Saroja Vaidyanathan’s recent choreography was based on poems by Subramania Bharathi. She tells Utpal K Banerjee that the aim was to introduce the youth to the great writer’s work
Chinnaswami Subramania Bharathi (1882-1921) was an Indian writer, poet, journalist, Independence activist and social reformer hailing from Tamil Nadu. Popularly known as “Mahakavi Bharathiyar”, he was a pioneer of modern Tamil poetry and considered one among the greatest of the land’s literary figures of all time. His numerous works were fiery songs kindling patriotism and nationalism during the Independence movement. He joined as an active member of the Indian National Congress in 1908, when an arrest warrant was issued against Bharathi by the British government for his revolutionary activities, forcing him to flee to Pondicherry where he lived until 1918. Bharathi’s works were also on varied themes covering religious, political and social aspects.
Women and Patriotism: From Subramania Bharathi’s Poems was recently presented as a Bharatanatyam dance-recital by Ganesa Natyalaya troupe. Directed by the dance maestro Saroja Vaidyanathan, the programme was accompanied by a DVD release on the fundamentals and nuances of Bharatanatyam by the same guru. The DVD was a remarkably lucid enunciation of the beginners’ steps needed for one of the most precisely defined classical dances of the country. In the limited canvas of space, more attention was understandably given to the initial grammar and advanced features like Sabdam and Varnam did not get their due.
The dance segment of nine youthful participants was kept confined to the basics of Adavus (dance-units) and their limited elaboration. This perhaps suited the spirit of the poetry which needed highlighting in clear, bold steps the stentorian voice of the visionary poet inspiring his countrymen, poised at the cusp of our colonial history. Typically, it began with Ganapati Rayan where the prayer to the benign God was transformed into an appeal for freedom of the land. The next item, Olidapadaithu — resonating with refrains of ‘wa, wa, wa’ (come, come, come) — invited the enthusiastic youth to give their all in the struggle for liberation.
The third verse, Chuttum Vizhi, was a metaphorical comparison of the country with a beauteous maiden, reminiscent of another litterateur Bankim Chandra’s analogy of mother in his memorable song, Vande Mataram. The next poem, Shakti, raised the level to a crescendo, persuading the elemental forces of nature like storm, rain, flood, cyclone, thunder and lightning, to lend their hands to support the poet’s countrymen. The penultimate Vidu-dalai was another clarion call for freedom. The finale was Swaranjali, traipsing in joy, like Tillana. Excerpts from an interview with the director:
What attracted you to Subramania BharathiIJ
As children, we were steeped in his poetry. We used to sing them, dance to them. It has been a long-lasting love-affair.
What characterised your choreographyIJ
I wanted to keep it simple and with just enough verve to express the force of the poetry. Mostly Adavus and further elements of shirah-veda (head movement), greeba-veda (neck movement) were minimally introduced. Advanced dance elements were discarded.
Could you name the ragas usedIJ
The ode to Ganapati was in raga Natai. The next three items — Olipadaithu, Chuttam Vizhi and Shakti — were composed in raga Malika (garland of ragas). The penultimate Vidu-dalai, which raises the cry for freedom to a frenzied pitch, was set in raga Mohanam.
What is the relevance of these poems todayIJ
I wanted to share the fervour and vigour of our childhood with the youth of today who are all but missing them.