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Display of supreme devotion
Nagarajan as Usha...unassuming artistry.
``OUR DANCE and music are for propagating Bhakti and not for merely entertaining," said Sri Muralidhara Swamigal in his speech at the commencement of the Bhagavata Mela Nataka festival conducted by Bhagavata Mela Natya Vidya Sangam, led by Bharatam Mahalingam at Melattur recently. This was underlined by productions presented by Mahalingam and his troupe of artistes. Mahalingam, with great effort, has managed to restore play production after a raging fire burnt down the troupe's entire infrastructure two years ago. Overcoming several challenges the group organised this three-day event, which was inaugurated by its new chairman andart-patron, Nalli Kuppusami Chetti. Krishnaswamy Vandayar presided over the function. The orchestra consisted of veteran vocalists, Tiruchi Natarajan and Tirukkodikkaval Subrahmaniam, who sang soulfully. Thanjavur Srinivasan, vocalist, Harikatha exponent, and Sanskrit Pandit of the Saraswati Mahal Library, strengthened the renderings with his crystal clear pronunciation of the Sanskrit portions, while young Mayuram Venkatesh sincerely adhered to the musical score with his vibrant vocal support. Young Thanjavur Sateesh (Mridangam) revealed an understanding of the nuances of accompanying dance and played with grip. Andankoil Durai (Violin) added strength to the orchestra through masterly strokes. Raghavendran provided accompaniment on the flute. The highlight, however, was the way young Thanjavur V. Srinivasan, son of Telugu Pandit N. Viswanathan of Saraswati Mahal Library and disciple of T. H. Vinayakram, wielded the cymbals with good control and composure. He demonstrated his skill in handling the intricacies in the Bhagavata Mela dance tradition, thereby indicating a healthy continuation of this oral tradition. To Mahalingam goes the credit of roping in talented youngsters like Srinivasan, and a team of young and spirited dancers into the group. It was moving to see senior Telugu pandit, N. Visvanathan, appearing as Granthika or the reader of the text portions of the play on the first day of the festival. Mahalingam, apart from seniors like Gopalakrishnan, has a group of dedicated actors like Vinod (Mali's son), Nagarajan, Subramaniam, Gopi, Arvind, Anand and Deepak all of whom are young and energetic to carry on the mission forward. All of them have learnt Bharatanatyam and their talent has been honed byMahalingam. The technique of Mahalingam's group thus represents a very lively, simple, yet a strong Bhakti-bound version, reminding one of the ritualistic angle adopted by the ancestors. "Usha Parinayam," one of the well-known plays of Melattur Venkatarama Sastri, was presented on the inaugural day. The play commenced with the entries of Lord Ganesa and Katikamvadu (Kattiyakkaran) performed skilfully. Mali as Banasura stole the show, fitting into the role aptly. His footwork for elaborating on the lyric Sonitapura, involving Getthu and varied nadai patterns was enjoyable. Also the lively piece on the glories of Sivapuja, described in the company of his wife, Hemavati, was appealing. The role of Hemavati by Subramaniam, though brief, was very impressive. This ragamalika piece was rendered in such a way it enhanced the beauty of the presentation. Nagarajan, as Usha, displayed a leisurely, skilful and unassuming artistry, proving that he is the livewire of the group. His characterisation, enactment, especially his apt facial expressions, prompted one to admire the past veterans of this art for being careful to avoid overlapping with Nautch or Sadir Sampradaya in exploring the nuances of Nritta and abhinaya. Both in footwork and mime, Nagarajan demands the attention of the viewers, by being very subtle but effective. Excellent lyrical pieces were rendered beautifully by Nagarajan (Usha) and Gopi (Chitralekha). The latter is yet another bright talent. ``Prahlada Charita Nataka" of this group has certain choice compositions from the original like ``Sharanu Dayaa Muni Te," which relates in the words of young Prahlada, the greatness of Hari Bhajana. ``Enduku Palumaru" in Saranga (Samvada Daru) was yet another lively piece, well-presented by the characters of Leelavati (Nagarajan) and Prahlada (Anand). Mali as Hiranyakasipu revealed enormous inner strength and was a fine blend of valour, anger and a certain deep inner composure, adding dignity to the role. Nagarajan as Leelavati was again a picture of poise and grace dancing without inhibitions. Little Anand gave joy to the viewers with his deep concentration in dialogue delivery and dance depictions. Leelavati's portrayal of Chinni Baludu, evoking Hiranyakasipu's anger over Prahlada's intense devotion to Lord Hari was a very well-portrayed scene of deep emotions. However, the basic note of all the mimetic segments was more of a serene approach, on the lines of the Arayars of Srirangam, who convey the idea with deep inner feeling rather than external expression through facial nuances. The conclusion with Sthambha Stotra and the emergence of the Man-Lion God was similar in enactment without much drama. A note of Santha or sublime quality ruled over the emotions in Prahlada Charita, resembling, to some extent, the approach of Saliyamangalam. Mali had taken care to present costumes in a most fitting and appealing manner. Both costumes and the make-up were pleasing to the eye. However, clothes in a darker colour like red would have been better for the role of the ferocious Hiranyakasipu.
Anand as Prahlada...delightful depiction.
The last day's events included ``Shakuntalam," Marathi drama written by Raja Ekoji of Thanjavur, presented in the Bhagavatamela tradition. Improving the road from Tittai, which has a temple for Guru, among the Navagrahas, to Melattur is absolutely essential. Art lovers, who eagerly attend the Bhagavata Mela Nataka annual festivals at Melattur in large numbers will be much grateful .
NANDINI RAMANI
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