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Rain enhances the dramatic impact
Yasoda with beloved Krishna.
AN OPEN-AIR amphitheatre surrounded by rocky hills and casuarina trees, 110km from Chennai in the temple town of Sholinghur. In this idyllic setting, at the Vidya Peetam School, Revathi Ramachandran and her group of students made a thematic presentation on Krishna called ``Aayar Kula Tilakam'' based on the Azhwars' 16th century work, the Divya Prabandham. Sometimes one wonders if there is enough relevance for art, or is it just a showpiece for a cultural race? That one evening was enough to prove the sceptics wrong. It started raining just as the programme got under way; there were more than 200 spectators including women and children, there were 10 dancers and a number of technicians. None moved from their places. For the next hour and a half, unmindful of their drenched state, they remained where they were. What a show of solidarity and appreciation! Nothing could come between the artiste and his audience.
The sounds of the ankle bells wafted clear through the pure evening air, and the music touched the soul. It was truly a moving experience. As the raindrops pooled on the concrete, circular dais, the alta on the dancers' feet started fading, and every beat of the dancers feet generated little splashes. The colourful reflection of the dancers in the water on stage added to the dramatic impact. Those who witnessed this spectacle were the fortunate few. The presentation traced the life of Krishna from His birth, through childhood and youth, until His marriage to Andal.
The first part of the Divya Prabandam formed the gist of the presentation. The occasional visions of Lord Vishnu were striking and well thought out. The pre-recorded music was composed by S. Rajeshwari, and sung by Nandini Anand, with nattuvangam by Revathi. She ably donned many roles necessitating swift costume changes. She was first a devotee, then Yashoda, the foster mother of Krishna, the beloved Radha and finally the devoted Andal. There were nine students with her in supporting roles. Her daughter, nine year old Manasvini Ramachandran, who came in as the younger Krishna, in the verses Varuga varuga set in raga Mohanam, impressed with her confidence. ``Thaye Yasoda,'' a beautiful padam in Thodi ragam where the gopis complain to Yasoda about Krishna's antics was tuneful. ``Ododi vandein Kanna'' in Dharmavathi raga by Ambujam Krishna was another aural treat where Radha is seeking her soul mate Krishna.
A raas-leela between the gopis and an adult Krishna was in the form of a tillana composed by S. Rajeshwari in Amritavarshini raga, Adi tala. Richly dressed in brocade half-sari costumes, the dancers were full of vigour.
The final piece was the story of Andal, with her dream in ``Kanaa kandein thozhi'' set in ragamalika. The poignant marriage scene had verses beginning with ``Varanamayiram.'' The vision of Lord Ranganatha resplendent on the serpent, Ananta-Sesha, left the viewers in total admiration. The presentation ended as it began, with the first verses of the Divya Prabandham, ``Pallandu, pallandu.'' There were times when more depth could have been added to the abhinaya, but under the circumstances, splitting hairs seems ungracious. A memorable occasion should override such matters.
RUPA SRIKANTH
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