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Narthaki Review of Musical Temples and Dancing Sculptures
I walk into the east gopuram of the Chidambaram temple and am welcomed by the 108 karanas on the panels of the gopuram. I walk past admiring the beauty as my eyes catch the statue of Shiva with Pathanjali and Vyagrapada. As if this wonder was not enough, I see the Shivaganga with crystal clear water. Is it a dream?? I shake myself and realize that this was the visual imagery brought on by Dr. Chitra Madhavan's eloquent and lucid narrative of the Chidambaram temple. Varied mythological, historical and architectural facts were brought to light by Dr. Madhavan's exquisite lecture.
Ramya Ramnarayan
Following this was a performance by Ramya Ramnarayan who was also the curator of this series 'Musical Temples and Dancing Sculptures.' A lot can be said about Ramya's training and experience. Having trained under illustrious gurus, her technique had angashudha and clean lines. The intelligent choreography for the Dikshitar's krithi, "Ananda natana prakasam" in ragam Kedaram had the right amount of spice to make the number interesting. Ramya started off with a sloka describing Tillai in all its glory. Her eyes caught on the sthayi as she entered the stage, but it would have been visually more appealing to have started in the centre with the camera zooming in. In the sloka the wordspathanjali priyamu had a shade of shringaram which deviated from the bhakti. The pose held at the end of the shloka was a good transition to the krithi, if the tapping of the toes to keep thalam could have been avoided. "Ananda natana prakasam," a tried and tested number, took a new avatar with Ramya's creativity. The beautifully held poses and geometrical movements brought the image of Shiva dancing at
Chidambaram.
Ramya's feel for the natyam came out clearly with each passing line. She was weaving a garland of movement with ease and precision which comes only with deep understanding of not only the krithi but also natyam in its entirety. Ramya's experience in choreographing traditional and fusion music had a great impact in her presentation. The lighting and camera play a huge role in online platforms. The camera shift revealing the top lights and zoom-in at inappropriate moments was an irritant in the otherwise beautiful presentation. Virtual platform poses challenges to the dancers, but once we learn it, wonders can be created. The following panel discussion was again an eye opener with so many details of the temple and the journey of the artiste. Chidambaram is every dancer's delight and this program gave the satisfaction and wholeness of visiting Chidambaram.
https://narthaki.com/info/rev22/rev2681.html
Navarathri Program 2021 with Dushyanth Sridhar
The creative and energetic force of the divine mother, is described in Hindu tradition as being inherently feminine, manifesting in a variety of forms, with each displaying unique qualities. Being one of these manifestations, Goddess Lakshmi, the consort of Lord Vishnu, is worshipped by Hindus as the Goddess of wealth and prosperity. As prosperity exists in a variety of ways, so does Lakshmi, who bestows specific types of wealth through eight unique forms, known collectively as Ashta Lakshmi. I present the eight forms of Ashta Lakshmi for the final day Dussehra in the composition Maha Lakshmi karuna rasa lahari a Muthuswami Dikshitar Kriti in the raga Madhava Manohari. The 8 graceful forms of the Goddess are – • Adi Lakshmi a primordial form • Dhana Lakshmi grantor of wealth and opulence • Dhanya Lakshmi provider of nutriment to all • Gaja Lakshmi signifier of power and royalty • Santana Lakshmi symbolizes fertility • Veera Lakshmi breaks obstacles in one’s material and spiritual life • Vidya Lakshmi who guides the intellectual development in one’s journey • Vijaya Lakshmi inspires her devotees and instills victory In the Pallavi of the Dikshitar kriti these 8 forms are demonstrated. This magnificent Kriti is recalled to celebrate Goddess Perundevi Thayar the Divya mahishi of Sri Vadaraja of Kanchipuram.
Smt.Ramya Ramnarayan is an accomplished performer, choreographer, and teacher-educator whose extraordinary mastery of the ancient Indian dance form has catapulted her into becoming a pioneer of the art of Bharatanatyam. Kalasagara UK & Paallam arts are delighted to have her in 'Unite for India'- Dance Marathon in the Chapters for the United States.
Kannan Ennum Karundeivam - Nachiar Thirumozhi for Narthaki Online!
Thirsting for Kannan’s sapphire body, I lie
Prone. Pray don’t gather to mock me! He is
My lord. Your words burn like tamarind juice
Sluicing a sore. He does not know the agony
Of a woman cased in separation. Quick, bring
The pitambar that wraps his waist
And fan me with its golden length so its scented
Breeze cools my fever.
He killed Kamsa whose eyebrows are like thick
Black bows; my lord’s eyes shoot sidelong
Glances, swift arrows that find their mark
In my heart. Wounded and defenceless
My world quakes. Yet not once has he
Reassured me, ‘Do not fear’. Should he part
With the tulasi garland that adorns his chest
Bring it to smear on my breasts.
Translation by
Priya Sarukkai Chabria,
‘ANDAL: Autobiography of a Goddess’
Thiruppavai #12 for Anita Ratnam and Narthaki Online Andal's Garden
Awaken! Auspiciousness floods. Remembering their calves, cows stream milk. At your door we wait our hair running dew, milk slush around ankles, drenched in love, for His home is yours too. The world startles recalling His compassion in beheading the ten headed demon. Rise from petrifaction; you are one of us.
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