How Kalakshetra’s ‘Kannappar Kurwanji’ continues

Kalakshatra’s ‘Kannappar Kurwanji’ depicts the story of devotion and sacrifice. , Photo Credit: Courtesy: Kalakshetra Foundation

In a scenario where artists have to struggle with rare appearance for dance programs, does the art-loving audiences attract audiences in the age groups and taste to return again and again to see the same dance-drama in the beauty atmosphere of Kalakshatra? This, when each of them lasts for two and a half hours.

The overall vision of a woman who inspired a magnificent team of artists and scholars who would have made a popular appeal to maintain aesthetics in the presentation.

The dancers and musicians have changed over years, but the production, especially the Ramayana series, the layer continues.

Prof. Janardhan, who was an important part of these products, has played a major role in its revival by training the new generation artists.

Every year, a festival is held in February, which is to celebrate the birthday of the Kalakshetra, the founder of Kalakshetra, Rukmini Devi Arundle.

Kailasanathan as Kannappar.

Two episodes of Ramayana – ‘Paduka Pattabishekam’ and ‘Sabari Mohammed’ – were given a panoramic performance with ‘Kannapar Kurwanji’ this year. The story was simple. Kurva Prince Thinnapar is sent on a mission to protect his people from wild boar attacks. Reaching the valley, it is ready for the sound of the bells of the temple from Mount Kaleigiri. Going above the hill, he is seen by Shivling, and he dedicates himself to the Lord. The priest is not confident, and to realize the depth of devotion to everyone, Shiva tests him. Linga’s eyes start bleeding, and the thinpar offers its eyes. Shiva appears in front of him and blesses him. This devotion was being celebrated as Kannapar.

Rukmini Devi concluded this popular story as a dance performance, combining classical and folk elements. , Photo Credit: Courtesy: Kalakshetra Foundation

Rukmini Devi concluded this popular story as a dance performance, combining classical and folk elements. It was premiered in 1962 with music by Papanasam Shivan. During its latest show, it was still delightful, and constant interest. With character introduction, every scene was packed in detail. Malayala Bhagwati Pooja sequence was performed with fissures, all were performed with a choreographer change in the group, performing a touch of humor in hunting scenes, a touch of humor in hunting scenes, and offering Kannar meat and taking water to their mouths for Abishecum.

The influence of the story depends on the dancer playing the lead role, and Kailasathan submerged himself in the role, making various aspects and emotions of Kannapar commendablely. Jaikrishnan supported him in equal measurement, playing the role of his friend, Nanan. The choreographer pattern of each scene, the color of the costumes and the description of the ornamentation were a beauty fit.

Kailasanathan brought out various aspects and emissions of the devotee in his performance. , Photo Credit: Courtesy: Kalakshetra Foundation

It was a rich tapestry of music, where classical ragas such as Kamboji, Kalyani, Severi and Surtti were used so beautifully that no one realized where the folk and classical streams were mixed.

The unique use of flute, violin and collision equipment at some places has great impact.

The contingent of music artists needs to be appreciated for the way they brought the score of Papanasam Shivan to life. The ease of which singer Hariprasad moved from one phrase to another, instigated the necessary bhava, exemplary. The fine nuances of Sasidhar on the flute and MV Srinivas’s violin decorated the flow. Mridangam by Srikanth Pi and Karthik Balaji were influential. Lokesh Raj conducted recurrence.