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Dance > Review
Srilanka shines
02 January, 2014

-Sukanya Kumar

They began with a brisk thirupugazh in praise of Lord Muruga followed by Tyagaraja’s pancharatna keerthanam Sadinchane set in Varnam format.

Coordinated movements, concise jathis and catchy finishing poses enhanced the visual pleasure. Ten dancers posing as horses depicted the chariot driven by Krishna for Arjuna in the Kurukshetra war. The pose of Vishnu reclining on snake bed Adisesha was dramatically shown with the dancing girls moving in buoyant rhythm imitating the milk ocean (paarkadal).

Next was “Thunbam Nergayil”, a beautiful composition of Bharatidasan. For the line “Aadi Katta maataya,” they incorporated tillana sollukattu”; when thirukural was mentioned the actual couplet from Kural was added thus enhancing the content of the rendition.

In devi stuthi “Charukesi” the end episode of Mahishasuramardhini was appealing. Pranamam to Aiyappa was the famous Harivarasanam interspersed with chants. It painted the picture of devotees at Sabarimalai viewing the Makarajyoti. 

Laya Kavidai in praise of Guru, a composition of Karaikudi Mani had intricately woven patterns in laya much akin to kavithuvam.

The abstract idea of divinity in dance was presented through “Vishwatma” the universal Brahmam. In the Kalinganardhana pose, five created water, another five Kalinga’s head, and one dancer extending her leg behind which Krishna held as Kalinga’s tail. In Govindashtakam segments various stages of Krishna and story of Prahlada was explained.

In Ramayana Tillana, deviating from the usual mei adavus and korvais, the tillana was more like a story unraveling episodes from Ramayana with the sahityam in praise of Hanuman who brings the Sanjeeva mountain to revive Lakshmana. The tillana concluded with Rama Pattabhishekam with king and consort Sita, brothers, decked canopy et al.

The medley of mangalams evoked the blessings of every possible deity.

The dozen dancers were full of energy decked in different shades of blue. They danced every bit and each of them was put to full use in imaginative formations and poses. 

The teacher Vasugy Jegatheeswaran of Natya Kala Mandir from Sri Lanka deserves full credit for the thought and training.

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