artograph

A NEWNMEDIA™ PUBLICATION

2019 SEP - OCT | VOL 01 | ISS 05

A BI-MONTHLY, BILINGUAL E-MAGAZINE FOCUSING ON ARTS | PUBLISHED BY NEWNMEDIA™ FROM KERALA, INDIA | 2019 SEP - OCT VOLUME 01 ISSUE 05 | PAGES: 20 | HTTP://ARTOGRAPH.NEWNMEDIA.IN

P12
Mighty roles
The distinctive roles of Arjuna, Shishupala, and
Duryodhana glistened in the annual ‘Kerala
Natyothsavam’ Kathakali festival by Drisyavedi.

P05 P07
A guru of Soulful
generations narratives
Meet the veteran dance guru Girija Chandran, The 2019 edition of the ‘Music & Dance Festival’
whose institution is one of the pioneering dance by Soorya India featured a few of the eminent
and music training centre in the capital city. Bharatanatyam dancers.

P17 P18 P19

Display of talent Workshop Making a mark of
and dexterity musings her own
Gopika Raj Pillai has created an impression for Times have changed, and so does the way Devaki Rajendran proved her mettle as a
herself with a vibrant performance during her of organizing dance workshops; says dancer Bharatanatyam dancer during her performance
Rangapravesam. Parshwanath S. Upadhye. in the capital city.
 2019 SEP - OCT | VOL 01 | ISS 05
EDITORIAL | 02

It's time we pay for the arts

When the artists fail to make their livelihood, eventually,
the art will fade down.

There ain’t no such thing as a free lunch.

KALAMANDALAM GOPI - Milton Friedman
in the role of Arjuna during the staging of
‘Subhadraharanam’ Kathakali organized by
Drisyavedi, T’puram. (Photo: Priyanka B.)

CONTRIBUTORS T he idiom is supposed to be universally true. However, how far it is

relevant in the Indian context, especially when it comes to classical
dance and other art forms, is a question worth exploring. Often artists
TEXTS
KOTTAKKAL RANJITH WARRIER are forced to perform for free, and sometimes even worse, they will
PARSHWANATH S. UPADHYE have to pay the organizers to get a stage to perform!
SETHUNATH U.N.
In the last couple of months, there has been a lot of fuss around this
PHOTOS trend. Since it is particularly evident in the dance sector, there have
PRIYANKA B. | MANOJ KRISHNA been a lot of voices heard from the field. One solution that many
EDITORIAL TEAM were advocating is not to pay for getting the stage, and only perform
CHIEF EDITOR if there's enough remuneration. While this is a way to deal with the
HAREESH N. NAMPOOTHIRI situation, how far it will be practically possible is doubtful.
ASSOCIATE EDITOR
The simple fact is, the dance scene is rapidly changing. A decade
PRIYANKA B.
back, we had only a few senior dancers and a handful of promising
MEMBERS
MEERA SREENARAYANAN youngsters. But now, those youngsters are also grown to be seniors,
NAVYA VINOD | SETHUNATH U.N. and the number of youngsters has increased exponentially. Many
VANI SANKAR of them are talented and are serious about taking up dance as their
LEAD PHOTOGRAPHY career. However, it's not easy to get noticed and reach the frontline.
HAREE FOTOGRAFIE
Though there are more dancers out there, the available stages or
http://fb.me/haree.fotografie
opportunities haven't seen a proportional increase. While talent is
DESIGN & LAYOUT
NEWNMEDIA™
a requirement, a decent amount of marketing and networking also
http://fb.me/newnmedia seem to be the need of the hour.
These all bring back to the question again, what will be a feasible
solution? Unfortunately, there's not an easy way out, and it will be hard
for individual dancers or even small organizations to bring a change.
Except for a few, many organizations struggle to raise the fund for
events. Government funding has also come down in recent years. As
these are not crowd pullers, getting sponsors is also not easy.
One way to move forward is making the audience pay for watching
the performances. Since they are so used to free meals, it may not
be that easy. But art can't sustain at the expense of the artists, that's
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2019 SEP - OCT | VOL 01 | ISS 05
03 | MEMOIR artograph

ചന്ദ്രായനം
പച്ചവേഷങ്ങളിലും കത്തിവേഷങ്ങളിലും ഒരുപ�ോലെ തിളങ്ങി,
അരങ്ങും കളരിയും ഒരുപ�ോലെ നയിച്ച്, തനിക്കാശ്രയമേകിയ
ക�ോട്ടക്കലെന്ന സ്ഥാപനത്തിനു തിരികെയും തണലായി,
ആറു പതിറ്റാണ്ടോളം അരങ്ങത്തു സജീവമായി നിലക�ൊണ്ടു
ക�ോട്ടക്കൽ ചന്ദ്രശേഖര വാര്യർ എന്ന കഥകളി കലാകാരൻ.
ക�ോട്ടക്കൽ രഞ്ജിത്ത് വാര്യർ

രാ യിരനെല്ലൂർ എന്ന വള്ളുവനാടൻ ഗ്രാമത്തിൽ, വായനശാലയും

കലാസമിതിയുമ�ൊക്കെയായി സാമൂഹ്യ പ്രവർത്തനങ്ങൾ നടത്തി
യിരുന്ന കുമാരസ്വാമി ഭട്ടതിരിപ്പാടിന്റെ മകന് ആറാം തരത്തിൽ പഠിക്കു
മ്പോളാണ് ആദ്യമായി മികച്ച അഭിനേതാവിനുള്ള സമ്മാനം ലഭിക്കുന്നത്.
'നീതിയില്ലാത്ത നിയമം' എന്ന നാടകത്തിലെ അഭിനയത്തിന്. 1957-ൽ
ചെത്തല്ലൂർ കുട്ടപ്പണിക്കരുടെ കീഴിൽ കഥകളി പഠനമാരംഭിച്ച് അരങ്ങേറ്റം
കഴിഞ്ഞപ്പോഴേക്കും ആ പന്ത്രണ്ടു വയസ്സുകാരന്റെ മനസ്സിൽ വേഷക്കാര
നാകാനുള്ള മ�ോഹം കലശലായിരുന്നു. അരങ്ങേറ്റം കഴിഞ്ഞുള്ള ആദ്യ
അവസരമ�ോ, കുഞ്ചുനായരാശാന്റെ നിർദ്ദേശപ്രകാരം വാഴേങ്കടയിൽ
ഒരു പുറപ്പാടും.
ക�ോട്ടക്കലിലെ യുവപ്രതിഭ
പതിനാലാം വയസ്സിൽ, അച്ഛനുമമ്മയും (പാറുക്കുട്ടി വാരസ്യാർ) ഏഴു
സഹ�ോദരങ്ങളും അടങ്ങുന്ന കുടുംബത്തിൽ നിന്ന് ക�ോട്ടക്കൽ
പി.എസ്.വി. നാട്യസംഘത്തിലേക്ക് ചന്ദ്രശേഖരനെത്തിയപ്പോൾ, ഒരു
നിയ�ോഗമെന്നോണം ച�ൊല്ലിയാടിച്ച് ന�ോക്കിയതും തിരഞ്ഞെടുത്തതും
വാഴേങ്കട കുഞ്ചു നായർ തന്നെ. പടിക്കൽ വാരിയത്തെ
ചന്ദ്രശേഖരൻ എന്ന കുട്ടിക്ക് 1134 കർക്കിടകം 6-ന് അഭ്യാസം
ആരംഭിച്ചുവെന്ന് ആശാൻ തന്റെ ഡയറിയിൽ കുറിച്ചിട്ടു. പിന്നീട്
ച�ൊല്ലിയാട്ടം തുടങ്ങിയതും കൂടെ ച�ൊല്ലിയാടിച്ചതും എല്ലാം
'മനയ�ോലപ്പാടുകൾ' എന്ന ജീവിതകഥയിൽ വായിച്ചെടുക്കാം.
ഗുരുനാഥനായ പട്ടിക്കാംത�ൊടി രാമുണ്ണി മേന�ോൻ സ്വീക
രിച്ചിരുന്ന അഭ്യാസരീതികൾ അതേപടി, എന്നാൽ
സമയക്രമത്തിൽ മാത്രം ചില മാറ്റങ്ങള�ോടെയാണ്
കുഞ്ചു നായർ നടപ്പിലാക്കിയിരുന്നത്. കൃഷ്ണൻകുട്ടി
നായർ, ഗ�ോപി നായർ, അപ്പു നായർ, മാങ്ങോട്ട്
നാരായണൻ നായർ എന്നിവരുമുണ്ടാ
യിരുന്നു ആശാന്മാരായി അന്നവിടെ.
പിൽക്കാലത്ത് ചന്ദ്രശേഖര വാര്യർ
തന്റെ ശിഷ്യരിൽ പ്രയ�ോഗിച്ച
പല അധ്യാപന രീതകളും ഈ

2015 ഡിസംബറിൽ
മാത്തൂർ കളരിയുടെ
ആഭിമുഖ്യത്തിൽ
അരങ്ങേറിയ
'ബാലിവിജയ'ത്തി
■ HAREE FOTOGRAFIE

ലെ രാവണനായി
ക�ോട്ടക്കൽ
ചന്ദ്രശേഖര
വാര്യർ.
 artograph 2019 SEP - OCT | VOL 01 | ISS 05
MEMOIR | 04
കാലഘട്ടത്തിലെ ഇവരിൽ നിന്നുള്ള അനുഭവങ്ങളുടെ പശ്ചാത്തലത്തിലാ പ�ോലെയുള്ള മുതിർന്നവർക്ക് ശേഖ
യിരുന്നു. രന്റെ കൂട്ടുവേഷം സമ്മതമായി.
കുഞ്ചു നായരാശാനും ചില ശിഷ്യരും കലാമണ്ഡലത്തിലേക്ക് പ�ോയത�ോടെ തെക്കും വടക്കുമുള്ള സമകാലികരാ
യാണ് കൃഷ്ണൻകുട്ടി നായരാശാന്റെ നേതൃത്വത്തിൽ ക�ോട്ടക്കലിൽ ഒരു യവരുടെ കൂടെയുള്ള അരങ്ങുകളും
യജ്ഞമാരംഭിക്കുന്നത്. പി.എസ്.വി. നാട്യസംഘം എന്ന കഥകളി സംഘ മൂപ്പിളമ ന�ോക്കാതെ പരസ്പരധാര
ത്തിന്റെ നിലനിൽപ്പിനും വളർച്ചക്കും വേണ്ടി അന്ന് ആശാന്മാർ കളരിയിലും ണയ�ോടെ അദ്ദേഹം ആസ്വാദ്യകര
അരങ്ങിലും നടത്തിയ നിരന്തരമായ അത്യദ്ധ്വാനത്തിന്റെ ഫലമായി മാക്കി. ഇളമുറക്കാർ ചന്ദ്രാശാന�ോ
സംഘത്തിനും വിദ്യാർത്ഥികൾക്കും പൂർണ്ണത കൈവന്നു. ആ പതിനാറ് ട�ൊപ്പമുള്ള അരങ്ങുകളിൽ അനു
വർഷങ്ങളാണ് ചന്ദ്രശേഖരൻ എന്ന വേഷക്കാരന്റെ കലാജീവിതത്തിൽ ഭവിച്ച തൃപ്തിയും സ്വാതന്ത്ര്യവും മറച്ചു
വലിയ�ൊരു വഴിത്തിരിവായത്. നായകഗുണമുള്ള ഒരു നടനെ വളർത്തി വെച്ചില്ല. എന്തിന്, പെട്ടിക്കാർക്ക്
യെടുക്കേണ്ടത് അന്ന് സംഘത്തിന്റെ ആവശ്യമായിരുന്നു. ഗതിയില്ലാ പ�ോലുമുണ്ടാവും പറയാൻ പല നല്ല
തെയ�ോ ഗതിമാറിയ�ോ അല്ലാതെ കഥകളിക്കാരനാവാൻ വേണ്ടിത്തന്നെ അനുഭവങ്ങളും. പ്രതിഭയുള്ള കലാ
മ�ോഹിച്ചു വന്നുചേർന്ന ഉൽസാഹിയായ ശേഖരനെക്കുറിച്ച് ആര്യവൈദ്യ കാരന് ത�ൊഴിലിൽ അനിശ്ചിതാ
ശാലയിലെ ഭരണാധികാരികൾക്കും നല്ല മതിപ്പായി. അഭ്യാസകാലത്തിൽ വസ്ഥ വരില്ലല്ലോ? അതിനാലാവാം,
ഒരു വർഷത്തെ ഇളവ�ോടെ ക�ോട്ടക്കൽ ചന്ദ്രശേഖരൻ നാട്യസംഘത്തിലെ തനിക്കു ചുറ്റുമുള്ളവരുടെ വളർ
സ്ഥിരാംഗമായി. അവിടെ തുടങ്ങുന്നു ഈ കഥകളിക്കാരന്റെ ജൈത്രയാത്ര. ച്ചയിൽ അദ്ദേഹത്തിന് ലവലേശം
പ്രധാനവേഷങ്ങൾ പലതും ചെറുപ്പത്തിൽ തന്നെ കെട്ടിയാടി. ഒപ്പം പുതിയ ആശങ്കയ�ോ ആകുലതയ�ോ ത�ോന്നി
തായി ചേരുന്ന കുട്ടികൾക്ക് ചുഴിപ്പ്, കലാശം, ഇളകിയാട്ടം, കുട്ടിത്തരം യതുമില്ല.
പദങ്ങൾ എന്നിവ ചെയ്യിക്കാനും തുടങ്ങി. ലക്ഷണമ�ൊത്ത മുഖവും, നടപ്പുള്ള കഥകളിലെ എല്ലാ ആദ്യാ
അയത്നലളിതമായ രസാവിഷ്കാരവും, ക�ോട്ടക്കലിന്റെ ക�ോപ്പുകളണിഞ്ഞ് വസാന പച്ച കത്തി വേഷങ്ങളും
അരങ്ങ് നിറഞ്ഞുനിൽക്കുന്ന വേഷഭംഗിയും കാരണമായി ചുരുങ്ങിയ അദ്ദേഹം സ്ഥിരമായി കൈകാര്യം
കാലത്തിൽ തന്നെ ഈ നടന് വലിയ�ൊരു ആസ്വാദകവൃന്ദമുണ്ടായി. ചെയ്തിരുന്നു. കൂടാതെ നാട്യസംഘ
ആരെയും മുഷിപ്പിക്കാത്ത വാക്കും പെരുമാറ്റവും സഹൃദയരിലും ത്തിൽത്തന്നെ ചിട്ടപ്പെടുത്തിയതും
സംഘാടകരിലും അദ്ദേഹത്തെ കൂടുതൽ സ്വീകാര്യനുമാക്കി. പുറമെയുള്ളതുമായ നിരവധി കഥക
ളിലെ ഒന്നാംതരം വേഷങ്ങൾക്ക്
മികവുറ്റ വേഷങ്ങൾ തന്റെ അരങ്ങുപരിചയവും ഭാവന
പ്രായം നാൽപ്പത്തിയഞ്ച് കഴിഞ്ഞത�ോടെ യും ക�ൊണ്ട് അദ്ദേഹം മിഴിവേകി.
കേരളത്തിൽ ഏറ്റവും തിരക്കുള്ള ആദ്യാ രുഗ്മാംഗദന്റേയും കർണ്ണന്റേയും
വസാന വേഷക്കാരിൽ ഒരാളായി രണ്ടാം ദിവസം നളന്റേയുമ�ൊക്കെ
ക�ോട്ടക്കൽ ചന്ദ്രശേഖര വാര്യർ. പ്രാണദുഖവും, നരകാസുരന്റേയും
ബഹുമതികളും പുരസ്കാരങ്ങളും ഒന്നിനു ദുര്യോധനന്റേയുമ�ൊക്കെ രൗദ്രവും
പിറകെ ഒന്നായി അദ്ദേഹത്തെ തേടി ഹാസ്യവും, അതിനിടയിൽ സഞ്ചാ
യെത്തി. സ്വാഭാവികമായും വിമർശന രിയായി വരുന്ന തികഞ്ഞ പുച്ഛവു
ങ്ങളുമുണ്ടായി. രണ്ടും അദ്ദേഹം സഹജ മെല്ലാം ഒരു നടനിൽ നിന്നുതന്നെ
മായ നിറചിരികള�ോടെ ഏറ്റുവാങ്ങി. കാണുന്നത് കാണികളെ അത്ഭുത
തന്റെ ശക്തിയും ദൗർബല്യങ്ങളും എന്താ പ്പെടുത്തി. 'ബാലിവിജയ'ത്തിലെ
ണെന്ന് മറ്റാരേക്കാളും അദ്ദേഹത്തിന് 'കരവിംശതി'യിൽ രാവണന്റെ മുഖ
തന്നെ ബ�ോധ്യമുണ്ടായിരുന്നു. എന്നാൽ ങ്ങളിൽ തെളിയുന്ന ക�ോപവും
■ HAREE FOTOGRAFIE

അണിയറയിൽ നിന്നൊരുങ്ങിവരുന്ന ദു:ഖവും, രണ്ടും കലർന്ന ഈർ

ആ വേഷത്തിന്റെ പ്രൗഡിക്കു മുന്നിൽ ഷ്യയും ഏറ്റവും പിൻനിരയിലിരി
വിമർശകർ വഴിമാറിനിന്നു. ക്കുന്ന കാണികളിലേക്ക് പ�ോലും
പിന്നിൽ നിന്ന് പറഞ്ഞ നസ്യ സംവേദനം ചെയ്യപ്പെട്ടു. കീചകനും
ങ്ങളത്രയും ആദ്യ അലർച്ച 'രംഭാപ്രവേശം' രാവണനുമെല്ലാം
യുടെ പ്രഭാവത്തിൽത്തന്നെ സംഭ�ോഗ ശൃംഗാരത്തിന്റെ മൂർത്തീ
നിസ്സാരങ്ങളായി. ദ�ോഷം രൂപങ്ങളായപ്പോഴും ആട്ടത്തിലും
മാത്രം പറയാൻ വന്നിരു ന�ോട്ടത്തിലുമെല്ലാം കഥാപാത്രങ്ങ
ന്നവർ, തിരന�ോക്കുന്ന ളുടെ താൻപ�ോരിമ നിറഞ്ഞുനിന്നു.
ആ രാജസപ്രതാപത്തെ പാടി രാഗത്തോട് ശ്രുതിചേർത്ത്,
ഇമവെട്ടാതെ ന�ോക്കി കീഴ്നിരപ്പല്ല് കാട്ടിയുള്ള അലർച്ച
യിരുന്നു. കലാമണ്ഡലം പ�ോലും സാധാരണക്കാരായ
രാമൻകുട്ടി നായർ പ്രേക്ഷകരെ CONTINUED ON PAGE 16 ►

2012 നവംബറിൽ തിരുവനന്തപുരത്ത് കേളീരവത്തിന്റെ

ആഭിമുഖ്യത്തിൽ അവതരിപ്പിച്ച ‘നളചരിതം മൂന്നാം
ദിവസ’ത്തിൽ ബാഹുകനായി ചന്ദ്രശേഖര വാര്യർ.
2019 SEP - OCT | VOL 01 | ISS 05
05 | ART COLLOQUY artograph

A guru of generationss
Meet the veteran dance guru Girija Chandran, whose Regatta Nātya Sangeetha
Kendra is one of the pioneering dance and music training centre in the capital city.
PRIYANKA B.

G irija Chandran acquired training under doyens

like Vempati Chinna Satyam and Adyar K.
Lakshman but chose a teaching career than being
a performer. Popularly known as Girija teacher
in the dance circuit, she has trained countless
students in the past four decades through Regatta
Nātya Sangeetha Kendra, her institution. A recipient
of many accolades like Natyopasana Puraskar,
Kalasagar award, and Naatya Druma Puraskar, here
she speaks of her extraordinary career in dance.
Q: When did you realize that your career is
in dance, that too in teaching and not of a
performer?
I was born and brought up in a family that had
great reverence for arts. My grandfather C.I. Gopala
Pillai was associated with Kathakali, and our house
resounded in music and poetry during his days.
When I turned seven, my father initiated me into
dancing under Kalakshetra Bhaskar. Later, he
brought home guru Suchindram M.M. Pillai to train
both myself and my sister.
Right from the beginning, I proved to be a quick
learner and could learn a dance piece by seeing
it just once. I was very lean, and the way actors
and dancers looked in those days made me
believe that I'm not meant to be a performer.
Also, the choice of a performing career in dance
was looked down upon in those days. I recall
■ PRIYANKA B.
which learning must not have been affordable
those days. My Kuchipudi classes would begin at
8 in the morning, and it lasted till the afternoon.
Afterward, I had my Bharatanatyam class at Adayar
until 8 at night. There was no option of going home
in between, and the little nap at a shed of my guru's
residence was the only relaxation. He taught pure
art, and it was from him, I learned how humble a
guru could be. He had great affection for me even
though I did not choose a performing career.
As everyone knows, Guru Vempati was instrumental
in giving Kuchipudi its present depth and beauty.
We, his students, always looked upon him with
respect and fear. My Mohiniyattam is hugely inspired
by the Kathakali maestro
Nelliyode Vasudevan
Namboodiri, and
I take his advice
even today while
composing
new items. My
association with
Dhananjayans

school times, wherein my music teacher gave

me the confidence to train younger students for
anniversary functions. I did not know much then,
but always there had been an instinct to select
new songs and set them to dance myself. The
tryst with dance continued, and now I am here
in this position.
Q: You have received training in multiple
dance forms. Mastering the art from
doyens must have been an enriching
experience.
Definitely! After marriage, I moved to
Chennai for professional training in
dance. There I was trained in Kuchipudi
under Vempati Chinna Satyam and
Bharatanatyam under Adyar K.
Lakshman. Thanks to my sister-in-
law, who provided for the stay, without
 artograph
began since the 25th anniversary of Regatta, and
there is almost nothing I could not learn from them.
Most of the choreographies I teach are by them,
and I have the liberty to contact them to discuss
the intricacies.
Q: Regatta is entering its 47th year. Looking back,
how do you recount its contribution to the field
of performing arts?
Regatta cultural society started in 1972 with the
recognition of the social welfare board for training
young women in typewriting, bookbinding, tailoring,
music, and dance. Later it was renamed to Regatta
Natya Sangeetha Kendra as the focus shifted to
dance and music alone. Over the past four decades,
we have trained several students, and many of them
are established dancers/teachers in different parts
of the country. Based on specific norms, we waive
the fee for talented but needy students of Regatta.
Some of them are from Nehru Yuva Kendra and
Sree Chithra home. Another uniqueness is that after
completing the formal training, Regatta also offers
teaching practice to the students. We train students
for a lifetime, and the course provided is certified
under Anna University.
Q: Girija teacher is the first guru of many
prominent dancers.
I am proud of the fact that Regatta has given birth
to many gifted dancers. Neena Prasad joined me
when she was just three and continued here for
almost 14 years. Another favorite of mine, Methil
Devika is indeed a gem, noted for her scholarly
approach towards dance. She began by spending
her school vacations here and later joined regular
classes when she settled here in the city. Gopika
Varma, Sithara Balakrishnan, and the list go on.
Q: Regatta offers training for youngsters and
■ HAREE FOTOGRAFIE
2019 SEP - OCT | VOL 01 | ISS 05
ART COLLOQUY | 06
middle-aged people alike. Teaching the latter
may not be that easy. How do you manage both
effortlessly?
While most of the institutes train youngsters, I went
a step ahead and started teaching aged women
also. It all began in 2007 when a nearly 60-year-old
woman approached me for learning dance. Later,
a few of her colleagues also joined, and two years
later, I equipped all of them for stage performance.
Now we have 75 elderly women, and every year we
organize a separate dance festival titled ‘Grihanayika’
to showcase their talents. Some people approach
intending to burn their fat alone. But once they get
acquainted with my methodology, they all are keen
to dance. Those who are unable to learn classical
items, I at least make them do a Thiruvathirakali.
Q: How do you select a student for training in a
particular dance form? What are the qualities
expected of an ideal dancer?
Until the age of seven, I teach students only folk
dance. Thereafter according to their choice, I train
them in classical items. Dancing unlike any other
vocation requires prolonged study that extends
over an entire lifetime. Be ready to make sacrifices.
Read extensively. Respect for guru is very important,
and learners should develop the habit of watching
classical performances on a regular basis.
Q: Almost all the major dance and music
festivals in the city kickstart with the group
performance of regatta students, and they
seem to be trained to perform for short notice.
Regatta is the sole choice of most, if not all, public
organizations when it comes to presenting the
theme songs of art festivals. Thanks to Saraswathy
Malhotra, the dancer who gave
Kerala’s folk dance its present CONTINUED ON PAGE 14 ►
2019 SEP - OCT | VOL 01 | ISS 05
07 | OPINION artograph

Soulful narratives
The 2019 edition of the 'Music & Dance Festival' by Soorya India featured a few of
the eminent Bharatanatyam dancers.
HAREESH N. NAMPOOTHIRI

T he dance segment of the ‘Music and Dance Festival’ organized by

Soorya India as part of their ongoing Soorya Festival turned out
to be a celebration of Bharatanatyam, as it featured dancers only
from the repertoire following discrete styles and having variant
abilities. The opening recital was by Meenakshi Srinivasan.
Meenakshi Srinivasan
A heroine so much in love and devotion, realizes the one
who she is in search of is within herself; Meenakshi Srinivasan
breathed life being the protagonist in the Tanjore Quartet
varnam in raga Kapi. Being a natural dancer herself, it was the
crispness that made the dance sequences attractive. However,
the fast-paced segments felt hastened, and the usual clarity
slightly missing. Earlier, Meenakshi began her recital with Swathi
Thirunal’s “Bhogindra sayinam...”, in which she elegantly inter-
preted the one who reclines on the serpent-king.
The woman in the Kshetrayya padam “Kodi kusenayyayyo...”,
is not happy with the crowing of a rooster while she intends
to spend an elaborate night with her lover. The song is a light-
hearted one, and Meenakshi’s take of the heroine in all her
niggles was flawless. Krishna conciliating the hostile Radha
in the Jayadeva ashtapadi “Priye charuseele...” rendered
in raga Madhukauns took the audience to a different
mood altogether, which she managed equally well.
A thillana composed by Rajkumar Bharathi in raga
Desh using verses of Subramanya Bharathi
poetry was the concluding item.
Priyadarshini Govind
Priyadarshini Govind began with a tradi-
tional mallari, but instead of the margam
she presented ‘Hasita’ - highlighting
the hasya rasa or humor through some
selected Rajkumar Bharathi composi-
tions. It all focused on abhinaya with
very little dance in between.
The first one in the lot “Siripputhan
varuguthaiya...” - was inspired by
the movie song depicting laughter.
The next two pieces were about
Lord Shiva and his family. In the
first one, Priyadarshini portrayed
Parvathy, who watches over
her two sons Ganesha and
■ HAREE FOTOGRAFIE

Kartikeya fighting over trivial

things. In the ninda sthuthi
“Esopi halahalam...” that
Meenakshi Srinivasan during her recital at the
followed, devotee details 2019 edition of ’Soorya Dance & Music Festival’.
some hilarious family quarrels
artograph
that might have forced Shiva to
consume poison. The pieces
certainly had enough for the
dancer to make them a joyful
watch; however, the fun factor
hardly got transferred to the
audience if it was the intention.
The next piece was based on a
Vidyapati song. A sakhi curiously
asks the nayika about her last
night with Krishna, and she shares
her disappointment. At this point,
Krishna comes knocking at the
door, but she refuses to open
and asks who it is. The following
conversation between the two
resembled the one between
Satyabhama and Madhavi in
Kuchipudi. The dancer made it
an engaging watch, and novelty
of it was the use of vachika. She
concluded her recital with a
thillana in raga Purvi. The vocalist
Preethy Ram supported well,
with some modulated singing
and also assisting the dancer
with counter dialogues.
Priyadarsini Govind, Rama Vaidyanathan,
and Janaki Rangarajan during their recitals
at the 2019 edition of ’Soorya Dance &
Music Festival’.
Rama Vaidyanathan
Vibrant and versatile, agile and
astute, Rama Vaidyanathan’s
recital ticked all the right
boxes, giving an experience
par excellence for the viewers.
After opening with ‘Skanda
Murthe’ - an invocation on Lord
Muruga in Chalanattai raga, she
took no pause, and using the
word ‘Kumara’ as a link, moved
to ‘Samiye vara solladi...’ - the
popular Dandayuthapani Pillai
varnam in Purvi Kalyani. The
choreography sparkled brilliance
and topping that, Rama’s
abhinaya touched the soul of the
heroine who’s desperately telling
her Sakhi to go and ask her lover
to come.
The next piece made use of an
episode from ‘Kamba Ramayana’
where Ravana meets Sita for one
last time. Ravana knows his end
is near, and as he spends his last
night comes to realize “Vanchanai
enakku njane...” (my real enemy is
none other than myself). Rama’s
interpretation was melancholic,
and elaborating how something
■ HAREE FOTOGRAFIE
2019 SEP - OCT | VOL 01 | ISS 05
OPINION | 08
like nectar could end up being
poisonous, she exemplified the
mindset of the character. Ravana
might have realized his fault,
but he is unable to get over his
arrogance, even as the death
stares at him. The concluding
piece was a vibrant “Namaste
Rudra rupinye...” in praise of the
goddess Durga.
Janaki Rangarajan
With a lot of sprints, leaps, and
bounds, Janaki Rangarajan’s
recital was sort of a roller coaster
ride, delightful at times. She
opened her performance with
‘Ardhanariswareem’ inspired
by the Shaktism of the Hindu
tradition, which considers
everything originated from the
goddess Adi Parashakti. The main
piece was the Tanjore Quartet
varnam “Sarasijakshudu nivani...”
in raga Kalyani. The dancer’s
fascination for not-so-common
maneuvers was apparent in
the choreography. However,
overdoing it, like the repeated
swings of the hips now and then,
didn’t seem to be contributing in
2019 SEP - OCT | VOL 01 | ISS 05
09 | OPINION
its wholeness.
Coming to abhinaya, though it
felt pretentious in places, the
heroine’s emotions were well
conveyed. Janaki came to her
true colors in the ashtapadi piece
that followed, which she has
perfected over the years. “Kuru
yadu nandana...” with Radha and
Krishna after a romantic night
had all the necessary ingredients
in the right proportions to make
it a soulful watch. The concluding
piece was a tarana combined
with an abhang by saint-poet
Kanhopatra.
Shwetha Prachande
Shwetha is known to bring a
lot of energy and dynamism
to her dancing, and it was no
different here. Her dancing
abilities dazzled throughout,
right from the opening mallari
in Gambheera Nattai combined
with a virutham on Lord Nataraja.
She then moved on to the varnam
“Sumasayaka...” - a composition of
Shweta Prachande, Lakshmi Gopalaswamy,
and Asha Sharath during the 2019 edition
of ’Soorya Dance & Music Festival’.
artograph
Swathi Thirunal in raga Kapi and the latter's turned out to be a
Rupaka tala. It was predominantly lackluster experience. The dance
all dance, especially during the segments weren't that exciting
latter part of the varnam, and in Lakshmi's recital, but she
the heroine or her sentiments managed to impress in abhinaya
weren’t as conspicuous as one pieces. The one detailing the
would expect. However, she 'Veera' rasa and the Swathi
compensated for it with some Thirunal padam "Dhanyayayi..." in
persuasive abhinaya in the items raga Navaroj were the picks of
that were presented later on. her recital.
The heroine in the padam “Idai With the singer also struggling,
vida innum vere venuma sakshi...” the varnam "Mohamana..." hardly
asks what more she needs to impressed in Asha Sharath's
prove the hero’s affair with the recital. In the dance interpretation
other woman, and the young of the Sugathakumari poem,
lady in the javali “Sarasamu "Krishna nee enne ariyilla..." - the
ladedanduku...” is concerned dancer seemed to have misread
about her lover’s advancements the context, and the heroine
not considering the time and turned out to be more than happy
place. M. Balamuralikrishna’s that she never got a chance to
thillana in raga Behag appended get acquainted with Sree Krishna.
with a short poem on the goddess On a side note, they both
in raga Kurinji was the final piece. attracted more crowds, and it
was a good thought from the
Celebrity dancers part of the organizer to switch
The festival has got a celebrity the venue to Tagore Theatre from
touch with the inclusion of actor- Ganesham, where the rest of the
dancers Lakshmi Gopalaswamy performances happened. The
and Asha Sharath. While Lakshmi festival took place in the first ten
Gopalaswamy could do some days of October 2019. ●
justice to the dance form,
■ HAREE FOTOGRAFIE
artograph 2019 SEP - OCT | VOL 01 | ISS 05
STUDIO | 10
2019 SEP - OCT | VOL 01 | ISS 05
11 | STUDIO

FEATURED

BHADRA
NAR AYANAN
Bhadra Narayanan started
learning dancing at the
tender age of four under guru
Girija Chandran who runs
Regatta Cultural Society, a
pioneering dance training
institute in Kerala. Bhadra
received scrupulous training
in various forms of dance, and
the constant motivation and
support from her guru equipped
her to have Bharatanatyam
Rangapravesham in 2018.
She has traveled nationwide,
spreading the spirit and
flavor of the Kalakshetra
style of Bharatanatyam
and the traditional style of
Kuchipudi and Mohiniyattam.
A graduate in Electronics and
Communication Engineering,
Bhadra works as a Software
Quality Assurance Engineer
at Tata Elxsi, T’puram. She
has completed a certification
program in Bharatanatyam
from the Directorate of Distance
Education, Annamalai University,
and aspires to continue research
in an interdisciplinary area
involving dance and engineering
technology. ●

PHOTOGRAPHY
HAREESH N. NAMPOOTHIRI
MAKE-UP
SABU KARUNAGAPPALLY
COSTUMES
SHIVAN
STUDIO
HAREE FOTOGRAFIE
http://fb.me/haree.fotografie
SHOOTING DATE
2017 OCT 18

THIS SEGMENT FEATURES TALENTS, BOTH YOUNG AND ESTABLISHED,

ALONG WITH THEIR PROFESSIONALLY SHOT STUDIO PHOTOGRAPHS.
artograph
Mighty roles
The distinctive roles of Arjuna, Shishupala, and Duryodhana glistened in the
annual 'Kerala Natyothsavam' Kathakali festival by Drisyavedi.
T he 32nd edition of 'Kerala
Natyothsavam' by Drisyavedi
focused on selected plays based
on stories of the great epic
Mahabharata. The festival began
with 'Subhadraharanam' - a play
by Manthredathu Namboothiri,
in which Kalamandalam Gopi
did one of his acclaimed role
of Arjuna. It is worth stating that
the character, notably in the first
scene of 'Malayideel' in the play,
was revived by the octagenarian
maestro a few decades back.
The valiant Arjuna
Three scenes involving Arjuna
were presented; the first one
being the garland scene, an
elegant tableau enriched with
detailed facial expressions. Arjuna
came to Dwaraka in the disguise
of a saint and got closer to
Subhadra. Sree Krishna, without
SETHUNATH U.N.
the knowledge of Balarama,
helps Arjuna to win his sister's
heart and joins their hands. The
marriage ceremony, supervised
by Sree Krishna, was witnessed by
the gods from heaven, and Indra
himself comes down to bless
the couple. Arjuna is overjoyed
to marry Subhadra, but at the
same time, not very proud of the
way he has achieved it. It was a
delight to watch Kalamandalam
Gopi exceptionally articulating
the conflicting emotions of
Arjuna, solely through the facial
expressions.
The play then progressed to the
next scene with "Kanchadala
lochane..." - the slow tempo
padam in which the sthayi is
sringara. The padam, known for
its high level of details perfected
by maestros over the years,
was presented by Gopi with
2019 SEP - OCT | VOL 01 | ISS 05
COVER STORY | 12
exceptional subtility. Though the
age has restricted his movements
making the kalasams look meek,
especially in the fighting scene,
the performance in its whole still
had enough content to amuse the
audience. Kalamandalam Vipin
as Subhadra, Kalamandalam
Adithyan as Sree Krishna, and
Kalamandalam Athul as Indra
shared space with him on stage,
and they too were pitch-perfect
in their roles.
The percussion certainly has
a pivotal role in making these
scenes worthy of a watch, and it
was Kalamandalam Krishnadas
and Kalanilayam Manoj, who
supported superblyon the chenda
and the maddalam respectively.
Pathiyoor Sankarankutty and
Kalamandalam Babu Namboo-
thiri were the singers, and they
too were remarkable.
A moment from the ‘Malayideel‘ scene from
the play ‘Subhadraharanam‘.
■ PRIYANKA B.
 2019 SEP - OCT | VOL 01 | ISS 05
13 | COVER STORY
The arrogant Shishupala
Shishupala in 'Rajasooyam' is another important
character among the plays based on Mahabharata.
The presentation here adhered to the 'vadakkan'
style following the text of Ilayidathu Namboothiri.
The character is considered as first-grade among
the roles coming under the 'Kathi' category in Kallu-
vazhi school. Kottakkal Nandakumaran Nair, a doyen
of portraying such characters in the northern style
of Kathakali, once again proved his mastery and
brilliance in handling the role. Making this evident
was the thirnottam, based in veera rasa, notable for
its precision. He came good in the stylized dance
sequences that followed as well.
The most engaging part is when Shishupala enters
Indraprastha to attend the Rajasuya, a consecra-
■ MANOJ KRISHNA
artograph
tion fortifying the sovereignty of Pandavas. He has
lingering detest for Sree Krishna for eloping and
marrying Rugmini, who was supposed to marry
him. Nandakumaran Nair's Shishupala entered in a
dignified manner, instilled with arrogance, assuming
himself as the prominent among the invited dig-
nitaries. It all became evident as he enacted
Shishupala's reactions to those he meets on his
way. He bursts with rage when he finds Yudhishtira
revering Sree Krishna by offering the coveted cere-
monial chair. He questions Yudhishtira for giving the
shephered boy the chair, instead of many eminent
kings who are present at the venue.
Shishupala, fuming in anger, continues to ridicule
Sree Krishna by recollecting events from his
childhood. He pictures Sree Krishna as one who
murders his own uncle Kamsa, who kills Poothana
while she breastfeed him with motherly affection,
who snatches the cloths of the gopis while they
bathe - Nandakumaran sticked to a realistic but
humorous approach in all these instances,
following the structured script. Eventu-
ally, Sree Krishna looses his patience
and kills him with the holy Sudarshana
Chakra, giving him salvation. The
play also involves the roles of Yud-
hishtira, Sree Krishna, Arjuna, and the
brahmin, presented by Kalamanda-
lam Prasanth, Kalamandalam Arun
Raju, Kalamandalam Praveen, and
Kalamandalam Sarath respectively,
and they were prompt in reacting to
a flamboyant Shisupala.
Kalamandalam Krishnadas along
with Gopikrishnan Thamburan on the
chenda and Kalanilayam Manoj on the
maddalam provided ample support to
Nandakumaran Nair's Shishupala. Other
than some quickies, music is minimal
for Shishupala's portion and Kalamanda-
lam Babu Namboothiri and Kottakkal
Vengeri Narayanan were upto the
task.
The deceitful Duryodhana
Kalamandalam Pradeep is one
of the most talented artists
among the young generation
who has formed his unique
style while following the
northern style of Kathakali.
During the event, Pradeep
presented the role of
Kottakkal Nandakumaran
Nair as Shishupala in
‘Rajasooyam‘ Kathakali.
 artograph 2019 SEP - OCT | VOL 01 | ISS 05
COVER STORY | 14
Duryodhana in the former half - up till the play of dice -
of ‘Duryodhanavadham’ by Vayaskara Aryan Narayana
Moosath.
The staging began with an elegant display of thi-
ranottam by Pradeep, keeping veera as the base
emotion embellished with sringara. It leads to
a scene in which Duryodhana and Bhanumathi
have a romantic conversation during their stay in
Indraprastha. The sringara padam “Parvana sasiv-
adane...” in raga Padi was performed gorgeously
by Pradeep. The detailing of dancing peacocks
and ‘Iratti Kalasham’ were instances that capti-
vated the audience. Margi Sukumaran provided
company in the role of Bhanumathi. While Duryo-
dhana is all in love, his wife Bhanumathi shares
how she feels about the luck of Draupadi and the
enviable rise of the Pandavas. To console his wife,
Duryodhana decides to ridicule them, by going to
their palace. Pradeep along with Kalamandalam Hari
R. Nair, who played the role of Dussasana, made the
scene delightful with their realistically witty gestures
and expressive interactions, two character’s admi-
ration for each other and the pomposity were
exquisitely presented.
The two finally reaches Indraprastha
and are awestruck by the archi-
tectural excellence of the
palace. Pradeep and Hari
harmoniously enacted
and recreated the hal-
lucinations that the two
■ MANOJ KRISHNA

Kalamandalam Pradeep as
Duryodhana.

form. It is from her that I learned the

FROM PAGE 06 ►
techniques of group choreography.
The students are capable of delivering in short notice.
For instance, when Malavika Sarukkai couldn’t make
it for the ‘Nishagandhi Dance Festival’ in 2017, the
organizers reached for me. There was hardly any
time for preparation, but my students gave a well-
received performance. Soorya Krishnamoorthy is
somebody who gave me enormous opportunities
to do group choreographies in India and abroad.
The performances on the occasion of the 85th
birthday of Nelson Mandela, and during the Kerala
visit of the ruler of Sharjah in 2017, are two worthy
mentions.
Q: Classical dance forms often get mis-
represented in tv shows and in social media.
Do you feel the youngsters seek attention very
early, rather than perfecting their skills?
We live in times where people dressed up in
Kathakali attire serve drinks during events. Online
classes for dance is getting popular now. But
how far does actual learning takes place in this
manner? Everyone is now a teacher after learning
something from here and there. Dance schools
sprout up everywhere these days. But the quality
is not maintained. In my opinion, it’s better to stop
conducting youth festivals, the way they happen
these days. I don’t discourage my students from
participating in youth festivals, but that should not
be their whole purpose of learning dance.
Q: Do you think the dancers or gurus from Kerala
get the recognition they deserve? If not, what
could be the reason?
It is true that recognition is minimal. It is not
uncommon that many Kerala based dancers
change their address to Chennai for better visibility.
The month-long festival during the Margazhi season
there in Chennai annually sees the confluence
 2019 SEP - OCT | VOL 01 | ISS 05
15 | COVER STORY
brothers went through at the palace. Their bloopers,
ridiculed by Draupadi together with Bhima, offends
the two and as they leave the palace decides to
have revenge.
Duroyodhana appeals to their uncle Shakuni to help
them in this regard and he instigates a shrewd plan
which involves inviting Yudhishtira for a play of dice.
Shakuni tricks him as the play progresses and in no
time Yudhishitra loses everything including his part
of kingdom, his brothers and even his wife. Duryo-
dhana and Dushasana tries to abuse Draupadi, but
Sree Krishna intervenes and saves his devotee.
Pradeep’s gestures when he pats his thigh looking
into Draupadi's eyes, implying that she should sit
on his thigh and Hari’s show-off to strip her were
instances of their versatility. The most notable thing
was the control they have shown on their charac-
Kalamandalam Gopi (Arjuna) along with
Vipin (Subhadra), Adithyan (Sree Krishna),
and Athul (Indra), from the same alma
mater, during the ‘Malayideel’ scene from
‘Subhadraharanam’ play.
■ PRIYANKA B.
of artists and tourists alike. Why can't we have an
'Ananthapuri' season here, with emphasis on our
regional talents? I strongly suggest that dance and
music should be a compulsory subject in schools,
and qualified teachers have to be appointed to teach
arts in the way any other subject is being taught.
This I think will put an end to many malpractices
happening in this field.
Q: How has been your family’s support in
shaping your career? Your daughter is also a
promising artist.
I always had the full freedom to make my choices in
my life, and my husband never interfered with what
I loved doing. My daughter Madhavi Chandran has
mastered classical dance forms under legendary
gurus, and she is the one whom I expect to carry
this parampara forward. In 2011, she received the
Madras Music Academy’s Spirit of Youth Award. At
the age of eight, she has mastered in nattuvangam
artograph
ters and the space the two artists gave each other;
which many times missed even by senior actors.
Margi Vijayakumar essayed the role of Draupadi in
which he excelled as usual. Kalamandalam Vivek in
the role of Shakuni also played his part well.
It may be noted that the festival featured several
other seasoned actors, musicians and percussion-
ists, and most of them made worthy of an effort as
well. The six-day festival organized by Drisyavedi
spanned across the months of Sept-Nov and was
staged at Karthika Thirunal Theatre and Theertha-
pada Mandapam, here in Thiruvananthapuram. ● ●
Sethunath U.N. has learned Kathakali for nearly fifteen years
and is passionate about classical art forms. He is active in
different cultural forums while in the profession heads Mavis
DX Consultants (IT), T’puram.
under the tutelage of Kalakshetra Kamala Rani. She
mainly teaches Kuchipudi, but as a performer, her
focus is in Mohiniyattam.
Q: Regatta has trained nearly one lakh students
in the past four decades. This in itself is a rare
honor. On your future plans.
There was a time when a section of people
questioned the teacher in me as I was not into
stage performances. It took time, but nobody dares
to question my credibility at this point. I dream of
taking Regatta to the stature of a university. But that
is not an easy task and requires a lot of support from
the government. Maybe, a school where Sanskrit
and classical arts are a mandatory subject could be
a possibility. ●
●
Priyanka B. is a post-graduate in English literature and an
art enthusiast who enjoys photographing classical dance
performances. She currently works as Postal Assistant with
Department of Posts, India.
artograph
ഭ്രമിപ്പിച്ചു.
FROM PAGE 04 ► ഒന്നാം ദിവസത്തെയും
നാലാം ദിവസത്തെയും നളന്മാരും
'സന്താനഗ�ോപാലം' ബ്രാഹ്മണനുമെല്ലാം മനസ്സിൽ
തങ്ങിനിൽക്കുന്ന രീതിയിൽ അദ്ദേഹം അവതരിപ്പിച്ചു.
എങ്കിലും, വീരരസം നരാകൃതി കൈക്കൊണ്ട ഭീമൻ
തന്നെയാണ് കലാല�ോകം എന്നും ഓർത്തിരിക്കുന്ന
വേഷം.
സമ്പ്രദായപ്രകാരമുള്ള ആട്ടങ്ങൾ ഒരു ചടങ്ങുപ�ോലെ
ചെയ്തു തീർക്കാതെ സാധാരണക്കാർക്ക് കൂടുതൽ
അനുഭവവേദ്യമാക്കുകയും, തന്റെ ശരീരത്തിനും മുഖ
ത്തിനും യ�ോജിച്ച രീതിയിലുള്ള ചില മന�ോധർമ്മങ്ങൾ
യുക്തിസഹമായി അവതരിപ്പിക്കുകയും ചെയ്തു എന്ന
താണ് എടുത്തു പറയേണ്ട മറ്റൊരു പ്രത്യേകത. കൂട്ടു
വേഷക്കാരുടേയും പിന്നണിയിലുള്ള പാട്ടുകാരുടേയും
ക�ൊട്ടുകാരുടേയുമ�ൊക്കെ മന�ോധർമ്മങ്ങള�ോട് കൂടെ
ചേർന്ന് രംഗം അവിസ്മരണീയമാക്കുന്നതും പ്രേക്ഷ
കർക്കെന്നും കൗതുകമായി.
അസാമാന്യ നേതൃപാടവം
അരങ്ങുകളിൽ നിറഞ്ഞു നിൽക്കുമ്പോൾ
തന്നെ നാട്യസംഘത്തിന്റെ പ്രധാന
അധ്യാപകനാകാനുള്ള നിയ�ോഗവും
ക�ോട്ടക്കൽ ചന്ദ്രശേഖരനുണ്ടായി.
ആ നേതൃത്വത്തിലാണ് സംഘം
ഒരാണ്ടിൽ നൂറ�ോളം അരങ്ങുകളിൽ
കഥകളി അവതരിപ്പിച്ചത്. അപ്പോഴും
ചന്ദ്രശേഖരനെ പങ്കെടുപ്പിക്കാൻ, ട്രൂപ്പ്
കളികളില്ലാത്ത ദിവസങ്ങൾക്കായി സംഘാട
കർ കാത്തിരുന്നു. ഒഴിവുദിവസങ്ങൾ കുറഞ്ഞു തുടങ്ങി
യത�ോടെ ചന്ദ്രാശാനെ കിട്ടാൻ ട്രൂപ്പിനെത്തന്നെ
ബുക്ക് ചെയ്യണം എന്നായി. സംഘത്തെ ബാധിക്കാത്ത
തരത്തിൽ പുറംപരിപാടികളിൽ പങ്കെടുക്കാൻ
കലാകാരൻമാർക്ക് സ്വാതന്ത്ര്യമുണ്ടായിരിക്കണം
എന്നദ്ദേഹം ഉറച്ചുവിശ്വസിച്ചു. മറ്റു വിഭാഗത്തിലുള്ളവർ
ക്കും അത് സഹായമായി. കളിത്തിരക്കില്ലാത്തപ്പോൾ
ആസ്വാദനക്കളരികളും യുവാക്കൾക്ക് പരിശീലനക്കളി
കളുമ�ൊക്കെയായി ക�ോട്ടക്കൽ വിശ്വംഭരമൂർത്തിയുടെ
ക്ഷേത്രപരിസരം പൂർവ്വാധികം കലാനിർഭരമായി.
നാട്യസംഘത്തിൽ പ്രൈവറ്റ് വിദ്യാർത്ഥികളായി
ചേരാൻ നാട്ടുകാരായ കുട്ടികളും കൂടുതൽ താൽപ്പര്യം
കാണിച്ചുതുടങ്ങി. കഥകളിച്ചിട്ടയ�ോടുള്ള അദ്ദേഹത്തി
ന്റെ പ്രതിപത്തിയുടെ ജീവിക്കുന്ന ഉദാഹരണങ്ങളാണ്
ഇന്നു നാമറിയുന്ന ശിഷ്യരത്രയും.
മൂത്തവരെന്നോ ഇളയവരെന്നോ ഭേദമില്ലാതെ എല്ലാ
ശിഷ്യരേയും അദ്ദേഹം നിഷ്കർഷയ�ോടെ ച�ൊല്ലിയാടിച്ചു.
സാധകക്കാലം തുടങ്ങിയാൽ മുതിർന്ന കുട്ടികളുടെ
ഉഴിച്ചിൽ കഴിഞ്ഞയുടനെ ഉർവ്വശിയുടെ ഇരട്ടി,
കേകി, തപസ്സാട്ടം, മുതലായ സങ്കേതബദ്ധമായ
ഭാഗങ്ങൾ അദ്ദേഹം താളംപിടിച്ച് മറ്റകമ്പടികളി
ല്ലാതെ ചെയ്യിച്ച് ക�ോട്ടം തീർക്കുകയും തുടർന്നു വരുന്ന
ദിവസങ്ങളിൽ അവ കളരിയിൽ ച�ൊല്ലിയാടിപ്പി
ച്ചുറപ്പിക്കുകയും ചെയ്തിരുന്നതായി ശിഷ്യർ പറഞ്ഞു
കേട്ടിട്ടുണ്ട്. തനിക്കുള്ള കുറവുകൾ പ�ോലും ശിഷ്യർക്ക്
വരാതിരിക്കാൻ അദ്ദേഹം ശ്രദ്ധിച്ചു. ഗുരുകുലത്തിന്റേയും
2019 SEP - OCT | VOL 01 | ISS 05
MEMOIR | 16
കൂട്ടുകുടുംബത്തിന്റേയുമ�ൊക്കെ ചില നല്ല അവശേഷി
പ്പുകൾ ക�ൊണ്ടുനടന്നതിനാൽ അദ്ദേഹം പല
സംഘാംഗങ്ങൾക്കും ഗുരുനാഥൻ മാത്രമല്ല, രക്ഷിതാവും
കുടുംബത്തിലെ കാരണവരുമ�ൊക്കെയായിരുന്നു.
ആശാന്റെ മക്കൾക്ക് കലകൾ അഭ്യസിപ്പിച്ചതും
അവതരിപ്പിക്കാറാക്കിയതുമ�ൊക്കെ സംഘാംഗങ്ങൾ
തന്നെയായിരുന്നു. ഭയഭക്തിബഹുമാനങ്ങൾ ക�ൊണ്ട്
ആശാനെ അനുസരിക്കുക എന്ന അവസ്ഥമാറി,
നേതൃത്വത്തിലുള്ള വിശ്വാസം ക�ൊണ്ട് സംഘാംഗങ്ങൾ
ആശാനെ അംഗീകരിച്ചു. അദ്ദേഹത്തിന്റെ പിറന്നാളാ
ഘ�ോഷങ്ങൾ ഗംഭീരമാക്കി.
മുഷിയാത്ത വ്യക്തിപ്രഭാവം
ഒരു കലാകാരന്റെ പ്രകടനം അയാളുടെ ജന്മസിദ്ധമായ
കഴിവുകളുടേയും കുറവുകളുടേയും ശേഷമുള്ള ജീവിത
സാഹചര്യങ്ങളുടേയും ഉപ�ോൽപ്പന്നമാണ്. എല്ലാ
അരങ്ങുകളും അതി കേമമായില്ലെങ്കിലും തീരെ
മ�ോശമായെന്ന് പറയിപ്പിക്കരുത് എന്നദ്ദേഹം
ആഗ്രഹിച്ചു. വിശ്രമമില്ലാത്ത ജീവിതവും,
ആര�ോടും മറുത്ത് പറയാത്ത പ്രകൃതവും
ഈ കലാകാരനേയും ബാധിക്കാതിരു
ന്നില്ല. എന്നാൽ തന്റെ ഔദാര്യത്തെ
മുതലെടുക്കുന്നവര�ോടദ്ദേഹം നീരസം
പ്രകടിപ്പിച്ചു. സംഘാംഗങ്ങളുടെ താത്പ
ര്യങ്ങളെ മ�ൊത്തം ബാധിക്കുന്ന കാര്യ
ങ്ങൾക്കെതിരെ ശബ്ദമുയർത്തി. വേഷ
ത്തോടെയും അല്ലാതെയും പ്രകടമായിരുന്ന
നായകത്വമാണ് അദ്ദേഹത്തെ വേറിട്ടു നിർത്തി
യത്. വേഷത്തോട് അകലം പാലിച്ചവർ പ�ോലും വ്യക്തി
യ�ോടടുത്തു.
വിശ്രമജീവിതത്തിലും നാട്യസംഘത്തിന്റെ ആവശ്യാ
നുസാരം പണ്ടു ചിട്ടപ്പെടുത്തിയ കഥ ച�ൊല്ലിയാടിക്കാൻ
അദ്ദേഹം കളരിയിൽ വന്നു. ഉത്സവകാലത്ത് അണിയറ
യിൽ വന്നിരുന്ന് സ്നേഹബന്ധങ്ങൾ പുതുക്കി. എന്നാൽ
കളിയരങ്ങിന് ബാധ്യതയാകാൻ അദ്ദേഹം തയ്യാറാ
യിരുന്നില്ല. അതിനാൽത്തന്നെ ക�ോട്ടക്കൽ ചന്ദ്രശേ
ഖരൻ എന്നോർക്കുമ്പോൾ എക്കാലവും മനസ്സിൽ
തെളിയുന്നത് അരങ്ങു നിറഞ്ഞ് നിവർന്ന് നിൽക്കുന്ന
വേഷങ്ങൾ മാത്രമായിരിക്കും. വിശ്വംഭരന്റെ തിരു മുറ്റത്ത്
വച്ച് തന്നെ, ആരാധനാമൂർത്തിയുടെ സാമിപ്യത്തിൽ
സായൂജ്യമടഞ്ഞു നിൽക്കുന്ന തേജസ്വിയായ സുന്ദര
ബ്രാഹ്മണനായിട്ടാണ് അദ്ദേഹം അരങ്ങൊഴിഞ്ഞത്.
ഒടുവിൽ, തന്റെ അസാന്നിധ്യത്തിൽ ചെയ്യേണ്ടതിനെ
ക്കുറിച്ചൊക്കെ കുടുബത്തിന് ചില സൂചനകൾ നൽകി
രണ്ടുനാൾക്കകം അദ്ദേഹം യാത്രയായി. കാലത്തിന്റെ
ക�ോപ്പറയിലേക്കല്ല, മറ്റേത�ോ കളിയരങ്ങിലേക്ക്, മന്ദം
മന്ദം താളത്തിന�ൊപ്പം കാലടികൾ വെച്ചുക�ൊണ്ട്.
കാലം മറച്ചുപിടിച്ച തിരിശ്ശീല മെല്ലെ താഴ്ത്തി
ക�ോട്ടക്കൽ ചന്ദ്രശേഖരന്റെ വേഷം ഇനിയുമ�ൊരായിരം
ജനമനസ്സുകളിൽ തിരന�ോട്ടം നടത്തും, ആ ചന്ദ്രതാരം.●
Kottakkal Ranjith Varier is an art enthusiast and at the same
time, is a noted Carnatic vocalist who has been performing
in and around the state for the last two decades. He also
works in the banking sector.
2019 SEP - OCT | VOL 01 | ISS 05
17 | GENERAL
Display of talent
and dexterity
Gopika Raj Pillai has created an impression for
herself with a vibrant performance during her
Rangapravesam.
HAREESH N. NAMPOOTHIRI
W e often say, well begun is
half done. It’s valid in the
case of classical dancers as well.
They launch themselves as a
dancer with a Rangapravesam,
their first full-fledged concert.
They need to work hard and give
their best so that they will gain
the necessary momentum and
confidence to move forward.
Gopika Raj Pillai’s ran-
gapravesam was one
of the kind, showcasing
her talent and mettle.
An impressive start
The first part of the recital had
an invocation with an alarippu,
a jathiswaram, and a shabdam.
Then came the essential piece -
varnam, followed by a padam, a
keerthanam, a bhajan, and con-
cluding with a thillana - her guru
Nirmala Nagarajan has aptly put
together a set of pieces covering
the full spectrum. Enjoying herself
being on stage, and finding her
flow right away, Gopika made
both the dance pieces - alarippu
and the jathiswaram in raga
Arabhi a treat to watch.
As Gopika proceeded with
“Sarasijakshalu jalakamade...” - a
sabdam choreographed by none
other than Rukmini Devi Arundale,
the audience got a glimpse of
her abhinaya skills. Both in dance
and the abhinaya, she bettered
herself in the navaragamalika
varnam that followed; “Samiyai
azhaithodi va...“ composition of
K.N. Dhandayudapani Pillai.
The heroine is troubled by sepa-
ration and shares her sentiments
to sakhi. The piece had instances
expounding the lyrical meaning,
artograph
and Gopika made it all captivat-
ing with her innate talent. A bit
of refinement in footwork and
involvement in abhinaya would’ve
made it even more laudable.
Keeping the energy high
The padam “Kana kidaikatha
katchi...” and the Meera bhajan
“Gopal gobind radhe krishna
murari...” were the abhinaya
pieces. Separating them was
Subramania Bharati’s ‘Shakthi
Koothu’ in Keerthanam format
by Lalitha Sivakumar. The con-
cluding item was a thillana in
Gambheera Nattai. One aspect
which made the recital impres-
sive was Gopika’s ability to keep
the energy levels high right up
till the end. The padam and the
bhajan were noted for the way it
was conceptualized.
Gopika had abundant support
from her accompanying artists for
the day, with Nirmala Nagarajan
leading in the nattuvar’s seat.
Bijeesh Krishna in the vocal,
Kalamandalam Charudutt on the
mridangam, Palakkad Raghunad-
han on the flute, and V. Sounder
Rajan on the veena formed the
rest of the team. The recital was
on the 15th of Sept 2019 at the
■ HAREE FOTOGRAFIE
Kasturi Srinivasan Hall of the
Music Academy, Chennai. ●
Gopika Raj Pillai during her
Bharatanatyam Rangapravesam.
artograph
Workshop
musings
Times have changed, and so does the
way of organizing dance workshops.
PARSHWANATH S. UPADHYE
T he art world has been subjected to a lot of
changes in the past decade. Ultra urbanized
lifestyle, social media, and YouTube have silently
altered how art forms are perceived and performed.
My first experience of attending a dance workshop
was at the age of thirteen, and it was by none
other than guru Padma Subrahmanyam. It was in
the vicinity of a temple in Punaroor, a small village
near Mangalore. The daily routine would start at
six in the morning with yoga. It was followed by
the movements for anga, upanga, and pratyanga,
as described in the 'Natya Shastra' of Bharata
Muni. After a short breakfast break, the session
progressed with the training of Hasta Karanas and
other movements related to karanas. End of the
day, after dinner, all will sit together and watch
the recorded version of Padma Subrahmanyam’s
Karana-Prakarana telecast in Doordarshan back in
the '80s and '90s. The workshop lasted for almost
fifteen days, and we were able to perform the charis
and a Shiva sthuti by the end of it.
Changing times
Time flies by, and ways of teaching and learning no
more adhere to the days of yore. Though the number
of people learning classical art forms has increased
exceedingly, why one pursues the artform has
become comparatively superficial. Young dancers
try to imitate the style of successful dancers, rather
than being inspired by the essence of performances.
The physical appearance of the dancer, make-up,
and the costumes have become instrumental in
branding a dancer as successful. Furthermore, eye
candy photographs enhance these attributes even
further. For a particular section of the audience, it is
all these that what matters.
Personally speaking, such matters put me in place,
where I get continually reminded of improving
myself. Making people come and talk about my
dance rather than the lights, make-up, or jewelry in
2019 SEP - OCT | VOL 01 | ISS 05
INSIGHT | 18
■ HAREE FOTOGRAFIE
Parshwanath S. Upadhye during the workshop session organized
by Samhita, T’puram in Jun, 2018.
itself is a challenge.
Know your guru
Doing homework on the guru is also very important.
The in-depth knowledge of the resource person is
essential while organizing or attending workshops.
It is not what is taught, but how it is done is what
matters. Participating in the workshops of other
artists while being under the guidance of a guru is a
newly observed phenomenon. Exposure to diverse
gurus will only enhance one’s potential, and it is
indeed heartening to see this trend is becoming
popular.
This summer, I'm all set to conduct workshops in
as many as ten different cities across India. Sadly
none of the organizers host it for more than three
days. Often, the primary criterion is the provision to
provide the studio-quality music track of the dance
item to be taught. A bare minimum of six hours a
day would equip the aspirants with only one or two
nritya bandhas. Regrettably, youngsters want to
attend workshops of only those dancers who give a
lot of public performances. The general impression
is that all they want is to learn the items performed
by the artists.
Calls from Kerala mostly end up with me denying,
as most of the parents and students ask to teach
a varnam set for ten minutes. Workshops on
choreography and other knowledge enhancing
sessions attract fewer aspirants compared to those
by the same dancer in which 'items' are taught.
Preparing oneself for the performance should not
be the primary concern here. The focus should be
on improving yourself as a complete persona. ●
Parshwanath S. Upadhye is a noted Bharatanatyam dancer,
who choreographs, directs, produces, and presents his work
under the banner of Upadhye School of Dance and Punyah
Dance company.
 2019 SEP - OCT | VOL 01 | ISS 05
19 | GENERAL artograph
Making a W hile many dancers find their way to an acting
career, only a few can strike an ideal balance

mark of her own

Devaki Rajendran proved her mettle as
a Bharatanatyam dancer during her
performance in the capital city.
PRIYANKA B.
■ HAREE FOTOGRAFIE
between the two. Devaki Rajendran is a theater
artist and a film actor, turned dancer who manages
to keep herself engaged in all these. A disciple of
guru V. Mydhili, Devaki emerged promising during
her recent solo Bharatanatyam recital here in
T’puram.
A delightful varnam
Devaki began her recital with a composition
of Mayuram Viswanatha Sastry, “Sree maha
Ganapathe...” in raga Natta set to Adi tala, presented
as an invocation to Lord Ganesha. This was followed
by "Samiyai azhaithu vadi..." - the elaborate Tanjore
Quartet varnam in raga Khamas.
The love-smitten heroine asks her sakhi to bring her
Lord. Nayika yearning to meet Lord Sundareshwara
says that the time has come to seek his blessings,
and find love with him in communion. In the later
part of the varnam, the nayika finds herself out of
sorts, troubled by the arrows of Manmatha. The crisp
jathis proved to be the highlight of the varnam, and
when Devaki executed them skilfully with ample
support from the musicians, it became a delightful
watch.
Contrasting heroines
She then moved on to two abhinaya pieces, the first
one being "Nirupamana samini..." a Poochi Srinivasa
Iyengar javali in raga Behag, and then Subbarama
Iyer padam "Arivenayya un andarangam…" in raga
Atana.
The heroines here are of contrasting nature. The first
one asks her confidant to go and tell her beloved
that she is waiting for him. The lady in the latter is
furious as she knows about her lover's affinity to the
other woman. Devaki has emerged impressively in
presenting the two heroines. However, a bit more
involvement would've conveyed the emotions
better.
"Vallikkanavan pere..." - a 'Kavadi Chinthu' in raga
Chenchurutti came next. The folk composition
abound in devotion to Lord Muruga, portrays
a devotee who skips a heart beat every time
someone utters his name. The recital concluded
with a thillana in raga Valachi, set to Adi tala, a
composition of Madurai R. Muralidharan.
The backing of guru V. Mydhili in the nattuvangam,
Udupi Srinath in the vocal, Bombay K.B. Ganesh on
the mridangam, Udupi Sreejith on the violin and

Vivek R. Shenoy on the flute added to the charm

of Devaki’s performance. The event was organised
under the aegis of Midhilalaya Dance Academy at
Vyloppilli Samskrithi Bhavan on the 20th of October,
2019. ●
Devaki Rajendran during her Bharatanatyam recital at Vyloppilli
Samskrithi Bhavan.
artograph 2019 SEP - OCT | VOL 01 | ISS 05
GENERAL | 20
Talking Frames PHOTOGRAPHY BY Hakeem Kokkodan Readers’ Response

Friendly fight We do love to hear from you. Please do

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when the elders are not around. A shot from Maasai given below.
Mara National Reserve, Kenya. ● Link: bit.ly/ag_response
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Playlist

'Prakrithi' ft. Anju Aravind
06:07 | 2019 Sep 12
'Prakrithi' explores nature through the vibes of dance,
conceived by Rejith V. Chanthu, and choreographed
and performed by Anju Aravind.
Watch it here: bit.ly/ag-prakrithi
'Vandheham' ft. Niranjana & Sudharma
05:16 | 2019 Oct 01
Vandheham - The Zenith of Knowledge is a music-
dance production by Niranjana Ramanan and
Sudharma Vaithyanathan.
Watch it here: bit.ly/ag-vandheham
'Ganadhipathi' ft. Anaswara Ponnambath
07:04 | 2019 Oct 08
'Ganadhipathi' is a Ganesha bhajan video song
produced by Nandagovindam Bhajans featuring
dancer Anaswara Ponnambath in the lead.
Watch it here: bit.ly/ag-ganadhipathi

"Himagiri Thanaye..." ft. Nandini & Sharvari
04:51 | 2019 Oct 01
This music-dance confluence between Carnatic
and Kathak features vocalist Nandini Rao Gujar and
Kathak danseuse Sharvari Jamenis.
Watch it here: bit.ly/ag-himagiri
"Aaradhike..." ft. Reshma & Unnikrishnan
05:31 | 2019 Oct 07
A dance interpretation of the song "Aaradhike..." from
the Malayalam movie 'Ambili' by Reshma U. Raj and
Unnikrishnan.
Watch it here: bit.ly/ag-aaradhike
'Tranquillity' ft. Vishnumohan & Nandini
07:31 | 2019 Oct 11
The song video brings together Hindustani and
Carnatic, featuring vocalists Vishnumohan S. and N.J.
Nandini, symbolizing the oneness of Indian music.
Watch it here: bit.ly/ag-tranquillity