Yearly, Darshanam Artwork Creations takes the viewers on a journey to a kshetram, and this time it was to Tirumaliruncholai. Conceptualised and curated by Asha Krishna Kumar, the manufacturing, titled ‘Kallazhagar’, wasbuilt across the Chithirai tiruvizha of Azhagar’s procession from Tirumaliruncholai to Vaigai to free Manduka rishi from sage Durvasa’s curse. It additionally additionally highlighted the important thing components of the temple reminiscent of Pathinettampadi Karuppusamy, devotion of Koorathazhwar, and love of Andal for Azhagar.
Paying homage to A.P. Nagarajan’s cinematography for yesteryear devotional movies, the set for this manufacturing, with yali pillars on the aspect wings, and a mandapam and gopuram with a mountainous panorama for a backdrop was created in nice element by Shanmugam. Murugan’s lighting enhanced the stage and efficiency .
Senior dancer and trainer Jayanthi Subramaniam knit collectively tales related to Kallazhagar and introduced them via aesthetically choreographed dance sequences. Pushpanjali by a gaggle of swish dancers introduced into focus the great thing about the temple. Within the subsequent sequence, the detailed depiction of the origin of the temple and the story of yamadharma setting up it for Azhagar, helped the viewers perceive the manufacturing higher.
The phase portraying 18 tantric maayavis, despatched by the king of Malabar to steal the Utsavamoorthi, getting into the temple premises with their faces painted in black, and their eventual arrest, had been highlighted via an fascinating collection of occasions related to Pathinettampadi Karuppusamy the guardian diety. The sequences had been choreographed in a dramatic method.
People dance reminiscent of oyilattam, karagattam, kummi and devarattam carried out throughout Chithirai Tiruvuzha lacked the color and power of those varieties.
Manasa, who performed Andal, conveyed properly the nuances of the lovelorn state of a younger woman. i
The grandeur of Azhagar’s procession and the depiction of the rituals, flowed seamlessly from one scene to a different. The miniature model of the golden horse carrying Azhagar on the pallakku was practical.
For the reason that objective of the manufacturing was to focus on the grandeur of Azhagar’s entry into the river. Nevertheless, his journey on a golden horse may have been depicted extra successfully with dynamic choreographic explorations, mixed with imagery on the video projection display.
The musical rating by Rajkumar Bharathi lower throughout genres, particularly within the Dasavatharam tillana, which was a mix of classical, semi classical and folks dance kinds. The usage of a definite mudhra for every avatar was fantastically integrated into the thillana. Narration was by Malola Kannan, and the useful resource individuals for the manufacturing had been Sundarrajan Bhattar, Damal Ramakrishnan and Chithra Madhavan. Soundsape was by Sai Shravanam.