‘Murugiyal – Triyatri’ was a performance-oriented dance seminar, with substantial mini-performances. The second day was about spiritual, religious, historical compositions and gypsy-story, Kuravanji etc. He represented Tamil compositions spanning through the ages.
Three dancers took over the first session – Tattuva Vazhi Payanam (Philosophical Journey). Satvik Shankar’s The introduction and ‘Tirumandiram’ verses selected from the Tantra (researched by Prof. Raghuraman, composed by Vanathi), were presented as a serene devotional offering, accompanied by an appropriately timed dance set. Kaushik Champakesan (vocals), Srilakshmi (violin), and Ramashankar Babu (mridangam) need special mention as Satvika’s accompanists.
Ashwini Vishwanath Arrangements from Shaiva and Vaishnava devotional literature in Tamil by Karaikkal Ammayyar (Arputha Thiruvanthi, Thiruvalangadu Patikams) and Andal (Nachiyar Thirumozhi) were presented. He wove small stories with a few verses – Ammaiyar’s devotion to Shiva in ‘Kadalai’ in a poetic combination of tanam and recitation.
The haunting Khamas – ‘Karpuram Narumo’ – set the stage for Andal’s story. Ashwini has a clear and matter-of-fact style, which when combined with layered music (score by Kaushik, who also composed the music) and nattuvangam (by Narendra Kumar), adds creative imagination.
Orchestra diluted with one-man standing orchestra – Kaushik, for Lucrezia ManiscottiWork on ‘Tiruvarutpa’. While her cultural adaptation was complete, there was a clear sense of restraint – for starters, there was no salangai around Lucrezia’s ankles or any accessories on top of her, except for the Rudraksha rosary.
Lucrezia also had some theatrics. He started with the last lines of the song ‘Kallarakkam Kataravarkam’. Expanding the idea of ​​bliss and divinity, Tanam began a journey across the ocean to see Shiva. She finally reaches the temple, bargains for flowers outside and is surprised to see the gopuram of the temple. She runs inside hoping to see Ganesha and pays her respects to Shiva, as she expounds Ramalinga Swamigal’s message of universal love, equality. The swaram was executed without salangai or percussion, which was a new thing for us. And as the dancer turned back, she wrapped herself in a white cloth; At that moment she transformed into ‘Vallalar’, the writer and renowned devotee – drama in its subtlest form.
Lakshmi Ramaswamy, a dancer-researcher in Tamil literature, chose two minor genres for illustration – Thuthu Sahitya, dealing with messengers, people or objects, and Pallu Sahitya, dealing with farmers.
Lakshmi RamaswamiThe dancer-researcher in Tamil literature, was given two minor genres to portray – Thoothu literature related to messengers, people or objects, and Pallu literature related to farmers in the ‘Inivu Thedi Payanam’ – Journey to Ultimate Union-segment. Backed by an excellent orchestra – Anantharaman (violin), Preethi Sethuraman (vocals), Veda Krishnaram (mridangam) – he presented two pieces in 15 minutes.
First of all, ‘Silambu Veedu Thudhu’ written by Professor Raghuraman on Nataraja was presented. pallu piece was out of 17th The century’s ‘Mukkudar Pallu’ was an entertaining segment between two wives of a farmer, poking fun at their favored deities, Vishnu and Shiva. This section, though short, was illuminating.
as the evening progressed Alex RaphaelPrasad of- Thiruvisipa verse ‘Annamai’ and a beautiful Bhoopalam, Kamakshi Viruttam in Khanda Chapu. It brought out the fluid acting of the dancer and the beauty of the Vilamba art thattu mettu sequences in Mohiniyattam.
Kasi AysolaHis confidence allowed him to play Shiva in ‘Nondi Chindu’ to tease an old devotee about his family troubles. Entertaining, cheeky incidents such as Parvati’s anger when she sees Ganga on Shiva’s head, Ganapati’s enthusiasm to eat all the food given to his father, and Muruga’s flirtatious nature, and othersDeftly handled. Their base was simple Kuchipudi.
The events presented thereafter had no connection with Tamil literature.
Manipuri It comes from the temples, and it is a very subtle art form – in movement and acting. Their hand gestures and expressions are adapted from the ritualistic Lai Haroba, Raas Leela dance and the martial art Thang Ta.
Basu Sinam and Monica Devi performing Manipuri at Bharatiya Vidya Bhavan as part of Natya Darshan Seminar 2025. Photo Credit: Velankanni Raj B
Basu Sinam and Monica DeviAgile Manipuri dancers presented dance drama ‘Madhura Bhakti Prem Leela’ based on Jaydev Geeta GovindaHis expressions, though deceptively subdued, were no less effective, She played the ups and downs of Krishna-Radha’s love story with light movements and the acting was also executed through her face and body, They ended with a fiery Tandava – ‘Shiva Stuti’ composed by Shankaracharya,
Natya Darshan and Bad Time-Management by Karthik Fine Arts Became an Odissi Dancer Aarushi Mudgal Start one hour late. When one watches her dance the words beautiful and well-organized come to mind.
Aarushi Mudgal at Bharatiya Vidya Bhavan as part of Natya Darshan Seminar 2025 Photo Credit: Velankanni Raj B
There seems to be a shift in her artistic journey – she is pushing her boundaries in acting. His ‘Karpooram Narumo’ in Khamas (Nachiyar Thrumozhi, Janani Hamsini) was a delicate balance of devotion and adornment. There were moments when she moved beyond devotion to tender moments drenched in romance. An unusual approach. It appears that Andal’s devotion was personal, and who can say what the personal equation with God should or should not be.
The second part of the act was Birju Maharaj’s play on Kausalya’s reaction when told about Ram’s exile. His Ganesh Vandana was musically spectacular, a layered recitation followed by raga aalap accompanied by mridangam lyrics. The ending was a Pallavi (Gunakari, Triputa, Gopal Chandra Panda), choreographed by her guru Madhavi Mudgal. Aarushi’s dance is always smooth and precise, but seems a bit linear.
published – December 27, 2025 02:43 PM IST