That such a simply dressed man, standing alone on stage clad in a plain dhoti, without any adornment, not even the mandatory bells on his feet, could have such a profound effect on the audience might seem implausible, but when the dancer is V.P.Dhananjayan, the awe is natural, nay even expected. His 70-minute long expose ‘Nandanar Charitam’ in Kalakshetra, Chennai, was one that every artist aspires for, the ultimate performance that moves an audience to tears... one that will be remembered forever...
The founder of Kalakshetra, Smt.Rukmini Devi Arundale’s Birth Centenary is a year long celebration of the visionary’s life, starting March 2003 until February 2004. Musicians and dancers from all over the country are participating in the festival in a staggered schedule through the year. What further pride for the institution than to invite a distinguished alumnus to perform!
Nandanar, considered one of the 63 Nayanmars or Shaivite saints, was a humble farm worker from a downtrodden caste whose absolute devotion to Lord Shiva earned him ‘moksha’ or liberation. Gopalakrishna Bhaaratiyar composed a famous Tamil opera ‘Nandanar Carita Keertanai’ highlighting the humble Nandanar’s steadfast faith in God that saw him through an arduous spiritual journey. Dhananjayan’s interpretation was a true homage to the saint and to his alma mater, his deep reverence tangible in the invocation to Lord Shiva, and his complete identification with the protagonist that came through in a perceptive characterization.
The flow through the dramatization was easy even while it undulated with the intensity of emotional upheavals. The trauma in Nandanar’s life was reflected in the dancer’s eyes and body language that was always tempered with an artistic instinct that gave it a rare dignity. Dhananjayan’s transformation into the humble, often self-despising farm hand had a dignity and innocence that was incisive in effect.
The production scored on the bhava and the musical aspects, while nritta was confined to a spontaneous burst of rhythm especially in ‘Vazhi maraide irukudhe malai pol.’ Dhananjayan’s footwork was firm and sure, and every stamp of his foot could be heard at the back of the auditorium. Pradeesh as an energetic Shiva was also impressive.
Nandanar takes his friends to visit a temple in Tiruppangur. When he cannot see the lingam from outside the temple, his eyes tear with disappointment ... disappointment turns into supplication, and finally ecstasy when the Lord Himself instructs Nandi, the bull, to move aside to grant the devotee a good view of the deity in ‘Vazhi...’ Nandanar’s conversation with his landlord in ‘Tillai sthala,’ pleading to be allowed to visit the Chidambaram temple was one more sensitively choreographed exchange bringing out the best in the seasoned and talented artist.
Nandanar finally gets to Chidambaram, but cannot enter the temple. His despairing ‘Varugalamo Aiyya’ was the culmination of a journey of hardship, choking the audience with emotion. He hesitates at the doorstep with a plaintive plea, “Can I not see Your Ananda Tandavam ....?” that turns into depression and self-reproach, “Why was I born without having accumulated any good deeds?” Suffice to say that the audience heaved a sigh of relief when Nandanar is called into the temple....
The masterpiece was preceded by a lively invocation, ‘Nritya Geeti Maala’ by the students of Bharatakalanjali comprising slokhas from the Valmiki Ramayan in praise of Ganga in Desh ragam, Nataranjali in praise of Lord Shiva, verses from Sankaracharya’s Gangashtakam and Swathi Tirunal’s Sankara Sri Giri in Hamsanandhi ragam.
The musical stars of the evening were N.Sashidharan whose soulful voice filled the majestic Kalakshetra auditorium with melody and emotion. His clarity made the experience all the more meaningful. T.Srinivasan on the violin was an excellent accompanist, while Ramesh Babu on the mridangam, Sunil Kumar on the flute, Sambasivam on the veena, and Shantha Dhananjayan with the cymbals co-ordinated a superb effort. The music was composed by Late Turaiyur Rajagopala Sharma and T.S.Mani Iyer.
Such brilliance is not an everyday affair. Little wonder then that those of us left standing in the packed auditorium chose to remain so for the entire show....
