We are aware that the Dhananjayans, with innumerable performances to their credit, covering a global spectrum, are known for their devotion, dedication, discipline, professionalism, and quality. When they presented Azhagu Deivam (a new production), at Narada Gana Sabha recently, needless to mention, it was a thunderous success. The production was choreographed by the Dhananjayans, and was based on the compositions of Periya Swamy Thooran, the great Tamil laureate who has won several coveted awards and honours for his contribution to Tamil literature. It combined Thooran’s lyrics and tuning by music maestro T K Govinda Rao and Turaiyur Rajagopala Sarma, the doyens of carnatic music.
The group espoused Thooran Thirupugazh with inspiring choreography, revealing how Thooran desired to be a poet and teacher so as to sing the praise of lord Muruga and how his wish was fulfilled by the lord’s grace. The attempt to capture all this through the idioms of music and dance revealed the astute teaching that creates proficient disciples.
Dancer Sreelatha Vinod, who appeared as Sri Krishna and instantly changed to Siva, taking different forms to depict that god is one but its forms are many, thus removing the maya, has thoroughly imbibed from the gurus a style noted for its brilliance in nritta and an all-round impeccable format, absorbing the nuances of abhinaya and intricacies of rhythm.
An exclusive padam that followed, written for the Dhanjayans (nalla kanna), narrated the blissful dream of the heroine, outlining the joyous time spent with her lover ‘Murugan’. It was performed by dancer Shobana Balachandra, who revealed her serene artistry, indicating that she possessed the intricate skills of a good dancer.
This was followed by a presentation of the popular composition of Thooran, craving the mercy of his favorite god Murugan. This was brought out by Dhanjayan, who portrayed with depth the surging emotions with creative inputs of music (Muruga-Muruga), vividly portraying the divinity-ensconced lyrics with his interpretational skills.
The presentation of the padam taken from Thoorans musical opera Kaadal Valli Kanda Murugan, performed by dancer Tulsi Badrinath, indicated that the dancer had much to offer with her presentation that was more literal than descriptive. The fitting finale in the group presentation, with a combination of Thooran’s lyrics and music maestro Govinda Rao’s Chindu tune, was attributed to lord Muruga, where he is seen as a baby, youngster and a mendicant, and in full splendor of having six faces with his two consorts Valli and Deivaanai. The perfect synchronisation revealed the vibrancy of the group choreography.
The programme was indicative of the outstanding commitment of the team. Indeed, another feather in the cap of the Dhananjayans.