Narthaki Nataraj
| Picture Credit score: S.R. Raghunathan
Dancer Narthaki Nataraj, the famend disciple of guru Kittappa Pillai, can be well-versed in historical Tamil literature, because of his steerage. She offered some uncommon items, each devotional and folks — some have been choreographed by her and the others beneath her guru’s steerage. The conceptualisation was by Shakti Bhaskar.
Narthaki commenced her efficiency at The Music Academy with an Abhirami Andadhi, ‘Kalaiyadha kalviyum’ in ragamalika, talamalika, wherein Abhirami Bhattar is asking for a lot of boons — an excellent spouse, truthful youngsters and so forth, however on the finish of which he asks for give up at Devi’s toes.
‘Samiyai azhaithu vaadi sakhiye endan’, the well-known Khamas padavarnam (Adi tala) by the Thanjavur Quartet on Sundareshwarar of Madurai was dotted with Madurai-centric thiruvilaiyadals, similar to his change of the dancing foot to please a involved Pandya king and the disappearance of Madurai Meenakshi’s third breast with one look.
The tales have been proven in passing. Narthaki’s expressions are her power. The detailed description of the ‘Sami’ was additionally attention-grabbing and completely different, as a five-faced Shiva with a garland of tortoises.
Within the mukthayi sahitya, there was an uncommon samyukta hasta offered with a small bounce, as a patakam with thumbs bent, in entrance of the chest — Narthaki calls it the Ashta Sambhoga mudra, taught by guru Kittappa. It was adopted by some poses referring to sambhoga shringara.
Uncommon mudra
There was yet one more notable reality within the charanam, ‘Va, va’. She launched a chicken, with whom she was first irritated with for making a noise when she’s in a state of agony as a result of separation. Then, she modifies her thoughts and feeds it grains and water earlier than handing over a letter. On the finish of the piece, there’s a footnote wherein the forlorn nayika hears the chicken — it returns with a letter of hope. The nayika bursts in pleasure, and kisses the chicken in gratitude earlier than leaving.
The varnam, being a guru Kittappa legacy, had lilting, soft-toned jathis, with tiny karvais. The Trikala one didn’t have a tisra section. The second was uncommon, beginning with mandi adavus and maybe one-two avartanams longer than common. The third jathi, tisra, was sophisticated and elicited applause. The fourth had uncommon sollus similar to ‘tha dhin thangudu’. Every was a gem.
Narthaki executed each jathi with nice timing, giving every step the respect due with an ease of familiarity. Her power stage, nonetheless, was not very excessive. The recitation was poetic — Parur Ananthashree’s intonation was even-keeled and respectful, giving the pauses their due. Shaktivel Muruganandam (mridangam) gave notable assist.
Whereas Srilakshmi Ramani (violin) and Muthukumar (flute) have been constantly melodic, Kaushik Champakesan (vocal) was good in locations.
The varnam was adopted by a freedom fighter’s shringara composition visualised by Narthaki — Madura Kavi Kovilpatti Bhaskardas Swami’s ‘Singari oyyari’, as an admirer describing a stupendous lady.
‘Theruvil varandi velan’, a folksy Kavadi Chindu adopted, with superbly rhythmic lyrics similar to ‘Mugathai parka pohalame, vaadi neengale munnumunutha kambi neeti vodi pongale’. The music and the temper was so upbeat that it bought the entire auditorium to clap alongside. This visualisation proved how Narthaki treasures her inheritance.