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State of the art
 How much can you do during a
Bharatanatyam performance to impress the audience with choreography and dancing skill? Krishnakumari Narendran, a torch-bearer of the Pandanallur style of dance, set a new benchmark during a recent
Bharatanatyam performance of students of her Abinaya
Natyalaya.
Krishnakumari, a veteran guru with three long decades of teaching, has won the
Kalaimamani award among a host of other awards. She brought to life a palanquin procession, the Rudra Thandavam, the sweet bhakti of Meera, the anger of
Goddess Durga and the frolics of
Lord Krishna with the Gopikaas, all in one evening, in one exhilarating performance.
 The first item was ‘Mallari’. Mallari is a traditional number played in temples when deities are taken out in a procession. The dancers carried a palanquin with
Lord Nataraja seated resplendently. The ambience of the temple procession was brought out dexterously. The music by the inimitable
Kunnakudi Vaidyanathan for this number made the viewers go into raptures.
 This item was followed by ‘Aadum Swami Arputhame’ in which
Lord
Shiva, who is supposed to be a dancer par excellence, reminds us of His ‘Rudra Thandavam’.
Siva and His divine consort Shakti dance in unison to the joy and bliss of the entire universe.
The unalloyed mirth derived on viewing this item was inexplicable. The dancers were transformed into
Siva and Shakti. Their dedication to highlight the prowess of the divine is commendable. Their abhinaya and costumes matched the theme excellently. The verses of ‘Abirami Andadi’ in Bagesri made the audience catch a glimpse of Goddess Abiramasundari of Tirukadaiyur. The music of
violin maestro Kunnakudi was used for this item also.
Then came the peace and joy of unalloyed bhakti in the portrayal of a Meera
bhajan. The dancer’s expressive eyes need special mention. Clad in spotless white, she charmed the audience with her mudra and became one with Meera. Her expression of total surrender to the Almighty made us wonder if, perhaps, the real-life Meera looked like her? ‘Janam Janam Ki Dasi’ in Yaman Kalyani transported us to Krishna’s kingdom.
Then came the gory slaying of
Mahishasuran by
Goddess Durga is matchless in power and strength. The backdrop for this item was the portrait of Goddess Kali. ‘Mahishasura Vadam’ speaks eloquently about the feats of
Durga.
 Nritya Jagannathan as Durga resembled the Goddess herself with her big, expressive eyes. As the face is the index of mind, she must have “sunk into the world of the Goddess, hence the transformation.
Krishnakumari’s creativity was clearly exhibited here. The 18 hands of Durga with different weapons were portrayed with the help of nine dancers. The slaying of Mahishasuran looked a bit frightful but realistic. ‘Ayigiri Nandini’ verses in praise of Goddess Durga blended well with the episode. The singer and the accompanist matched the movements of the dancers. The victorious Shakti calmed down after vanquishing the demon. The Trident in her hand and a decorative crown made the audience almost fold their hands and worship her.
 The merging of the Gopikas with
Lord Krishna is ‘Rasa Lila’ in a nutshell. Krishnakumari presented an enchanting number from a song inspired by the exponent of bhajan tradition, Swami Haridoss Giri. The dancers looked like Gopikas of yesteryear. Their impish, mischievous smile enthralled the audience.
The ‘Kochu Krishna’ bewitched us with his smile. His two small accomplices did their part very well. The background music merged beautifully with the dance. The insertion of a couple of lines from Oothukadu Venkataramiyer’s ‘Neetha Same Neela Krishna’ sounded perfect there. The
River Yamuna is blessed with the presence of the Almighty and the Gopikas. The scenario was brought alive with great skill by
Krishnakumari.
Her conception of every item was unique and her choreography was exceptionally good that even the uninitiated could understand the nuances of the art. Didn’t I tell you that she has set a new benchmark? Remember, all in one evening!
Usha Raja
Published on 14th July 2004
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