The Kuravanji is an old literary form in Tamil literature that integrates classical and folk elements of music, dance and drama. ‘Tiruchengottu Ardhanareeswarar Kuravanji,’ credited to be written by Poonkothai, was presented by the Parasaha group at Rukmini Arangham, Kalakshetra, and featured accomplished dancers such as Roja Kannan, Priya Murle, Srikkanth and Aswathy Srikkanth.
It was an effervescent presentation of the familiar story of the kuravanji. Like most kuravanjis, this one too revolved round the story of a beautiful princess who falls in love with Divinity when he is taken on a holy procession; how she is assured of a union by the kurathi forms the rest of the story. ‘Tirunchengottu…’ had plenty of affirmatives going for it: the expertise of the dancers, the mellow music set by S. Rajeswari, quick progression of the story and a good dose of humour. The experience of the older dancers in the main roles ensured that due weightage was given to sthayi bhava in the performance. This along with the svelte looks of the other dancers not only pleased the eye but added to the note of authenticity to the kuravanji.
A spiritual basis for the storyline was established right from the Mallari performed by the younger dancers against the backdrop of temple walls.The patrapravesham that ensued revealed how the princess Mohanangi falls in love with Lord Ardhanareeswarar of Tiruchengottu (near Salem) when he is taken on a holy procession. Although the dancing was totally enjoyable here, one did have some anxious moments watching out for the wobbly idol of Ardhanareeswarar on the palanquin!
Priya Murle’s mature viewpoint as the Princess Mohanangi could be seen in her handling of the pining heroine who shuns the breeze, the moon and similar pleasantries; she lent dignity to the role. Aswathy Srikkanth as the friend who is concerned about the heartache of the princess, was a chirpy delineation both in pure dance and emoting. The role of the kurathi essayed by Roja Kannan, had both the psychic undercurrents as well as the earthy humour of the betel-chewing woman.
A large part of the attraction of the dance drama lay in the style of choreography which kept the happenings moving along briskly. The mix of the cheeky exchanges between the kurathi and the sakhi and the deeper perception of the soul seeking union with the Lord, was a buoyant one.
Other facets to the show were the flow of many ragas such as Hindolam and Kharaharapriya, and the change of beats that moved with the word play, especially noticeable in the dialogue between the princess and the kurathi. Wrapping up the soothsaying was the rustic depiction of the Kuravan by Srikkanth. As a tipsy husband questioning his wife’s whereabouts and later beating a hasty retreat, humour was clearly the strong note with the motto being ‘all’s well that ends well.’
Vocal music by Nandini Anand and nattuvangam by Sasirekha Balasubhramaniam augmented the dancing.
