CHITRA SWAMINATHAN in The Hindu

For Radhika Shurajit, Bharatanatyam is not exclusively for the elite.

Just the other day when Radhika Shurajit entered the canteen of a sabha after performing a lecture-demonstration and saw the ‘today’s special’ board that was put up, she became emotional. At the bottom of the board was written ‘Thaka Dhimi Tha’ along with a simple sketch of a boy and girl dancing. Apparently, the man who runs the canteen likes Radhika’s dance show by the same name on Jaya TV, and thought the title aptly reflected the Margazhi mood.

Another memorable instance is when the owner of a small brass vessel shop in Pazhani from where Radhika bought a pair of salangai suggested that she watch talented youngsters perform on ‘Thaka Dhimi Tha’.

“Responses such as these are what make my artistic journey fulfilling. And, I feel really good about reaching classical dance to the common man through the popular medium of television,” says Radhika.

Her award-winning weekly dance show ‘Thaka Dhimi Tha’ has completed 350 episodes. Conceived of and directed by Radhika, the show provides a platform to up-and-coming Bharatanatyam artists from across the country, and sometimes abroad. It also features senior exponents of the art form as judges.

Television helped Radhika regain the rhythm of her life when a knee problem put an abrupt end to her promising performing career. “I used to perform along with my sisters Shobana and Gayathri and we were popularly referred to as Trio Sisters.” Disciples of the Dhananjayans, the sisters made a name for themselves in the dance field in a short time.

“It was difficult to come to terms with life without dancing. It was then that I turned my attention towards the small screen and thought about doing a show based on classical dance. Thankfully, the idea has been very well received.”

“Dance through lens” became the focus of her life. She analysed and explored the art from a new angle. She also learnt to shoot dance sequences with different cameras. “Performing before a camera is not the same as performing on stage. The expressions, make-up and costume should be understated. Otherwise, you could end up looking dreadful in close-up shots. A dancer should be conscious about the limited space and time. She or he should know when not to look at the camera. I learnt many such things from experience and observation.”

Besides ‘Thaka Dhimi Tha,’ Radhika has also made dance capsules for BBC, come up with ad campaigns and choreographed classical dance sequences for films, including the award-winning “Nila Kaigiradhu…” (from “Indira”). But, what she seems to enjoy most is training youngsters who join ‘Thrayee’, her dance school.

“Every time a student performs, I see myself in her. I think it’s very important for any youngster to learn an art. It adds a new dimension to one’s personality and helps them look at the world from a different perspective,” says Radhika.

Over the years, she has choreographed a range of thematic performances, including those based on the compositions of Balamuralikrishna, Kannadasan’s songs, songs rendered by M.L. Vasanthakumari and M.S. Subbulakshmi in films, Sangam poetry, and more.

“Passionate about cinema, I adapted many of the lyrical gems of yesteryear into my dance. It’s thrilling to choreograph them in my own way. I do not tamper with the music, but sometimes add appropriate jatis. Being used in films does not mean these compositions are less poetic. If modern verses can be taken up, why not these timeless melodies?” says Radhika.

Inextricably entwined with the sacred belief and philosophy of the people of India, the classical arts, are the ladder of understanding that encompasses all learning, all sciences and all discipline leading to Gnana. The sojourn of an artist is as much within himself as it is without. From the mundane to the divine, from gross to the subtle, religion to aesthetics the arts traverse a path so hidden yet so apparent. The quintessence of Indian ideology is based on the oxymoronic substratum of losing yourself to find ‘Oneself .Tradition sows the seed, time nurtures and experience ripens the fruit called learning. To partake of that fruit, to revel in that magnificence, to experience that Aananda- we have set out.

THE GURUS

Narendra Kumar

Narendra Kumar is an early student of the Dhananjayans. He has earned a name for himself as a skilled Bharata Natyam dancer and choreographer. Eager to explore different dimensions in dance, he has studied martial arts such as Kalaripayyattu, Silambam and Tai-Chi. He has his dance establishment Anusham and is a teacher, choreographer and performer, along with his wife Anusha. He travels to the US often to work with dancers/choreographers and to aid them in their productions.

Anusha Narendra Kumar

Anusha Narendra Kumar is a disciple of the Dhananjayans and is well known as an excellent exponent of Bharata Natyam. She is the wife of Narendra Kumar and they are gaining a reputation as a skilled dancing couple. She is a teacher in their school “Anusham” and they also work with dancers in the US conducting classical dance workshops and assisting in choreography. She won audience appreciation and critical acclaim for her performance in Living Tree. She is also earning a name as a fine visual artist.

Click here to read the article by Samanth Subramanian about L. Narendra Kumar in the Sunday Magazine section of The New Indian Express

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Vidya Dinakaran

This past weekend (Feb 28 and Mar 1), a very special and rare seve was offered to Lord Mahaganapati at the Nellitheertha Somanatheshwara Cave Temple. The seve is called as “Moodappa Seve” or “Apoopa Seve”. Just like Laksharchane where thousands of flowers are offered, this seve consisted of offering thousands and thousands of “Appa”, a sweet dish popular in Dakshina Kannada. “Appa” is equivalent to the Modaka offered in other regions. 

Mahaganapati

Since Ganapati is believed to like Modakas a lot, the entire idol of Ganapati is covered (till the nose) with Appas and other dishes. Such a rare seve happens seldom. One famous temple where such a seve happens regularly is the Madhur Ganapati temple in Kasaragod.

In Nellitheertha, the entire ceremony was spread over two days. It started on Day 1 with a prarthana and Punyahavana for purification of the ingredients to be used in preparing the dishes.

Prarthana

Punyahavana

Subsequently, during the day, a grand Ganapati Homam and Kalashabhishekas (Panchavimshati – 25) were performed to both Lord Somanatha and Mahaganapati.

Kalashas

Start of Ganapati Homam

Meanwhile, the preparation of the “Appas” started. It was a overwhelming sight to see thousands and thousands of sweets being prepared. The entire team of cooks was taking extreme care and interest in preparing the dishes. Several baskets full of dishes were ready by evening.

Appa preparation

Modakas ready!

At the same time, the Ganapati Gudi was also getting decked up.

Preparation

In the evening, there was a Bharatanatyam dance program by Kum Megha Kakkillaya, offered as a service to the temple. It was an excellent program and Kum Megha’s performance was stunning.

Bharatanatya

Bharatanatya Pose

In preparation for the Moodappa Seve, a special “Ranga Puje” was held for both Mahaganapati and Lord Somanatha in the evening. The Ranga Puje is, once again, a unique offering prevalent in Dakshina Kannada region.

Ganapati Ranga Puje

Ranga Puje

Next, the idol of Mahaganapati was ‘readied’ for the Seve by cleaning, etc and the various dishes were brought in front of the Gudi. The whole ritual was conducted by Sri Baggamajalu Subramanya Tantri and his team.

Appas being brought

Just before the Seve commenced

After that the seve began. It took more than an hour for the team of Archakas to fill the entire Gudi of Mahaganapati with the Appas and other dishes. The offerings were poured in so as to cover the idol, except for the face! It was a beautiful sight to see. 

Seve in progress

Idol fully covered

It was getting close to midnight when the entire offerings were put in. The idol was then covered with silk clothes, dry fruits, flowers and other things. Mahaganapati was ‘resting’! and the entire temple was closed. Silence all around as Ganapati was in ‘Shayana’.

Shayana

The ceremony on day 2 started early – at around 6:45AM. It began with the Kavatodghatana (door opening ceremony). Rituals were conducted to ‘wake’ Mahaganapati up from the sleep and the various offerings were removed one by one.

Arati before opening

Opening ceremony

Modakas being removed

Finally, a Panchamruta Abhisheka was performed for Mahaganapati. In the afternoon, a Maha Puje was conducted followed by Mantrakshate ceremony signalling the successful end of the Moodappa Seve.

Panchamruta Abhisheka

Mahaganapati

It was a thrilling experience to be part of this seve. Truly, I had never seen anything like this before. More photos of this event can be seen here.

|| Om Sri Mahaganapataye Namaha Om ||