Chennai • CITY EDITION • APRIL 9, 2021

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READ INSIDE Women composers of Carnatic music P2 A fresh approach to Padavarnam P3 Vibha Rani gets Nemichandra Jain Playwriting Award P4

Three generations (Clockwise such as patra pravesha or the hunter

from below) Shambu Hegde, dance  before  graduating  to  bigger
Shivananda Hegde and Shivarama roles  where  they  are  trained  to  use
Hegde; Shivananda Hegde mudras, eye movements and expres­
performing; and seen with sions, and stances for various charac­
members of his troupe. ters. Interestingly, to understand la­
* PHOTOS: SPECIAL ARRANGEMENT sya, Yakshagana artistes have to don
the stree vesha. 

New ideas
Shivananda says Yakshagana is holis­
tic learning. One has to be self­reliant
— donning  make­up  and  costume
oneself.  “Dialogue  delivery  is  the
trickiest  part,”  says  Shivananda.
“Lines cannot just be memorised and
delivered.  The  artistes  have  to  read
the  scriptures  and  epics  to  under­
stand the characters. It is here that an
artiste’s  individuality  is  put  to  test,
where  with  each  performance  he
seeks newer meanings and interpre­
tations.  They  must  move  with  the
times, understanding the need to res­
pect change in the light of tradition.”
Though performances were origi­
nally  staged  as  all­night  shows,  this
changed with time, especially when
they began performing abroad. The
dialogues have been shortened too.
The dialect varies depending on the

The teller of
golden foil. The smaller roles get sim­ place  of  performance.  “But  all  this
pler costumes and make­up.  has  happened without  compromis­

tales
Shivananda  comes  from  a  family ing on the four core elements — angi­
of  traditional  Yakshagana  artistes. ka,  vaachika,  aharya  and  satvika.
When he was 12, he was initiated into When we perform outside Karnata­
the art by his uncle, Gajanana Hegde. ka,  we  connect  with  the  audience
He balanced school and Yakshagana more through emotion and aharya,”
training, and the first role he played says Shivananda. 
Acclaimed performer was  of  Abhimanyu.  He  began  with The performer has introduced vi­
Shivananda Hegde small roles and moved on to meatier gorous movements and synchrony in
ones as he got better in dialogue de­ group dances. He avoids deeply phi­
tells the story of how livery, absorbing the nuances and in­ losophical  stories,  preferring  the
Yakshagana is adapting terpreting characters.  more popular and familiar ones. One
Though he belonged to the North of the main changes he has brought
to modern times Kanara style, he also learnt the other about is to give small roles to the ar­
variations which helped him to get a tistes who hold  the screen to intro­
deeper  understanding  of  the  art duce the main characters. He has al­
form. After graduation, he trained in so revived some forgotten traditional
costumes. 
Hema Iyer Ramani which the crown cannot be worn by stories  drawn  from  the  Ramayana, choreography under Guru Maya Rao. To take the art beyond the barriers
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the successor. It is like a coronation the  Mahabharata  and  the  puranas. Equipped  with  these  skills  and of  caste  and  religion,  Shivananda

T
hey say the preparation for ceremony. The Idagunji Yakshagana On the day of the performance, the trained  in  varied  aspects  of  the  art came up with dialogues with univer­
the journey into the spot­ troupe has been performing consis­ artistes  construct  a  makeshift  stage form, Shivananda Hegde went on to sal appeal. “We remove objectiona­
light happens in the green tently at the temple for several years, with a chauki (green room), and the run  the  gurukula  that  was  esta­ ble dialogues that may be considered
room.  It  couldn’t  have and Hegde thinks it was truly a mira­ raja kirita (lead character’s crown) is blished by his father. It was his grand­ social evils today,” he says. 
BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB been  truer  in  the  case  of cle that his father’s last performance placed at the entrance to  the green father,  Shivarama  Hegde,  who  had Speaking  of  the  long  journey  of
Shivananda Shivananda  Hegde.  On  February  3, also happened at the temple.  room.  The  singers  occupy  a  raised established  the  repertory  that  his Yakshagana  and  the  hard  times  his
belonged to 2009, when he walked into the green platform  at  the  back of  the  stage father adopted when he established father and grandfather faced, Shiva­
room,  he  was  unaware  of  the  huge Traditional theatre while the audience sits all around the the  gurukula.  Shivananda  now  car­ nanda says that Shambu Hegde was
the North responsibility that he would be bes­ Yakshagana literally means, “song of stage, looking up at the actors.  ries the tradition forward.  initially not in favour of his son pur­
Kanara style, towed with.  the  yaksha  (demi­gods/spirits)  and Every important character is in­ Yakshagana requires the artiste to suing the art form. But seeing Shiva­
but he also His father, the renownded Yaksha­ the  mela  or  troupe  consists  of  two troduced  by  lifting  the  theray first train his voice to align to the sru­ nanda’s passion, he prepared him to
gana artiste Shambu Hegde, had suf­ main  parts:  the  mummela  (fore­ (screen),  which  prepares  the ti of the bhagavatha, and training be­ carry the mantle. 
learnt fered  a  heart  attack  during  a  show ground actors) and the himmela (sin­ audience  for  the  actual  mo­ gins with the learning of the seven ta­ The artiste was in Chennai recent­
the other and summoned his son to the green gers and instrumentalists in the back­ ment when these larger­than­ las and seven adavus, understanding ly to receive a lifetime achievement
variations, room to crown him successor. On the ground). It is a theatrical art form of life  characters  will  emerge rhythm with exercises in percussion, honour  from  Dakshinachitra.  At  a
which helped stage, just minutes before, Shivanan­ Karnataka, originally an all­night per­ on  stage  in  all  their  gran­ and  a  study  of  the  scriptures.  The time when artistes are struggling and
da  had  played  Shatrugna  while  his formance  where  the  mela  travelled deur.  The  ornate  costume students then specialise in an area of it  has  been  a  challenge  to  keep  the
him get father  played  Rama  in  Lava-Kusha from  one  village  to  another  with conists  of  kirita  (headgear), their  interest  —  either  singing,  per­ gurukula  running,  Shivananda  says
a deeper Kalaga that was being performed at shows being held in the open air. kavacha (armour), bujakeer­ cussion  or  dialogue  delivery.  Thus, the  award  has  enthused  him  to  tell
understanding Idagunji Mahaganapathy temple.  The bhagavatha, part of the him­ ti  (armlets  and  shoulder whether mummela or himmela, the his stories with renewed vigour.
According  to  Yakshagana  tradi­ mela, is the lead singer and narrates bands),  and  dabu  (belts)  — artistes get an immersive training.
of the art tion, the lead actor’s crown must be the  story  through  songs,  while  the all  made  of  lightweight After this, players ascend the stage The author is a Chennai-based
form personally  handed  over,  failing dancers/actors (mummela) enact the wood  and  covered  with with purva ranga, doing small roles freelance writer.

G. Swaminathan rhythm and musical beauty, using BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB thillanas are complex and

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both swaras and sahitya. Lalgudi, who Though gamakam is an challenging.

V
iolin maestro Lalgudi G composed varnams in Tamil, Telugu important feature of Carnatic According to Sankari, Lalgudi
Jayaraman’s exceptional and Sanskrit, was able to beautifully Jayaraman even did grahabedam in
contribution to Carnatic music weave subtle layas with intelligent music, the genius composer his thillanas. His rendition of
through his performances and calculations in logical progression to used even plain swaras Arunachala Kavi’s ‘Kanden kanden’,
compositions is legendary. One of his suddha swaras and anuswaras in all without compromising on Sadasiva Brahmendral’s
prime disciples, Sankari Krishnan, his varnams.  ‘Tungatarange’ and ‘Sarvam brahma
recently presented an informative and For her demonstration, Sankari
the raga bhava mayam’ made them popular, and he
engaging lecture demonstration on chose the varnam on Vinayaka in raga lent expert touches to Tyagaraja’s
the various fascinating facets of Mohanakalyani. The lyrics are Lalgudi Pancharatnam, ‘Nadaloludai’,
Lalgudi’s music.  another of Lalgudi’s specialities: praise of Madurai Meenakshi. ‘Na jeevathara’, ‘Aadamodi’, ‘Eti
Sankari began by pointing out that simple, aesthetic but poignant. Lalgudi Jayaraman’s very popular janma’ and ‘Aparata mula’. His
the master violinist has more than 50 Sankari explained in detail about how thillanas introduced Hindustani raags inclusion of catchy chittaswarams to
thillanas, 40 varnams and 10 kritis to each of the swaras following the like Priyadarshini, Pahadi, Tilang, ‘Paluku kanda’ by Tyagaraja and
his credit. Highlighting his amazing charanam were composed to Rageshree, Sindhu Bhairavi, Desh and ‘Durgadevi’ by Muthiah Bhagavatar in
composing skills and confidence to highlight the beauty of the raga Misra Sivaranjani decades ago. He also Navarasakannada are proof of his
experiment, Sankari said that his chosen. Though gamakam is an composed thillanas in Vasantha, creative mind. He also added two
music for the dance ballet ‘Jaya Jaya important feature of Carnatic music, Chenjurutti, Revathi, Kanada, etc.  different types of chittaswarams
Devi’ included almost the entire the genius composer used even plain following anupallavi and charanam in
Bharatanatyam margam. Lalgudi had swaras without compromising on the Rare genius his father Gopala Iyer’s composition,
also set the verses of the Valmiki raga bhava. Sankari presented several The master composer’s deployment ‘Thamadham thagadayya’, in
Ramayana to tune in Sapta ragas and examples with varnams in of swarksharas and sangatis in his Mohanakalyani.
Soolati Sapta talas. Besides creating a Devagandhari, Valaji, Kannada, Sama, thillanas, a rare feature, was One discovered that the maestro
few instrumental ensembles (vadhya Bowli, Nalinakanti and Andolika. She discussed. Sankari referred to ‘ma’ had tuned many Bharatiyar songs in
vrinda), he turned music director for also focused on how Lalgudi used being used in 10 places as ragas like Janasammodini, Durga,
the film Sringaram, which won him nyasa swaras, subtle sangatis, and swarakshara in the Khamas thillana Soorya, and Suddha Saveri.
the National Award. Tamil language. and how there are seven sangatis in Concluding her lec­dem with a
To highlight the beauty of his kritis, the Maund thillana.  Thiruppugazh in Dwijavanti, Sankari
Ragas for dance Sankari sang a lovely piece in raga In Rageshree, he came up with a played two songs from the film,
Since Lalgudi Jayaraman is Hamsaroopini (Arohanam; Mohanam swara play with ‘r s n s g m’ appearing Sringaram; a specially designed
particularly known for his varnams and Avarohanam; Madhyamavati) in thrice. The last line in almost all the mallari for nagaswaram; and the

Many strings
and thillanas, Sankari delved deep Bharatiyar song, ‘Engirunthu
into both. Lalgudi had composed both varuguvatho’, tuned with
‘Tana’ as well as ‘Pada’ varnams; the grahabedam and rendered by S.P.
latter has sahitya for the mukthayi Ramh, Lalgudi Vijayalakshmi and
and charanam swaras. Most of them Lalithaa.
were created on the requests of Sankari’s focus on the distinctive
popular dancers like Padma
Subrahmanyam and Chitra
Visweswaran. He used an extensive
range of ragas such as Charukesi,
Nilambari, Shanmukhapriya, Valaji,
to his bow
Sankari Krishnan’s lec-dem was able to bring out
Timeless (Top) Lalgudi
Jayaraman. (Left) Sankari
Krishnan * PHOTOS: THE HINDU
ARCHIVES AND C.V. SUBRAHMANYAM
aspects of Lalgudi’s compositions
made the exercise interesting and
informative. It was supported by
Sankari’s student Anusuya on the
vocals, Vijay Ganesan on the violin,
Asaveri, Andolika, Bahudari, and Raghavendra on the mridangam.
Devagandhari and Ranjani in his
thillanas and varnams. 
Lalgudi Jayaraman’s genius as composer The Chennai-based author writes on
Varnams, of course, carry a lot of music and culture.

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2 FRIDAYREVIEW
CHENNAI

FRIDAY, APRIL 9, 2021

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What
Lakshmi Anand
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Word power (Clockwise

F
rom  the  first  century from far left)
CE,  the  Sangam  pe­ D. Pattammal; Mangalam

women
riod,  to  the  present Ganapathy; Bangalore
day, numerous women Nagarathnamma and
composers  have Karaikal Ammaiyar.
emerged  from  south  India. * PHOTOS: THE HINDU ARCHIVES
While  some  were  revered  as AND SPECIAL ARRANGEMENT
saints,  most  were  women  who
straddled domestic responsibili­
ties with their passion for writ­

wrote
ing. Some remained closet­com­
posers out of necessity.
Under  the  auspices  of  Kala
Prashala  (a  division  of  SciArt
Services),  hosted  on  Facebook
by  Vanitha  Suresh  and  Revathi
Subramanian,  Dr.  S.  Sowmya
and  musicologist  Dr.  Radha A series that explored the rich feminine
Bhaskar shared their ongoing ex­ legacy in musical composition
ploration of women composers,
aided by vocalists K. Gayatri and
Vidya  Kalyanaraman.  The  wo­ Helavanakette  Giriamma century),  wife  of  Annama­
men  sang  brief  excerpts  and (18th century) was the only wo­ charya, was the first Telugu poe­
shared illustrative recordings of man  Dasa  of  all  the  Haridasas. tess — she wrote Subhadra Kalya-
other vocalists too. She set her verses to tune, most­ nam about Arjuna’s marriage to
ly in keertanai format in simple Subhadra. Molla, also 15th cen­
Expertise in music Kannada. tury,  was  a  young  village  girl,
One of only three women Nayan­ Radha  spoke  of  how  women who was the first to write the Ra­
mars,  Karaikal  Ammaiyar,  6th composers visualised the divine mayana in Telugu, weaving into
century,  demonstrated  her in  different  ways  —  as  partner, it,  like  Tyagaraja,  imaginative
knowledge  of  the  intricacies  of companion and friend. Some of anecdotes. 
music, referring to the saptaswa­ them  also  composed  from  the Avudai  Akkal,  a  child  widow
ras,  various  percussion  instru­ male perspective and conveyed of the 17th century and a follow­
ments, and even the veena at a emotions like sarcasm.  er  of  Sridhara  Ayyaval,  com­
time when it was the yazh that Talapaka Tirumallamma (15th posed  many  verses,  specifying
was in vogue. ragas for the same. Andavan Pi­
Andal  (7th/8th  century),  the chai, mothered ten children and
only woman Azhwar, composed lived  until  1990  to  age  91.  She
the Thiruppavai when barely 15. wrote several compositions, ma­
She saw no obscenity or vulgari­ ny on the god Muruga.
ty  in  expressing  her  innermost Muddu  Pazhani  (18th  centu­
desires  in  the  most  descriptive ry) of Andhra Pradesh, a Deva­
manner  and  did  not  worry dasi,  wrote  an  erotic  narrative
about society’s expectations. In poem about the marital relation­
Nachiyar  Thirumozhi,  she  tells ship  of  Radha,  Krishna  and  his had  to  compose  in  secret  be­ for  herself,  to  compose  unhin­ plained  by  Vidya  Kalyanara­ tis,  varnams  and  ragamalikas
Manmatha (the god of love) that new  wife  Ila.  Facing  severe  op­ cause of restrictive social mores. dered. Soundaryavalli wrote ma­ man) too. she worked with.
she is nurturing herself only to position, it was soon banned by Radha spoke of the crucial role ny  compositions,  including V.M. Kodhainayaki, who was Rukmini Ramani, daughter of
be given to god and, therefore, the male bastion, with the origi­ played  by  family  members  and some 30 on Tyagaraja, for which married at age five, was a writer, Papanasam  Sivan,  composed
cannot be given to just any hu­ nal  version  seeing  the  light  of other musicians in bringing ma­ notations  are  available.  Her publisher, novelist and perform­ hundreds  of  pieces,  including
man being. She would not live day only after Independence. ny such works to light. daughter and son­in­law actively ing musician. She gave her first on the 108 divya desams and the
if that were to happen. Bangalore  Nagarathnamma Abused and traumatised after publicised her work. vocal concert for AIR Chennai’s shakti peetams.
When in the 12th century (1878­1952) composed the popu­ losing her first six children, K.M. inauguration  where  Rajaji  was In  their  exploration  of  this
in Karnataka, Akka Mahade­ lar  Kannada  javali  ‘Maataada Soundaryavalli propitiated Gha­ Adding music to kritis the  chief  guest.  Her  husband rich legacy, Sowmya and Radha
vi’s  husband  told  her  that Bhaaradhaeno’ in raga Khamas. tikachalam and went on to con­ Ambujam Krishna wrote sever­ was most supportive of her ac­ traced  the  evolution  of  women
everything she owned, includ­ She was a pioneer in many ceive  seven  children.  She  said al  compositions  but  did  not tivities. She wrote many patriot­ composers from poetesses with
ing  the  garments  she  wore, spheres,  including  bring­ she looked forward to her men­ tune  them,  preferring  to  en­ ic  songs  and  was  jailed  for  her a strong  underlying  bhakti
were  his,  she  shed everything, ing the work of other wo­ strual cycles, when she got time trust the task to stalwart musi­ activism.  Besides  mainstream theme  to  performer  musicians
even her clothes, and wandered men  to  light.  Nagarath­ cians  who  went  on  to  present ragas, she also composed in ra­ who  melded  lyrical  expertise
about  in  the  nude  which, namma  was  also  able  to BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB them at concerts. Several other gas that she coined. with  musical  acumen  and  so­
Sowmya  said,  is  reminis­ persuade men to not just Andal saw no obscenity women  composers,  however, K.  Gayatri  spoke  of  her  late phistication. In subsequent ses­
cent  of  Sadhasiva  Brah­ join,  but  actively  cham­ set their pieces to music them­ guru, Suguna Purushothaman’s, sions, the panel hopes to focus
mendral.  Akka  Mahadevi pion  her  causes  includ­
or vulgarity in expressing selves. Other names that came compositions  that  reflect  tre­ on  composers  from  Kerala  as
told  her  horrified  mother ing  fighting  for  women  to her innermost desires in up  during  the  session  were  D. mendous understanding of me­ well as current Carnatic compos­
that  she  cared  for  no perform  at  the  Tyagaraja the most descriptive Pattammal,  Mangalam  Gana­ lody, layam and lyrics, the use of ers from all over India, many of
earthly  attachments  and Aradhana. pathy,  Kalyani  Varadarajan, ragas  that  reflect  the  subject whom are active performers as
manner and did not
wished  only  to  merge Both Radha and Sow­ Neela  Ramamurthy  (elder matter,  the  changes  of  nadai well.
with  her  chosen  god, mya also referred to the worry about society’s daughter of Papanasam Sivan), (gait), and the different compo­ The author writes on classical
Chenna Malikarjuna.  many women poets who expectations. and Padma Veeraraghavan (ex­ sitional  forms  like  thillana,  kri­ music and musicians.

Poignant Fr. Paul

Poovathingal; and
(below) Mohiniyattam
dancers presenting
Ummayude Dukham
* PHOTOS: SPECIAL ARRANGEMENT

Talk on Tamil poet and

composer
Get to know more about the life and work of poet and Carnatic
music composer Gopalakrishna Bharathi at a virtual event to be
hosted by Sruti, The India Music and Dance Society, Philadelphia.
Historian V. Sriram will deliver a talk on ‘The life and times of
Gopalakrishna Bharati,’ on April 10, 7.30 p.m. with musical
interludes by vocalist Bharat Sundar. The talk will be followed by
an interactive session that invites questions from the audience.
The non­ticketed event is to be streamed live on Sruti’s Facebook
page.

Mary’s lament in
with  an  open  mind.  The  la­ To begin with, an air of me­ arrest  of  Christ,  his  subse­
mentations of Mary while look­ lancholy is created by the play­ quent  torture,  finally  leading
ing at her son’s body after the ing of the violin and veena and to  the  crucifixion  unfold
crucifixion form the rest of the through the choice of the raga through  well­choreographed
Thematic concert series
Mohiniyattam
poem. In the last two couplets, Sahana. A group of four Mohi­ dance sequences. A certain in­
the poet concludes with a sup­ niyattam dancers interpret the ventiveness  in  choreography
The SVK birth anniversary concert series, to be hosted online by
plication to Mary “to wash the lines rendered by Fr. Paul be­ was  discernible  in  the  por­
Naada Inbam, will be a thematic event this year. In order to
stains  of  my  mind  with  the fore launching into pure nritta trayal  of  the  cross  and  the
showcase the rich variety of compositions in Carnatic music,
blood of your son and fill me to  the  accompaniment  of  a crucifixion by the dancers. To­
each day’s concert will be based on a theme. The series, to be
with goodness”. chorus and music. Both moth­ wards  the  finale,  the  dancers
A ragamalika with inventive er and son appear as the suc­ recreated Michelangelo’s  fa­
held from April 10 to 19, 6.15 p.m., will begin with Jayashree
Aravind’s veena recital tomorrow. The theme for Bharathi
choreography made the performance of Poem in concert style cessive verses are sung. As the mous Pieta.
Ramasubban’s concert on April 11 is ‘Marundumagi.’ The
In  the  audio­visual  produc­ pallavi  is  repeated,  the  back­ Music for the 17­minute pro­
Ummayude Dukham interesting tion, the poem is rendered by ground  music  along  with  a duction is by Fr. Paul Poovath­
following is the list of concerts to be hosted: 
April 12: ‘Sanskrit compositions’ by Nanditha Kannan; April 13:
Fr. Paul in concert style and its fleet of swaras can be heard as ingal, set in a ragamalika. He is
‘Tamil kritis’ by Dhanush Anantharaman; April 14:
G.S. Paul and missionary, Johann Ernat interpretation  through  dance the  dancers  perform  in  a assisted by noted violinist Ab­
CCCCCCCCCCCCCCC ‘Ramanatakam’ by Ashwath Narayanan; and April 15: ‘Vidya
Hanxleden,  known  as  Arnos appears  alternately  on  the group.  dul  Aziz.  The  seven  ragas  be­
Paraa Devata’ by Abirama Bode. The concerts can be watched

F
or the Catholic Christians Pathiri in Kerala, arrived here screen. The incidents leading to the ginning with Sahana and end­
live on the Parivadini Music YouTube channel.
in Kerala, Arnos Pathiri’s in 1700 at the age of 19. He was ing  with  Ahir  Bhairav
Puthen Pana is a familiar known for his contributions as appropriately  convey  the  es­
composition, which they sing a Malayalam  and  Sanskrit sence of the verses. The back­
as part of prayers during Holy
Week.  But  this  year,  they  en­
poet, grammarian and lexicog­
rapher. Inspired by the famous
ground  score,  which  lends  a
beautiful  dimension  to  the
Ramanavami festival
joyed  something  more  of  the work, Jnanapanam, by the de­ show, is by Thrissur Pauly.  Concerts, discourses and honouring of
priest’s work. Chetana Ganas­ votional poet Poonthanam, he The  dance  sequences  have religious scholars will mark the Sri
ramam,  helmed  by  Fr.  Paul composed Puthen Pana, which been put together by Kalaman­ Ramanavami celebrations organised by
Poovathingal,  produced  a narrated  in  full  the  life  of dalam  Husnabhanu  and  Kala­ Sri Thyaga Brahma Gana Sabha. 
music­dance  video  of  the Christ. Ummayude dukham, in mandalam  Sherin.  While  She­ To be held from April 14 to 21 at Vani
poem, Ummayude Dukham turn, was a touching portrayal rin donned the role of Mother Mahal, the festival will begin with
(Mother’s grief ), and it was te­ of Mary’s grief over the suffer­ Mary, Kiran Krishnakumar who Sandeep Narayan's vocal concert on
lecast  by  a  few  channels  on ings and death of her son. portrayed Christ appeared a bit April 14, 6.30 p.m. Damal Ramakrishnan
Maundy  Thursday  and  Good Composed in 22 couplets, it too young for the role. will present a six­day discourse on
Friday. opens with a request to listen The writer and culture critic 'Ramayanam' (April 16­21, 6.45 p.m.) On
The  German  Jesuit  priest to the pain and agony of Christ is a trained musician. the occasion, the title of 'Pravachana
Sudha Vani' will be conferred on Ramakrishnan and Perundevi.

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FRIDAYREVIEW 3
CHENNAI

FRIDAY, APRIL 9, 2021

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‘Padavarnam’, presented by
Urmila Sathyanarayanan’s students, had
many fresh elements

New
perspectives
Dancers presenting ‘The legend of Jyotirlingam’

Pilgrims of dance
A
new dance production titled ‘The Legends
of Jyotirlingam’ will explore the mythologi­
cal stories behind the 12 most significant Jyo­
Rupa Srikanth attentive teacher, Urmila has done tirlingas  in  the  country.  These  are  Somnath  and
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well to recognise and encourage Nageshwar in Gujarat; Mallikarjun in Andhra Pra­

‘P
adavarnam’ was a these.  desh; Mahakaleshwar and Omkareshwar in M.P.;
seminal work for ‘Padavarnam’ turned out to be a Baidyanath in Jharkhand; Bhimshankar, Trayam­
Urmila margam with two padavarnams, bakeshwar  and  Ghrishneshwar  in  Maharashtra;
Sathyanarayanan for ‘Sakhiye inda velaiyil’ to expressions for a length of time, four sides and the shodasa padavarnam. Beyond the opening Kedarnath in Uttarakhand; Rameshwaram in Ta­
two reasons — it (Anandabhairavi, Adi, Sowjanya presented some well­ upachara and homage to the ashta formalities, one sees lightning mil Nadu; and Kashi Vishwanath in U.P.
established her commitment in Shivanandam­Thanjavur Quartet) nuanced sancharis.  dik palakas within the tisra footwork, superfast execution, The Jyotirlinga represents Shiva, and it is consi­
training students, and secondly, and ‘Nathanai azhaithu va’ In the opening phrase of the framework, and kept precise time.  agility and ease in handling any dered that Shiva transformed into an infinite pillar
established her individuality as a (Kamboji, Adi, Tiruveezhimizhai pallavi, the emphasis was on the In between the padavarnams speed in nritta. She carried the of light in these 12 spots. 
dancer­teacher. The presentations, Kalyanasundaram Pillai). There recollection of past interludes there was a light­hearted javali, ‘Urmila araimandi’ at all times. Concept, research, choreography and direction
though time­tested, had new was no overlap in treatment and rather than the padartha abhinaya ‘Sarasamulade’ (Kapi, Adi, Poochi Each jati was almost an event with are by Guru Kanaka Sudhakar. Seven male artistes
elements, new movements and interestingly, the sakhi mattered in of cajoling the sakhi, and in the Srinivasa Iyengar), in which the different reference points — one will depict Shiva through seven dance styles and
new emphasis to demonstrate her neither varnam. second part, ‘Endan samiyai nayika tries to convince Krishna was a long one, the other full of nine Bharatanatyam dancers will weave the narra­
creativity, and represented a The senior most dancer, azhaithodi va’, she presented that the time is not right for a twirls and jumps, another in tive. The artistes will also depict the geographical
departure from the days of gurus Sowjanya, shone in the Rukmini’s letter to Krishna and dalliance, with the family around tisram, and the last superfast one and spiritual significance of each Jyotirlinga.
K.N. Dandayuthapani Pillai and Anandabhairavi varnam, skilfully how he saved her, depicted the on a clear moonlit night. It is not was amazingly accurate. There The production is presented by Sunaina (Socie­
K.J. Sarasa.  tackling the nayika’s surrender. The sthala straightforward because the was also a seamless move from jati ty for the Upliftment of National Arts of India) in
The movement vocabulary elongated jatis, puranam of Mannargudi Sri nayika has to show that she is to arudi without a break. association with the Ministry of Culture and Sahi­
included sharper, more angular (Karaikudi Rajagopala’s mismatched earrings flattered by the advances, but not Precision is her forte, which she tya Kala Parishad. It will be staged on April 10, 7
movements on the diagonal, Shivakumar) was depicted well. There were, ready to reciprocate for fear of carries to all aspects of dance. p.m., at Delhi Tamil Sangam. The recording can be
extensions of the nattadavu family, but it was the however, some instances that being discovered. Akila rose to the Presenting Subramanya’s viewed  online.  For  details,  log  on  to  sunainaof­
and some Ravi Varma­inspired bhava that was required more demands of the role with procession, with him on the fi[email protected] or call 8588802608.
poses and steps. There was mesmerising. clarity. One reasonable clarity. The broad chariot, and the Kama­nayika
a a change in the Able to hold on imagines smile she gives Krishna while encounter were different ideas
treatment of varnams that the possibly shutting the door on his that were portrayed correctly.
as well, with less crinkles face was the winning moment of The musicians were
extended abhinaya will be the piece. She presented the praiseworthy: Hariprasad (vocal),
passages and more ironed out closing Tilang thillana (Adi, Saikripa Prasanna (nattuvangam),
nritta. over time.  Lalgudi Jayaraman) with some Nagai Sriram (mridangam),
The Sunday morning Confident Akila has smart endings while landing on Sashidhar (flute), and Kalaiarasan
recital presented three of her Sowjanya well­rounded skill sets. She one leg. (violin). The nattuvangam and
accomplished senior students — Suresh; Akila handled the opening tisra music were some of the strong
Sowjanya Suresh, Akila Bala and G. Bala and Alarippu (K.N. Agile and accurate points of the programme.
Shruthilekha. They were confident Shruthilekha Dandayuthapani Pillai), There was a surprise package in
and beat­perfect. Every dancer has * PHOTOS: SPECIAL with additions of attami Shruthilekha, a smart young The Chennai-based author
his or her strengths, and as an ARRANGEMENT in mandi adavus on all dancer, in the Kamboji writes on classical dance.

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4 FRIDAYREVIEW
CHENNAI

FRIDAY, APRIL 9, 2021

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Vibha Rani’s stinging

satire won the
Nemichandra Jain
Playwriting Award
Thought- this year Connecting
provoking
the dots
(Right) Vibha
wanted her husband to understand Shan Jain’s
Rani receiving
her pain. On the other hand, she artwork
the award
perpetuates patriarchy by wishing for * PHOTOS:
from theatre
a male child and expecting her SPECIAL
and film
daughter­in­law Priya to manage both ARRANGEMENT
director Ranjit
home and work.
Kapoor.
“Patriarchy’s social conditioning is
(Below) The such that it refuses to go. Apart from
writer and the other abuses, financial abuse is the
book cover biggest,” says Vibha. When Priya will
* PHOTOS: SPECIAL
become a mother­in­law, says the
ARRANGEMENT
playwright, she will be different.
“Because of her financial
independence, she is in a position to
say, if my partner doesnt give me

Circle in a square
equal space, I have the option to leave
him, and she will pass on this thought

Anuj Kumar
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An to her daughters.”
The name Shikhandi, according to
Vibha, is just a metaphor for the

W
omen often wish
longingly that men
“indecisive nature” that defines many
men when they have to negotiate
Artist Shan Jain uses mandalas as art therapy

idea
would get pregnant at between mother and wife. “He is not
least once in their exactly a mama’s boy but like many V.V.RAMANI nearly 10 years ago. Fascinated with
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lifetime to men he hasn’t tried to work upon art  since  childhood,  her  explora­

A
understand just what women go himself to become a spouse sensitive ll art begins with a dot and when tions continued during her career
through in those nine months. In to his partner’s feelings. Your parents the dots are connected the line as  an  advertising  professional.  An
Vibha Rani’s play, Pregnant Father, the can’t teach you everything. Some appears.  It  is  the  artist  who introduction  to  mandala  art  left  a
wish comes true, and we get to once things are self­taught.” makes the line his own and embarks deep impact on her. “They say this
again discuss gender roles in a She says men claim to be strong, but on a personal creative journey. Bindu, art emerges during moments of in­
patriarchal society. in reality they are insecure, and this also  known  as  dapsa or  avayava in tense  personal  growth  and  that  is
Winner of this year’s Nemichandra reflects in social ills. The earning the Sanskrit,  is  the  point  around  which how  it  happened  to  me  as  well;
Jain Playwriting Award, the stinging bread argument doesn’t mean that the  mandala  is  created  representing transforming my life. I started using
satire tells the story of a mama’s boy
named Shikhandi who gets pregnant.
It spirals not only into domestic and
emotional upheaval but a social crisis
as well, with the role of doctors and
well-conceived men get reduced to a baby when it
comes to household chores. “The
bread you win is secured and managed
for the future by a woman,” says Vibha
Will the financial enabling of
the  universe.  In  its  most  simplistic
form, mandalas are circles contained
within a square and are arranged into
sections  organised  around  a  single
central  point  called  the
images,  forms  and  colours  to  ex­
press my innermost feelings. I try to
portray  love,  harmony  and  peace
using  gold,  black  and  white  pens.
Of late, I have begun us­
the media exposed. sharing women’s workload in giving women render men the weaker sex? bindu. The term ‘bindu’ ing  colours  and  paints
“It is very normal for people not to birth to humanity.” Taking theatre home Vibha replies, “ Women are wrongly instantly  brings  to  the too. The whole process
understand what pregnancy entails The play refers to the little­known referred to as the weaker sex today, mind  celebrated  artist of creating a mandala is
In 2014, Vibha started the concept of
for a woman. The physical aspect is mythical tale from the Mahabharata, ‘room theatre’, where she turns her and I don’t want that men should be S.H.  Raza,  since  it  was linked to a purpose or
handled by the doctor but what about where king Yuvnashva gets living room into a stage. “This led to called the same tomorrow. The two the centre of his life and intention,  therefore
the emotional and psychological accidentally pregnant. It also forms the concept of intimate theatre and is should be allowed to co­exist with work.  each work is about or­
issues. The upbringing of boys is such the basis of Devdutt Patanaik’s book popular among those who can’t their nuances and virtues so that they In  the  Hindu  and ganic  individual
that even today only about 1% of them The Pregnant King. “Our mythology afford the cost of staging proscenium support each other.” Buddhist  traditions, growth.  Each  work
are perhaps sensitive to the deals with many complex issues, and theatre. During the pandemic, it has Female voices in theatre are few mandalas  are  objects  of thus looks different and
emotional needs of their male pregnancy is no exception. I become all the more relevant.” A and far between, and Vibha says there meditation  to  aid  spiri­ I have  created  nearly
cancer survivor and motivational
spouses,” says Vibha, who has spoke to Mr. Patanaik before is a gender bias in this field as well. tual  development.  The 200  over  the  years.  I
speaker, Vibha also writes extensively
more than a dozen plays to including his voice in the play,” in Maithili and her collection of short
Men can participate in amateur belief is that by entering call them ‘Urban Man­
her credit. says Vibha. In 2015, Patanaik’s stories recently won the Kiran theatre, but but women can’t afford to the mandala and moving towards the dalas,’” she says.
According to Vibha, every book was adapted into an Puraskar. Here again, she weaves return home at 10 in the night. They centre, one is guided through the cos­ Realising  that  this  art  form  has
man before birth is a female English play, Flesh, by Kaushik characters and stories that are rooted are expected to think of the mic  process  of  transforming  the  un­ the power to heal since it entails a
because he spends nine Bose, examining issues yet progressive. “I come from the household. This has limited the role of iverse from one of suffering into one of meditative  process,  Shan  Jain  be­
months inside a female body. surrounding gender and land of Sita. Her lifting the bow was women in theatre.”  bliss. gan  conducting  workshops.  The
“If he carries that nine­ sexuality. not magic, she had training in arms. In her popular play, Doosra Admi, Around 1938, Carl Jung, the famous most recent one was for cancer sur­
We have had a culture of Maitreyi,
month sensitivity with Doosri Aurat, first staged by Rajendra Swiss  psychoanalyst,  introduced  to vivors. She also does commissioned
Katyayni and Ubhaya Bharati, who
him, he could handle indulged in debates with Adi
Gupta and Seema Biswas in Bharat the  Western  world  the  concept  of works for marriage, childbirth, etc.,
the emotional needs Sankaracharya. But over the years, Ran Mahotsav, Vibha talks of a new creating mandalas for self­expression, believing that besides a therapeutic
of his partner.” women’s voices have become feeble relationship being forged, a bond of discovery  and  healing.  He  had  real­ effect, mandalas also bring positive
The premise is in stories. My characters have friendship beyond the gender divide. ised that the colours, shapes and pat­ energy into homes.
futuristic, and multiple identities. They may speak “On the surface, it seems like a play on terns  of  what  he  made  changed  de­ Art  therapy  has  gained  signifi­
Vibha points to the English at work but converse in extra­marital affair and for years I was pending  on  his  state  of  mind.  He, cance  during  the  pandemic  with
patriarchal mindset Maithili at home.” asked to change the ending. But therefore, used it as a tool to encour­ many people experiencing anxiety
that runs scientific today’s generation appreciates it . After age  his  patients  to  create  their  own and stress. “The process of creating
research. “Scientists all, we come from a culture where mandalas and he found that it helped a mandala  can  have  a  calming  ef­
are working on Shikhandi’s widowed mother is an Krishna and Draupadi were friends.” to soothe their chaotic mental states. fect,” says Shan. 
achieving interesting character. On the one As she says, a female voice tries to Mandala art found its way into the The author is a Chennai-based
immortality, but there hand, she is happy with the news of unite people, nurture relationships; it life  of  Shan  Jain,  a  self­taught  artist, freelance writer.
is no attempt on her son’s pregnancy, as she always doesn’t make them fall apart.

Calendar
Interactive lec-dem session
Antarnada will host senior musician
Charumathi Ramachandran's lecture
demonstration on Pallavis on its
Facebook page, April 10. The
interactive lec-dem aims to help
music aspirants and rasikas learn
about what goes into pallavi singing
and how to appreciate pallavis in
concert. For tickets, log on to
ticketing.events/.../pallavi-lecdem-
by-vid-charumathi-ramachandran
South Asian art exhibition
The fifth edition of Delhi Contemporary Art Week,
a collaboration between seven galleries in the
capital, has begun and will be on until April 15.
On Kishore Kumar
Curated selections of contemporary South Asian Sumana Roy, Associate
art are on show at Bikaner House and in the Professor of Creative Writing,
galleries’ own spaces. A number of events will Ashoka University, will talk
complement the exhibition, from talks, workshops about ‘Kishore Kumar the
and walkthroughs to wine tastings. Provincial’ in an online event
to be held by Ashoka
University on April 10, 6.30
p.m. The talk, Kavi Kishordas,
Kishor Kumar Khandwawala,
Kishore Kumar, will examine
the gibberish vocabulary and
improvisations Kishore Kumar
brought to Bengali and Hindi
cinema, offsetting the power-
centres of gharanas.

Talk on Ambedkar
Tamil play
On the 130th birth anniversary of B.R.
Ambedkar, Dalit-Queer interdisciplinary artist Naatya Naadha Nataka
Aroh Akunth will deliver a talk on the legacy Sangamam will stage Tamil
Ambedkar left behind for queer movements. play Manitham Punidham, on
Organised by Rosa-Luxemburg-Stiftung / April 13, 6.30 p.m. at Vani
English and South Asian Scholars and Activists Mahal. Written and directed by
Solidarity, thes online talk titled The Queer in K.S.N. Sundar, the play is about
Ambedkar will be held on April 21. Zoom link: a greedy man, who wants to
https://zoom.us/webinar/register/ usurp a temple property.
WN_hqtzUq71R0mvrs07h4VdKQ

Lotus as muse
Sufi music concert Dhvani India Performing Arts Society of Central Ohio will
A Sufi music concert featuring Girish present an online concert by Nisha Rajagopalan on April
Sadhwani and well-known teenage singer 11, 10 a.m., titled 'Thamarai.’ The young vocalist will
Khanak Joshi (in pic) will present compositions
be held at Chiranjiv Singh selected for their poetry
Auditorium, Alliance and the recurring lotus
Française, Bengaluru, on motif in Carnatic music.
April 10. Titled Jalsa-e- It will be a solo concert
Sufiyana, it is a venture by with tambura
Charista Foundation in accompaniment.
collaboration with Alliance For tickets, log on to
Française to raise funds for the Dhvani website at
underprivileged artistes. dhvaniohio.org

CM CH-CH
YK