Srikanth and Ashwathi’s well-crafted ‘Paraparamay’

Clarity, grace and excellent timing in tempo variations marked the dancing. It was not energetically explosive, but there was a quiet confidence in the mathematical permutations.

Chatusra Alarippu was notable for its musical accompaniment – ​​the violin (Anantharaman Balaji) playing the loud beats and the mridangam (Nagai P. Sriram) enhancing the same rhythm and Ganesha symbols of the dancers. The instrumental group also included Veena (Ananthanarayanan) which provided a dramatic high note ending to the later ‘Kaithala’ Thirupugazh (Gambhiranattai, etc.).

The couple’s singing verses were Parapara Kanni By Tamil Saint Thayumanavara Photo courtesy: M. Srinath

verses from Parapara Kanni It was woven into a mega tapestry of dance and abhinaya in Ragamalika, Rupaka taala by the Tamil saint Thayumanavar, and by the up-and-coming musician Samanvita Sashidhar. Each stanza of the Samarpan was followed by a refrain (composed in the raga of the verse) and swaras, one in the same raga and the other in the raga of the next stanza. In Sahana, after the last stanza, the order of notes was reverse – Sahana, Varali, Vasanti and Saranga. Intelligent planning by Srikanth.

In another example of clever thinking – he performed old jathis by stalwarts like Kathirvelu Pillai (Trikala Jathi), SK Rajaratnam Pillai, Vazhuvur Ramaiah Pillai and Thanjavur Kittappa Pillai. While ‘Tat Dit Takatrita’, the opening one was unusual, the second ‘Takajam Ta Di Tadana’ was melodious, the third Jati ‘Tagedhi Tagedhi Din’ and the last ‘Tanekuta Ginagutaka’ were traditional masterpieces. Nattuvanar MS Ananthashree was well guided.

There was literature on Nirguna Brahma in Tillana of Srikanth and Ashwathi. Photo Courtesy: M. Srikanth

Markandeya Shiva Leela showcased Srikanth’s mature acting in abundance, while Ashwathi’s liquid eyes captured Nandanaar’s pain well. Tiruchajal By Manikkavasagar, a dialogue between the saint and a king’s mute daughter, who breaks into speech to defend Shiva against Manikkavasagar’s ridicule, was not in keeping with Srikanth’s dramatic timing and standard of mime. The traditional tunes along with Murli music (vocal) were lively.

Srikanth and Ashwathy concluded with Thilaana in the eastern, metaphor (Thirugokarnam Subbarama Bhagavathar). It was a delightful blend of precise rhythm and profound literature on the formless Nirguna Brahman that resides within each of us.