan as Viraga Thuyar Naathan.

A Janardhanan as Viraga Thuyar Naathan. | Photo Credit: Special Arrangement

This thought rankled Nirmala Nagaraj when teaching the many male students in her dance class at Kalakshetra. She was keen to have padams that present the male perspective. Nirmala Nagaraj, who has been writing poems from her student days, chose a few poems from her collection and conceived ‘Ashthanayakan’, a performance that featured eight male dancers that was held at Kalakshetra.

Hari Padman as Vazhi Paarthidum Maaran.

Hari Padman as Vazhi Paarthidum Maaran. | Photo Credit: Special Arrangement

“I composed a padam, ‘Magizh Maaran’, in 2016. It showed the reaction of a man to a swadeenapatika (one who experiences the pleasure of love) nayika. The positive response of senior gurus and my contemporaries and students to this song, encouraged me to compose a few more,” says Nirmala Nagarajan, who attributes the idea also to her Phd on Sangam literature, which has songs on men.

Kali Veerapathiran as Magizh Maaran.

Kali Veerapathiran as Magizh Maaran. | Photo Credit: Special Arrangement

Young and talented musician, Abhilash Venkitachalam, has composed the music for the padams chosen for ‘Ashtanayakan’.

'Vazhi meedu vizhi vaittu kattruppen' says the hero, Haripadman, in his teens, who is awaiting the arrival of his beloved. The dancer explores the simple joys of holding her hands and playing with her. The scene that shows him feeling embarrased when he encounters a group of giggling friends stood out for the way Haripadman shrinks his broad shoulder.

‘She stole my heart and left me pining for her’ is the essence of the composition, ‘Viraha thuyar naathan’. A. Janardhanan’s delineation of shringaram laced with the ‘vedanai’ of separation was a dignified and masterly portrayal. Happy memories and the pathos of separation with imageries of a bright moon, cool breeze and Manmatha’s arrows come alive in a poetic manner, aided by the use of Abheri raga. The veteran dancer conveyed the emotions through his body language and facial expressions.

P T Narendran as Vanjina Maraimuga Vaanan.

P T Narendran as Vanjina Maraimuga Vaanan. | Photo Credit: Special Arrangement

Vasantha was the raga chosen to express the anger felt by ‘Vanchina maraimuga vaanan’ danced by P.T. Narendra. Born out of experiencing deceit in love, the dancer portrayed the feeling sensitively. He used many suitable sancharis.

V.P. Dhananjayan was the hero of ‘Senjina vaanan’ set to raga Mohanam. His expressive eyes conveyed the intense love that he feels for the nayika that turns into anger when he reads the letter sent by her. ‘Podum aval poi mozhigal’, he says, remembering the moments of their intimacy. The detailed depiction of the beautiful tresses that he held, combed and braided was a masterclass in abhinaya.

Sheejith Krishna as Kalaga Thuyar Naathan.

Sheejith Krishna as Kalaga Thuyar Naathan. | Photo Credit: Special Arrangement

In ‘Kalaga thuyar naathan’, Sheejith Krishna is remorseful after venting his anger. He seeks forgiveness and wants to be free of negative emotions. His abhinaya beautifully blended with the strains of Charukesi raga. The breaking of a glass in anger and then piecing it together, perfectly conveyed the nayaka’s state of mind.

Shijith Nambiar as Porumai Izhanthuyal Naathan.

Shijith Nambiar as Porumai Izhanthuyal Naathan. | Photo Credit: Special Arrangement

The anxiety experienced while waiting for the nayika was what Shijith Nambiar expressed as ‘Porumai iyanthuyal naathan’. Using sancharis of bee and flower and body and breath, he speaks of being inseparable in love. The thought was conveyed through swaras of raga Kalyanavasantham.

G. Narendra as ‘Agam kalaindhaalan.

G. Narendra as ‘Agam kalaindhaalan. | Photo Credit: Special Arrangement

There is no place for dishonesty and ego in a relationship. G. Narendra as ‘Agam kalaindhaalan’ made this very clear. The dancer amazingly transforms from a man, who stands in front of a mirror and takes pride in the way he looks, to one who yearns for a warm embrace from his beloved.

The portrayal of varied emotions has to culminate in the blissful union, where two bodies embody one soul. He is ‘Maghizh maaran’. The hero weilds the sword and his eyes are as bright as the sun, but when he meets his beloved becomes calm and as gentle as the veena. The shy heroine is like the moon that hides behind the clouds. Young Kali Veerapathiran conveyed this joy through his dance.

Abhilash Venkitachalam, grandson of musician and musicologist T.K. Govinda Rao, set the compositions to tune. “I used ragas that suited the emotions in each poem. Though the choice of Mohanam, a soothing raga, to convey anger was unusual. I had discussions with each artiste after they choreographed the poems to accomodate their ideas and make suitable changes in the music. It was an extremely satisfying exercise.”

Linking the theme together were young artistes, Rajkamal and Gopika Raj Pillai, who played well the role of sutradhaars.

The show anchored by Aparna had nattuvangam, was by Jyolsana Menon. The musical team consisted of Deepu Nair on vocal support, Shashidar on the flute, Anantha Narayanan on the veena, Jagdeesh Janardhanan on the mridangam and Krishnendu on the tambura.

The Chennai-based writer reviews classical dance.

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