The theme of the 19th Chandralekha Memorial was ‘Dancers of Kerala’. The performance included Kuchipudi Yakshagana, Mohiniyattam, Bharatanatyam and Koodiyattam.
Guru Pasumarthi Rattiya SarmaAt Nattuvangam; Murali music was performed on singing, Kalamandalam Srirang on Mridangam and Hariprasad Subramaniam on flute. | Photo courtesy: Umesh Kumar
Pasumarthi Rattiyah Sarma And poetry harish Kuchipudi Yakshagana presented. Guru Rattiya Sarma, 85, was born in this tradition and is one of the last bastions of the original dance theatre-art. These pieces were from the old repertoire and included Kalapam, Sabadam, Daruvas (Padam) and Thillana, the highlight being the old style Kuchipudi. Kavya, a disciple of Guru Sarma and Srilakshmi Govardhan, has imbibed the rustic spirit of the style as well as the bounce of the steps. His timing, acting and singing were excellent.
Kavya Harish presented pieces from the old repertoire for her performance at the 19th Chandralekha Memorial Festival. | Photo courtesy: Umesh Kumar
The fast pace and rapidly changing naadis were maintained throughout the Shabdam. ‘Hiranyakashipu Pravesh Daruvu’ followed, and displayed strong stamping and striking posture. There were two Daruvu from Siddhandra Yogi’s ‘Bhama Kalapam’ – with Satyabhama in Viraha, bearing Kamadeva’s flower arrows as others ridiculed him, and dictating a letter to Madhavi to send to Krishna when the time was right.
Guru Pasumarthi Rattiya Sarma and Kavya Harish. | Photo courtesy: Umesh Kumar
Guru Sarma started the program with a vigorous Nattuvangam. He performed twice with the cymbals around his neck while continuing the Nattuvangam. You can see his ease with the stage and his agility, especially in the episode ‘Lekha’, where he sat on the floor with Satyabhama to write letters. When Madhavi was tasked with examining the signals, Guru Sarma wittily replied, ‘This is the right time for the letter, but not for Kuchipudi Yakshagana in Chennai!’
The expert orchestra for the soul-stirring program included Murali Sangeet (vocals), Kalamandalam Sriranga (mridangam) and Hariprasad Subramaniam (flute).
Vineeta Nedungadi | Photo courtesy: Umesh Kumar
Vineeta NedungadiKerala Kalamandalam, a senior disciple of Kshemavathi, has introduced a new aspect to the beautiful Vilamba art movements of Mohiniyattam. The slower movement allows time for deeper understanding, and the music is more drawn out, with an emphasis on melody rather than rhythm. There was also some good Sopana and Carnatic music – Sundar Das (singer) and Suresh Ambadi (violin).
Vinita Nedungadi introduced a new aspect to the beautiful Vilamba art movements of Mohiniyattam. | Photo courtesy: Umesh Kumar
Mukhachalam in Ragamalika, Panchari Talam, composed by Kavalam Narayana Panikkar, was a Lasya Nritta piece, and provided a pleasure to experience the gentle music and movement. Slow, full arch and deep torso ending in slow motion dhi dhi thai Were poetic.
‘Parthasarathy Varnanan’ composed by Kottakkal Madhu from ancient times kili pattu Brought out the mature acting of the dancer.
Vinita Nedungadi is supported by mridangist Kallekulangara Unnikrishnan and storyteller and Nattuvangam artiste Anjitha Nambisan. | Photo courtesy: Umesh Kumar
Varnam in Sahana, etc., composed by Kottakkal Madhu from the Malayalam translation of Tagore GitanjaliPresented a heroine waiting for her love. For the most part, she is in Viraha until she eventually realizes that everything in nature reminds her of her, and thus she senses her presence.
The mridangist (Kallekulangara Unnikrishnan) was unobtrusive yet sensitive. Storyteller and Nattuvangam artiste Anjitha Nambisan was also like this. Vineeta ended her recital with a piece on Ardhanarishvara.
Rajshree Warrier gave prominence to acting in her presentation. | Photo Courtesy: Umesh Kumar V
bharatanatyam dancer Rajshree Warrior She seems to adopt her own different approach. Acting was prominent in his presentation of Andal’s pieces. varnam aayiram After this, violinist Lalgudi Jayaraman’s ‘Innum En Manam’ was sung in Charukesi Varnam, Adi Taal.
With a preference for Tripathaka posture, the Nritta of Rajashri is all about straight lines. She is quietly mature and never steps out of character in acting.
Rajshree Warrier during her performance at the 19th Chandralekha Memorial Festival. | Photo Courtesy: Umesh Kumar V
Following Varnam, he presented two compositions by Advaita philosopher and saint Sadashiva Brahmendral – ‘Manasa Sanchare’ (Sam, etc.) and ‘Pibare Ram Rasam’. He made them mini-solo dance dramas by incorporating Kuchela’s story, the former from the perspective of his long-suffering wife and the latter from Ahilya’s perspective. Both of them showed sensitivity and cleverness.
His orchestra was superb – Udupi S. Srinath (vocals), RLV Hemantha Lakshman (Nattuvangam), Kalamandalam Srirangam (Mridangam) and Hariprasad Subramaniam (flute). The low-key nattuvangam in the non-dance portions helped keep the music enjoyable.
Koodiyattam exponent Usha Nangiar’s performance was taken from ‘Ahalya’ Spiritual Ramayana.
| Photo Courtesy: Tulsi Kakkat
Usha Nangiar‘Ahilya’ removed the curtain from this monument of Chandralekha. Usha is a renowned Koodiyattam artiste – she has the honor of having trained under and performed with the renowned Ammanur Madhava Chakyar. Her research on the old Attapkaram threw light on female characterizations that had been lost over time. Usha is one of the best traditionalists and also an innovator.
‘Ahilya’, about two hours long, is taken from Adhyatma RamayanaIt was a painstaking account of Ahalya’s life after her marriage to the sage Gautama.
Usha’s performance was outstanding due to her subtle acting abilities and facial expressions. | Photo Courtesy: Tulsi Kakkat
Usha’s subtle acting abilities and facial expressions shone through in the performance. Her quiet compassion as the condemned Ahalya brought tears to my eyes.
Strong backing – Kalamandalam Rajeev and Kalamandalam Vijay on Mizhavu, Kalanilayam Unnikrishnan on Edakka and Athira on Thalam – enhanced the appeal.
published – January 16, 2026 05:20 PM IST