CHENNAI: In 2003, dancer and choreographer, Anita Ratnam attempted a presentation with 12 dancers and six musicians. The dance production was titled Naachiyaar. There was Andal played by Ratnam and alter ego of the goddess played by actor-musician Revathy Sankaran. The story template was a device used to cross-illuminate the darker shades of Andal’s later years in which the words of her searing passion turn to thoughts of self-mutilation and a final dissolve into her beloved.
Now 17 years later, the dancer has returned to Andal’s allure with Naachiyaar Next where she has reimagined the choreography with a new group of dancers. The dancer does not play Andal in this version. She stepped into the very large shoes of Revathy Sankaran who created an indelible impression with her presence almost two decades ago.
“I performed Andal for my arangetram in 1965. From that time, she has been my companion, shadowing my life through continents and across seas. Soon after Naachiyaar in 2003, I embarked on my PhD and dissolved my dance company. I concentrated on solo evenings which could quilt my many interests in movement, theatre, voice, chanting, and sound. To date, I have produced or performed in five full-length dance-theatre evenings on her singular story,” said Anita Ratnam with pride. The dancer and choreographer retained some of the elements from the original production as well as incorporated rare poetry of Andal.
“The annual ritual of the kurathi or gypsy soothsayer, which is a practice in the Srivilliputthur town, known for its Andal temple, has been incorporated. Ritual celebrations like a temple procession have been retained from the original version as have some aspects of the choreography. A new group of dancers from Bengaluru, New Delhi and Chennai have assembled as co-creators in my vision. I have my trusted core team of technical support and musical inputs. As familiar and beloved Andal’s words are to me, she challenges me each time, daring me to make newer discoveries,” said Anita Ratnam who always carries around an idol of Andal.
The one-hour-and 15-minute performance at Rasika Ranjani Sabha on Sunday was interspersed with dance, theatre and narration. We’re told that Andal, the poetess, used a linguistic style called Manipravalam. It’s a combination of Tamil, Telugu and Sanskrit. Verses from her poetry were narrated by Anita Ratnam. The portions where Andal converses with her alter ego is mesmerising. It takes us into the world of the goddess and her deep love for Lord Krishna.“In recent times, Andal has become a teen icon for stubborn passion, poetic brilliance, and intensity of ideology that tore apart her conservative community in Srivilliputthur. Her poems have been translated, discussed and argued upon. She is a continuing flashpoint for female desire, personal Bhakti and a daring transgression across borders of conformity and decorum. The challenge and goal is to tell the story of Andal to the non-Tamil audience and take this production across India. It’s a work in progress. I want to give a cohesive version to the audience. Andal continues to be my shadow companion,” said the dancer.