Spiced by Scintillating Anecdotes

Ganga Thatwam, a tribute to the Sopana aesthetics

Shatkala Govinda Marar Smaraka Kala Samithy, Ramamangalam recently honoured  dancer Sithara Balakrishnan, recipient of the Kerala Sangeetha Nataka Akademi. Sithara, MFA degree holder from Dr Kanak Rele’s famous institution Nalanda Nritta  Mahavidyala affiliated to Bombay University, has been training students of the Samithy in Mohiniyattam since last few years.

As a gesture of gratitude, she staged a group of six students whose performance was quintessential of the beauty of the Sopana School of the dance form.

‘Ganga Thatwam’, composed by the acharya of the Sopana style Kavalam Narayana Panicker was noteworthy for the alluring anecdotes, the mainstay of which was the holy river Ganga itself. Incidentally, ‘Sopana Thatwam’ is a principle on which Panicker has composed two, the other being ‘Siva Thatwam’. According to him, Thatwam is a sublime message that a devotee has to identify after circumambulating the temple. It means, “Athu Nee Thanneyanu” (That’s you only).

Beginning with the lines, “Thatwam Thatwam, Ganga Thatwam….” the number relates the story of Ganga. 

Ganga Thatwam: A visual delight

Choreographed by Sithara, the performance began with the streamline flow of the river. The dancers made it more appealing  by depicting the flow in such a way that one could feel the meandering path of the flow of the river. Soon followed the various anecdotes that usually take place on the banks of the river. These included aarathy, funeral rites, children taking a dip in the river, a wedding ceremony etc.

Siva, Parvathy, and the divine drama

Siva’s entry was impressive as he took the divine river flowing down from the heavens, right on his locks. The intensity of the flow down is reduced thanks to this.

What followed was the most famous ‘Parvathiviraham’, a feat culled from Toranayudham, usually seen in Koodiyattam. 

Parvathy could realise that Siva is hiding Ganga on his head and asks him “What is that on your head?” 

Siva: It is water.

Parvathy: But I can find a face; how can it be there?

Siva: No, it is a lotus flower.

Parvathy: But how then the curls of hair?

Siva: It is only a row of bees humming and settling on the flower.

Parvathy: Then what about the eye-brows?

Siva: They are ripples in the water.

Parvathy: Eyes?

Siva: No, they are two black fishes.

Parvathy: And the two breasts?

Siva: They are Chakravaka birds.

 Disappointed by the prevaricating answers of her husband, Parvathy begins to leave him. It is at this juncture that Ravana lifts the Kailas and begins to toss it. A trembled Parvathy returns to Siva who receives her lovingly. 

Arya Unni as Siva and Devika Saranya as Parvathy exhibited their bewitching histrionic talents while delineating this anecdote.

Other dancers included Anila Jayachandran, Krishna Aravid,  Siyona and Niveditha.

Panicker himself has scored the music in raga Charukesi and adi talam. Vocal was by Uduppi Sreenath. While percussion including mridangam, chenda, edakka, bell etc. was handled by Sajith Pappan, Vina was played by Soundaryaraj. The background music was inspiring.