Nirmalanjali

A delightful performance

by Prof. S. Maunaguru

I was invited to be the chief guest at the Bharatanatyam debut of one of Nirmala John's students two years ago. It was there that I met her for the first time. Then I heard from many that she was still a performing artiste. I got the opportunity to see her dance recently at the 27th anniversary celebration program of her dance school 'Nirmalanjali' at the Buddhist Cultural Centre, Colombo.

I was greatly delighted, for I immensely like those who perform. Performers should continue to perform till they die. Bala Saraswathy is a good example for that.

Art is an experience. It can only be felt, but is very difficult to disclose. The experience of divinity can only be felt, but not disclosed.

The art of Bharatanatyam is 2,000 years old. What was named Kuuthu, Sathir and Sinna melem is today called by the sacred name Bharatham.

Treatise

The treatise exclusively on dance is Naatya Sasthra. There is also Kuuthu Nuul. It is said that Naatya Sasthra followed the traditions of the Northern language and Kuuthu Nuul those of the Tamil language. There came an era when the tradition merged with culture. That was the 9th and 10th Bharatham, Nadarajar and Bharatham.

Scenes from the Nirmalanjali

Today we see Bharatham existing in many countries taking renewed forms and comprising multifarious traditions Bharatham has become stagnant in recent years. It means, doing the same over and over again. It is remaining dormant without any growth at all. If this tradition remains frozen, growth will never be seen. Alermel Valli, a great exponent says Bharatanatyam, as many people think, is not narrow. It is vast and expansive. Within its boundaries anyone with creative ability can achieve many things. This is a very important point. She also says that the culture of Bharatanatyam is capable of growth, expansion and flexibility. Therefore, I will not agree that the culture will not give way for creativity.

Homage

The students who participated in the opening dance Katpaha Vinaayagane, a homage to Lord Vishnu, danced skilfully with great emotional display. The students who participated in the items that followed also deserve appreciation.

Navarasa Virunthu gave me a different feeling. It was a creation

without transgressing the traditions of Bharatanatyam or dance norms. The creativity of the dance gave us a wide vista consolidating the nine basic human emotions.

Emotion

Nirmala tried to bring out the emotion and piety through the story of Emperor Asoka. Piety was projected through Asoka and Buddhist philosophy.

Many dancers who participated in the ballet captured my heart. Ravanan's body movements were praiseworthy. Prof. Ariyarathne Kaluarachchi, Dean of the Faculty of Dance and Drama of the Visual and Performing Arts University of Colombo said Ravanan was marvellous.

The writer is Emeritus Dean, Eastern University.