Dance and Chidambaram are an inseparable concept. The idea of a dancing god is unique in the various cultures and religions of the world. As a grand kumbabishekam takes place at the Nataraja temple, one recalls the unforgettable instances of dancing at what is considered the very centre of the Universe.
The dance of Nataraja representing the cosmic cycle of eternity finds earthly significance at the temple of Chidambaram.
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On an ordinary evening, I danced a Devagandhari composition, singing the song as I danced in front of the sanctum. Quite spontaneously, a small group of devotees gathered there moved to create a space for me and watched silently as I made my offering. No applause followed this small performance. But I felt a sense of fulfilment, as if the Lord of the Dance had smiled in approval.
There is an inexplicable magic in the air in this temple as the evening rituals are heralded by the sound of bells. Dancing in such a setting is an unforgettable experience.
Of course, dancing during the Sivarathri festival (Natyanjali) is another instance of joyous sharing of the dance of Siva with rasikas. The enthusiasm of the artists and the response of the audiences come together to create a festival both unique and vibrant. Dancers from all over India and abroad have cherished their participation in this festival.
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The Renaissance of dance in the 20 century is blessed with intensity by the cult of Nataraja. I recall in the early years, on every stage where Bharatanatyam was performed, a Nataraja statue would be displayed prominently. The performance commenced only after the ritual of lighting a lamp to the deity. This, in a way, enhanced the reputation of dance itself which was struggling for survival at that time.
The repertoire of Bharatanatyam has undergone many changes since the days when it was known as ‘Sadir’. The influence of music on dance in the past 100 years has also been responsible for the growth of the art.
The famous Gopalakrishna Bharathi song ‘Natanam Adinar’ in Vasantha is a specific composition in praise of Thillai or Chidambaram. In simple Tamil, it speaks of the dance of Nataraja in the Kanaka Sabha. It also pays tribute to the two saints, Patanjali and Vyagrapada (“ Maa Munikkarul Seydapadi Thavaramaal Thillai padhiyil vandhu ”), who had the vision of Nataraja’s Ananda Tandava in Thillai.
My Guru Kanjeevaram Ellappa had composed a beautiful jathi korvai as an opening to ‘Natanam Adinar’. It was indeed special to perform this dance in the thousand pillared Mandapam during the very first Natyanjali held in Chidambaram. Just as I began the charanam, “Ashta disaiyum gidugidanga Seshan thalai nadunga” (the eight directions of the universe reverberating, with the snake’s head trembling), the Chidambaram skies saw lightening and thunder! A coincidence indeed!
An interesting fact about this song has been pointed out by musicologist B.M. Sundaram. Apparently, Gopalakrishna Bharathi was a good friend of Suryamurthy Nattuvanar, who was the father of the legendary Pandanallur Meenakshisundaram Pillai. They used to meet in Mayavaram frequently and enjoyed discussing the nuances of music. Suryamurthy is said to have composed the music for ‘Natanam Adinar’. Is it any wonder that it has stood the test of time in Bharatanatyam performances!
Many Tamil hymns by the Saivite saints praising Thillai and Nataraja are part of dance repertoire. A favourite which I include often is Papavinasa Mudaliar's Nindastuti Padam in Khambodi that is addressed to Thillai Nataraja.
The Chidambaram temple became a special source of inspiration when I choreographed ‘Nandanar Charitram’ as a solo in the 1980s. Standing at the very mandapam where Sekkizhar chronicled Nandan’s short life in his magnum opus, ‘Peria Puranam’, I was spellbound by the historicity and sanctity of the place. Sekkizhar refers to him as “Thiru Nalaipovar” emphasising Nandanar’s constant hope and yearning to go to Thillai to get a glimpse of the Lord.
On a visit to Chidambaram for the Arudra Darsanam festival, it was moving to witness the image of ‘Bhakta’ Nandanar being taken in a procession on the four streets surrounding the temple with full honours.
After this darshan, dancing the pithy verses penned by Gopalakrishna Bharathi: “Thiruvadirayil Darisanam Kana Thedi thiriyaro ” became more soul-stirring. To enact Nandanar and his life in Bharatanatyam, the power of melody mingling with the simple words of the poet were crucial. To perform excerpts of this masterpiece in Chidambaram was indeed special.
An added privilege was to perform Nandanar Charitram in the agraharam of Anandatandavapuram, to celebrate the poet’s jayanthi. This is the village where Gopalakrishna Bharathi spent years writing his songs in praise of Siva.
Today, several temples conduct dance festivals. Yet, Chidambaram is unique both mythologically and for its mystic power. Here dance has many dimensions, and dancers are blessed to be the humble shadows of the King of Dance, and his Ananda Tandavam.