How Kalakshetra’s ‘Kannappar Kuravanji’ continues to hold sway

Kalakshetra's dance-drama Kuttrala Kuravanji,, blends classical and folk elements, with captivating music and storytelling.

In a scenario where artistes have to contend with sparse attendance for dance programmes, what draws art-loving audiences across age groups and tastes to return repeatedly to watch the same dance-dramas in the aesthetic ambience of Kalakshetra? This, when each of them lasts two-and-a-half hours.?

The holistic vision of a woman that inspired a brilliant team of artistes and scholars who created something that would have popular appeal while maintaining aesthetics in presentation.

The dancers and musicians have changed over the years, but the productions, especially the Ramayana series, continues to hold sway.

Prof.Janardhanan, who has been a vital part of these productions, has played a major role in their revival by training a new generation of artistes.

Every year, a festival is held in February to commemorate the birthday of the visionary Rukmini Devi Arundale, the founder of Kalakshetra.

Two episodes of the Ramayana – ‘Paduka Pattabishekam’ and ‘Sabari Moksham’ – were featured this year, along with ‘Kannapar Kuravanji’, a captivating presentation. The storyline was simple. Kurava prince Thinnappar is sent on a mission to protect his people from the attacks of wild boars. Reaching the valley, he is drawn to the sound of the temple bells from Kailayagiri mountain. Going up the hill, he is besotted by the Shivalinga he sees, and surrenders himself to the lord. The priest is not convinced, and to make everyone realise the depth of Thinnappar’s devotion, Shiva tests him. The eyes of the linga start bleeding, and Thinnappar offers his eyes. Shiva appears in front of him and blesses him. This devotion saw Thinnappar being celebrated as Kannappar.

Rukmini Devi conceptualised this popular story as a dance presentation, blending classical and folk elements. It was premiered in 1962, with music by Papanasam Sivan. During its latest show, it was still delightful, and sustained interest. From the character introduction, every scene was packed with detail. The choreographic shifts in the group for the Malayala Bhagavati puja sequence, the demonstration of handling varied armaments for hunting, a touch of humour in the hunting scenes, and Kannappar’s ritual of offering meat and carrying water in his mouth for the abishekam, were all done with finesse.