 Cosmic Unity
 Vasantotsav (Spring Festival) is presently being celebrated at the Sri Kapaleeswarar Temple, Mylapore. In this context, the Saraswathi Educational Cultural and Charitable Trust, Chennai, has organised in collaboration with Indian Bank and others, a six-evening Dance Festival. Six well-known danseuses Aishwarya Narayanaswamy (Anita Guha's disciple), Lavanya Shanker (K J Sarasa), Uma Namboodiripad (Chitra Visweswaran), Archana Vishwanath (Krishnakumari Narendran), Srekala Bharath and Revathy Ramachandran are participating in this serial
programme.
Guest of Honour, Chitra Visweswaran, who inaugurated the festival on Tamil New Year's Day evening (Thursday, April 14, 2005), pointed out that it was at temple precincts that Bharatanatyam recitals originated and flourished in earlier centuries as a dedication (samarpanam), as there could be no better ambience and environs than the Lord's dwelling. "It is, therefore, a healthy and a happy sign that this hoary practice is being strongly revived now. Dance transcends physical connotations and is, verily, a spiritual and worshipful homage to the Presiding Deity of Dance - Lord Siva (Nataraja)", she added.
 Aishwarya began with a purposeful dance number - choreographed and conducted impressively by her guru Anita Guha - the Ardha - Nareeswara Tatvam, that delineated strikingly the inseperable and co-existent unity of Siva-Sakthi. Without one the other is non functional. Masculine vigour is dependent on complementary finesse, delicateness and gentle guidance of femininity. Each needs the other for hormonious existence. This divine truth was portrayed by Aishwarya with creative stylisation in content and theme giving the presentation a distinguishing character. The sancharis, the cosmic rhythm, the concurrent and contrasting portrayals of the two-in-one couple merit special mention. This raga malika - khanda thalam - Ardha Nareeswara Akhila Paalaka ... Anandha Dhayaka ---- (composition of violinist Sitharama Sharma) number was noteworthy for the contrasting styles of Siva on the right side and his consort Parvathi on the left side stressing the Thandava - Lasyam aspects respectively. Siva's fierce matteresses and Parvathi's curly, beautiful locks vied with each other entrancingly. So did Siva's snakes and Parvathi's navarathna jewellery, as also the Lord's leopard skin and the consort's silk brocades. It was an attractive holistic presentation. Apparently ancient themes synchronised well with modern needs, trends and sensibilities. Anita Guha ( Nattuvangam), Devi Kamakshi (Vocal), Muruganandam (Violin), Padmanabhan (Mrudangam) and Srinivasan (Flute) were the unifying accompanists.
On Friday evening, Lavanya Shankar's delectable performance was highlighted by the Navaragamalika Varnam ` Saamiyai Azhaiththodi Vaadi Sakhiye' (K N Dhandayudha Pani Pillai's composition: Thodi - Mohanam - Vasantha - Devamanohari - Sankarabharanam - Saranga - Kaanada - Aarabhi - Bhairavi). A comely maiden falls in love with Lord Siva and implores her close associate to bring him to her side immediately. In this process, the Nayika details the Lord's enchanting attributes, her own longing for him and urges her friend to help in getting him to fulfil her legitimate wishes. In repetitive styles of musical phrases, Lavanya conveyed various sentiments (Rasas) very effectively through inherent kinentic, communicative Varnam techniques. Pure dance (Nritta), miming, gesticulation (Nritya) and Abhinya were sweetly correlated to picturise the essential content of the Sahitya. Gopalakrishna Bharathi's `Satre Vilakhi irum Pillaai' (Nandanar Charitram) and folksy `Theruvil Vaaraano' (Khamas - Roopakam), along with a brisk Thillana were other items that were pleasing treats.
Guru K J Sarasa ( Nattuvangam), Shanmugasundaram (Nattuvangam support), Randhini - Padma Seshadri Sister's - (Vocal) Viswanathan (Mrudangam) and Srinivasan (Violin) conducted the recital helpfully from the wings.
R Srinivasan
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