Rotary Club of Coimbatore Metropolis along with HR & CE organised the seventeenth Natyanjali at Perur temple.
On the first day, Roja Kannan , disciple of Adayar Lakshmanan and Kalanidhi Narayanan, presented ‘Thiruvarutpa’ in margam style, selecting appropriate songs from the compositions of Ramalinga Adigalar. The varnam on Thiruvottriyur Thyagarajar, ‘Otriyooranaippatri,’ included the sensitive portrayal of Kalia Nayanar’s extreme devotion to Siva. When he could not buy oil, he had cut his neck and used his blood to burn the lamps at the temple.
The Kuchipudi presentation, ‘Sivoham’ by Sathyapriya Ramana and group of Narthanasala, Chennai, was brisk and energetic. ‘Gangavataranam,’ the descent of Ganga from heaven at the request of Bagiratha, was admirably presented. The magnificent lyrics, the impressive music and the involved presentation made it an experience worth remembering. The flowing movements of Ganga, the magnificent dance of Siva and the desperate yearning of
Bhagiratha told a gripping tale and were a feast to the eyes.
Lavanya Sankar ’s Abhyasa Academy of Classical Dance presented ‘Patteeswararudan Oru Naal,’ depicting the role of women in the daily worship of Patteeswarar at Perur. The ‘Daksha Yagna’ episode was lengthy but impressive. ‘Porchunnam Idithal,’ ‘Thiruppoovalli’ and ‘Swami Purappadu’ were visual treats. The pleasing and powerful orchestra added to the experience.
A disciple of Arunachalam Pillai and the Dhananjayans, Sreelatha Vinod (Anatara, Chennai) presented Bharatanatyam along with her students. ‘Shanmuga Sabdam’ had wonderful potential for abhinaya and the dancers used it to their advantage. The enjoyable varnam in Ranjani by Madurai Murali, ‘Omkaara Naadhamaya Roopini’ was
perfect with precise sancharis. The subtlety and grace of the dancers came to the fore in the Nindha sthuti - Edhukkithanai Modi Thaan Umakku.’
Nimble footwork
The Odissi performance by Pt. Gangadhar Pradhan’s Orissa Dance Academy from Bhubaneswar was full of bhava, brisk movements and nimble footwork. ‘Konarak-kanthi,’ was a vigorous piece with rhythmic variations and statuesque postures depicting the various sculptures in the temple of Konarak. ‘Navarasam,’ the sloka portraying the nine emotions, was a thing of beauty with Ramesh Chandra Jena as Rama and Madhusmitha Mohanty as Sita.
While each rasa was depicted beautifully, Karunarasa (Jatayu’s fighting with Ravana, and Rama’s sorrow over his suffering and death) stood out in its intensity.
Mathula Kishore Kumar ’s ‘Bharatha Naadam’ presented ‘Panchamurthi Nadanam’ on the five major deities – Ganesha, Murugan, Krishna, Shakthi and Siva. The choice of songs and the interesting choreography bore witness to the research done and involvement of the artists. Bhavani Kishore Kumar’s emotional rendering of the songs and the efficient orchestra lifted up the performance. A worthy disciple of her mother and guru Amutha
Dhandapani, Mathula shows great promise.
During the earlier slots, students of Saraswathi Kalalaya (guru-Murali, a senior disciple of Amutha Dhandapani) and Girianjali Nattiappalli (guru-Jaladeepa) performed with enthusiasm and involvement, supported by a pleasing orchestra.
