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 Nandanar Charitam by Kuchipudi Parampara Foundation - Dr. Srinivas Vasudev July 8, 2022 Kuchipudi Parampara Foundation, Bangalore, supported by Sangeet Natak Akademi, New Delhi, presented 'Nandanar Charitam', a dance drama in Kuchipudi, conceived and choreographed by Deepa Narayanan Sashindran, on June 29, 2022 at Seva Sadan auditorium, Bangalore. This program was dedicated to Guru M.K Saroja who passed away recently after seven decades of unparalleled service to Bharatanatyam. A short documentary video on her life was shown and a minute of silence was observed as a mark of respect. Nandanar was a great devotee of Lord Shiva who hails from a humble agriculture family in the 12th century. The tale focuses on two miracles attributed to him. In Sivalokanathar temple, Thirupunkur, his prayers are said to have moved a giant stone bull, which still appears in the moved position in the temple. Nandanar is said to have ritually purified himself by fire at Thillai Nataraja temple, Chidambaram. Nandanar's tale features in temple lore and religious literature related to both these temples.   The showcasing began with a salutation from the verses of Natyashastra, the slokham 'Angikam Bhuvanam Yasya' followed by a tribute song to Kuchipudi art form Sammohanam with visuals which enhanced the expectations of the sequences to follow. The first scene was an introductory Sutradhar as Raktim Chanda and Anusmitha who described Nandanar's village, his occupation and devotion towards Lord Shiva leaving the miracles to unfold in due course. Nandanar portrayed ardent Shiva bhakti in a divine song 'Shivanamame' which took us into a trance and the mood was set for a divine experience by Smrithi Vishnu. A typical Telugu folk dance in praise of the village goddess Yellamma concluded with sacrifice of animal which was questioned by Nanda. The concept of Navavidha Bhakti was aptly well established through the song 'Vitalakakshudu okkare' and the journey to Thirupunkur where the miracle of Nandi moving aside from the front of Shiva lingam was majestically portrayed through expressions and images which evoked goosebump effect on the audience. Adi Shankaracharya's Shiva Sthotrams was an added dimension to the whole miracle that unfolded. The next scene was the construction of water reservoir with the support of Lord Ganesha in disguise. It is called Rishabha Theertham or Kulam Vettiya Vinayagar, a Ganesh stuti by Raktim Chanda who in the end installs himself as the Ganesh was a superb ending to the first part of the drama.   The second part of the story began with questioning the thatvam of Lord Shiva as Nanda was acquainted with Thirupunkur Sivaloganathar temple. Shiva explains his presence in 12 jyothirlingams portrayed by Priyanka Ramachandraiah as Shiva and Anusmitha as Sutradhara questioning through the song 'Evaridi ee Pilupu' which convinces Nanda to immediately start his journey towards Chidambaram by seeking permission from his landlord but unable to explain what Chidambaram stands for through the song 'Mayajagamuna.' Lord Shiva then requests Goddess Shivagami to explain the thatvam of Chidambaram which was portrayed by Megana Chandramouli in a shabdam format with beautiful meaningful song 'Chidambara manina.' With full information Nanda again reaches out for permission with his landlord who refuses, but on condition that he ploughs and tills acres of land into full harvest by sunrise. A dejected Nanda cries with heavy heart that reaches Shivagami who requests Lord Shiva's intervention and he brings his family together and descends to earth and cultivates the whole area of land to full harvest and this whole scene presented through the song 'Shiva parivaramu' was a sight to feed on. This miracle astonished the landlord who shed his ego and asks Nanda to explain the path to reach Lord Shiva. This scene was performed with the evergreen Gopalakrishna Bharathi song adapted to Telugu 'Entho Katinamu Natarajuni Margam' well danced by Smrithi. The Kailasa scene with an Apsara portrayed by Aarathi Nair to the concept of Panchasabha Sthalams and thandavam was performed to 'Pranathi Pranathi' that was beautifully choreographed and composed, ending with Shiva and Shivagami's duet. On the order of Lord Shiva, his sons Ganesha and Karthikeya disguised embark on a journey with their respective wives and meet Nanda on his journey to Chidambaram. When Nanda is asked about what he likes most in Chidambaram, Gopalakrishna Bharathi's iconic song 'Kanaka Sabha' translated to Telugu was highlighted with pristine dance choreography. The journey continues with a stopover where Lalgudi Jayaraman's Rageshri Thillana was performed beautifully by Anusmitha to perfection and the final journey of Lord Ganesha in disguise by Raktim Chanda points out Chidambaram in beautiful song 'Adigadigo Chidambaramu' and the family departs. Nanda explores the temple but is stopped by a priest saying that there is a yagna going on and he should come back after 10 days for which Nanda pleads to let him in as per the orders of Lord Shiva but he is shunned and sent away. In the next scene, Lord Shiva appears angry in the priest's dream who then looks for Nanda and purifies him in the fire and the last scene concludes with Nanda merging with Lord Shiva which was portrayed with divine dramatic approach that heightened the devotion of the audience. The final Mangalam was itself a peaceful rendition leaving the audience in a state of bliss.   The Kuchipudi Parampara Foundation ensemble led by Acharya Deepa Narayanan Sashindran with her compelling choreography, conceptualization and visual effects created an astounding production to a standing ovation. As a direct witness to the program, this production is one of the best made in recent times adhering to Late Guru Vempati Chinna Satyam's parampara and must be witnessed by devotees of art for its classical dance purity, ever haunting songs soulfully rendered by Shweta Prasad, Pavan Bonala and Manta Srinivas, lyrics of high meaningful standard by Venkat Gadepalli and well trained students of Deepa Shashindran. Music composition by Shweta Prasad and Renuka Prasad, nattuvangam and jathis by Renuka Prasad, Edukondalu on mridangam, Phani Narayana on veena, Uma Venkateswarulu on flute, Mohan on tabla and effects, Sreedharacharya on percussion, added to the appeal of the presentation. Apt lighting, multimedia by Janardhan Urs made it a good team collaboration. Dr. Srinivas Vasudev is a bilingual poet, writer, author, Prof of English, Rabindranath Tagore International Literary awardee. Responses * Concept of Jyothirlingams with background images was a great effect. The whole production is well researched and presented highly intellectually be it lyrics, music, Deepa's wonderful choreography, multimedia images portraying the rich temple culture of India and lighting by Janardhan; this is a treasure for ongoing heritage temple reconstruction projects... - Prof Choodamani Nandagopal * I have been born and raised hearing stories on Thirupunkur Shivaloganathar temple, Nandanar, Chidambaram and watching the production made me very nostalgic. Nandanar songs are always attributed to Bharatanatyam and danced to Gopalakrishna Bharati compositions but the story written in Telugu and an attempt in Kuchipudi is for the first time and if era of Gopalakrishna Bharati songs became popular than Periya Puranam, this era the songs of this production will indeed become popular. I bow to the lyricist Venkat Gadepalli, outstanding music composition by Shweta and Renuka Prasad; choreography of Deepa adhered to Guru Vempati Chinna Satyam’s style was brilliant and the students well trained especially young Anusmita... - Ramaa Bharadvaj * It was a fantastic show with good choreography of synchronization with music, costumes, lighting was sensitive and apt. This kind of 2 hour production must be watched to enhance the mind and soul instead of violence movies... - Anoor Ananthakrishna Sarma * It has been long that I saw a full length Kuchipudi production in Bangalore and I congratulate Deepa and all her disciples for putting up a fabulous show. - Sathyanarayana Raju * It was a professionally presented show with good dance, music, lyrics, lighting; apt images with minimalistic use added to the appeal of the production. - Ananya Raghavendra * It was a dance drama that filled the heart and minds with total devotion and joy and I'm glad I got an opportunity to watch such beautiful work of Deepa and her disciples. - Sandhya Sharma |
