Why does Anita Ratnam’s ‘Nachiyar Next’ resonate?

More than two decades after its premiere, Anita Ratnam’s ‘Naachiyar Next’ continues to be popular among audiences across the globe. The production’s ability to reinvent itself for new generations was reflected in the presence of many youngsters at its recent performance on the 26th day of Margazhi at the Museum Theatre, Chennai. The fact that many viewers returned for repeat viewings underscores its enduring appeal and why it deserves not only review but reappraisal. And, this makes it a compelling work in the current Indian dance scenario.

There was never a dull moment in the production that explores the inner world of 12-year-old saint-poet Andal, who forms a passionate bond with Krishna, expressing both his emotional and physical states in devotion. The topic itself is not unusual. Anita is not the first dancer to explore the story of Andal, this connection developed in her when, at the age of nine, she had to practice a piece on Andal for her Orangetrum. Rooted in scripture and steeped in Vaishnava ethos, including the ritual of Arayaar Sevai (beautifully performed by Madhusudan Kalaichelvan), ‘Nachiyar Next’, nevertheless, has a contemporary sensibility. Andal was portrayed less as a distant goddess and more as a woman, and this humanization of the divinity made the work heart-touching.

Props like the parrot were an integral part of the storytelling. | Photo Courtesy: Aditya Narayanan

Thematic group presentations may be popular in classical dance today, but presenting a truly seamless and complete work requires a holistic understanding of both the theme and the art. This requires using the creative resources that an artist has absorbed over the years. In this regard, Anita is fortunate to belong to the generation that witnessed the genius of Rukmini Devi, Chandralekha, Yamini Krishnamurthy, Balasaraswati, Ram Gopal and Uday Shankar – each leaving an indelible mark on various aspects of dance. That inspiration, often unintentionally, finds expression in ‘Naachiyar Next’, where every element – ​​costumes, music, lighting, props, acting, dance and narration – come together impeccably.

Every element of the production deserves meticulous attention. Take the outfit, for example: designed by Sandhya Raman, utilizing the iconic style of Madurai Sungudi Sarees beautifully transcended the work both socially (Andal was from a poor Brahmin family) and culturally (she grew up in Srivilliputhur near Madurai). Traditional Bharatanatyam props were deliberately removed, with simple beads instead adding freshness to the visual aesthetic.

Music also deserves special mention. Live accompaniment always gives an edge to a dance performance, and here the all-women ensemble – singer, nattuvangam artiste, veena player and multi-percussionist – was not only excellent, but also made a presence of mind in coordinated attire. The score evokes the ambience of Andal’s era, consistently supporting the narrative without overpowering it.

The scene of Andal’s merger with Ranganatha was wonderfully imagined. | Photo Courtesy: Aditya Narayanan

Props, although common in dance, were used effectively. They were woven seamlessly into the storytelling. Parrot, Thirai SeelaiHoly rosary, conch shell and Srirangam Lord is depicted through a cloth Namam, Shankha, Chakra And padam Were integral symbols.

The production may have been narrative heavy, yet the expression and movement were equally compelling. Five well-trained dancers conveyed the emotions required by each scene with conviction. Andal, in particular, stole the show with her helplessness: Nandini Subbulakshmi’s honesty, and vulnerability – making her a perfect choice for the role. The casts were clear, sharp and attractive, while the group patterns displayed firm footwork and precise gestures. The production demonstrated its fidelity to its classical roots while opening itself to contemporary expression.

It’s rare to see something like this facilitator Took the production on her shoulders, but so did Anita. His years of experience spent in New York as a television producer and host/anchor resulted in his impeccable narration, which he presented in both English and Tamil with singing in between. pasuram Presented with excellent tone. It also reflects his long engagement with dance on its own terms – never abandoning its origins, yet constantly looking for ways to connect it with the changing times. In that balance lies the real strength of ‘Nachiyar Next’.