14 NOV 2021
The resources included in this page are intended as the primary source of reference for the purposes as identified on each item. Kanngi enbathen peyare is a holistic program with several individual elements, each complete in its own right and yet works to embellish every other element seamlessly by contributing with out overpowering, like how a culturally, intellectually mature society is expected to function.
Not every individual involved in the creation and delivery of the component may need visibility to all salient aspects of how the program hangs together, however, in delivering the individual component to the fullest with an understanding of the scope of their contribution requires a reliable suite of resources that they can reference as they need as many times as they need. Hence this page.
I am using Kannagi enbathen peyare as a pilot to tease out the hurdles artistes and art organisations may have faced that most of them are resorting to patronage for survival when push comes to shove- a state of norm that is completely unacceptable to me as a human, an intellectually evolved species at birth with the ability to accelerate individual evolution through out their life ably supported by arts and culture. For this reason, I am restricting edit access to this site to myself. Once established, its my intention to abstract my insights in to a specification and make it available to every one. In other words, the traction I exercise is not to control but to enable what we have for everyone.
I have taken care to the best of my ability to provide meta data* on the content included in the resource. I am deliberately not providing an index or a search function to force atleast a preliminary knowledge of what else is available so that you can go to it when you need to.(like helping you build your own mental index).
Sincerely,
Sumathy, Sydney
14 NOV 2021
you can contact me via the VISITOR’S-BOOK on this site.
*kindly note, the term meta data is used to mean information provided to enable access and verification of authenticity of the information accessed; its a relative term with applicability constrained to the intended scope; what is meta data for the purposes of what is visible on the site to my user, for example can not be pilferaged and used as meta data in other contexts, for example, my name and my voice can not be construed as meta data as it would be breech of cyber regulations.
?? APR 2022
Kannagi enbathen peyare is a portrayal of how love manifests as courage in humans, when their beloved are subjected to injustices.
Kannagi was a young woman, second to none in her devotion to her husband. Hailing from a virtuous family, well versed in her culture and expectations of the norm, stands up to the King holding him accountable for the unfairness dealt to her husband, when her cries for help go unheard.
One of the conceived elements using my poetry, viz., the dance production Kannagi enbathen peyare was staged at Riverside Theatre , Paramatta on 26 MARCH 2022, as an initiative of lzerobzero, in collaboration with Samskriti School of Dance, Sydney.
reviews on the Barathanatyam recital Kanngi enbathen peyare:
https://www.indianlink.com.au/arts/kannagi-enbathen-peyare-samskriti-school-of-dance/#comments
https://indiandownunder.com.au/2022/04/staging-a-timeless-story-kannagi-enbathen-peyare/
https://indiandownunder.com.au/2022/03/footsteps-adorn-anklets/
draft brochure - page 2
Brief to musicians and choreographer on the poetry that underlies the program
author: Sumathy Ramesh format: .m4a audio date: 12 OCT 2020 location: Sydney affiliation: lzerobzero
2. Scenes from Silapadikaram for potential depiction through choreography
author: Sumathy Ramesh format: text date: 4 JUL 2021, 7 JUL 2021, 20 JAN 2022 location: Sydney affiliation: lzerobzero
The inerent uncompromising characteristic of Tamil or anything said or written in Tamil is the adherence of truth in the message that is being conveyed; the story of Nakeeran is an apt illustration of acceptable use of Tamil.
Siva, with his poem in hand stroms into the court of the king demanding who in his court had the auducity to reject his poetry
the distressed king, assuming accountability for the decisions of his court, tries to apeace Siva, in vain
Nakeeran, completely comfortable to own his assesment, comes forward unasked and confronts Siva
Nakeeran acknowledges the unquestionable lyrical beauty of Siva's poem but dimisses it as useless since it ascribed natural fragrance to the hair of the queen; a contradiction to true nature of human hair.
Neither Siva's wrath, nor the disappointment in the queen's contenance that her hair is no different to that of her maid's could sway Nakeeran's objectivity.
Siva leaves the court happy in the fact that the Tamil, a language of his creation is in the good hands of the Tamil sangam.
The wedding of Kannagi and Kovalan is very beautifully described in Silapadikaram and can form an apt idea for visualisation.
Kannagi and Kovalan's fathers decide to marry them.
They call upon young girls adorned with beautiful ornamnets, seat them on elephants and get them to announce the wedding of Kanngi and Kovalan through the streets of Poombuhar.
The day of the wedding breaks to the rhythms of two different types of drums and the tunes of the counch
The pearlwhite canopies filled the streets as if the king was on processession
This was followed by parades of women with flowers, lamps, garlands, paligai and kumbam
Kanngi and Kovalan arrive at the beautiful mandapam held by diamond studded pillars and strings of flowers as if flowing from the skies, with blue canopy and floors of flowers
An elderly Bhramin guides them through the festivity by showing them the star arundathi an exemplary devote wife of an ancient sage and they walk in unison around the fire
all her friends and relatives come up to them and wish them
some of them smiling, some of them singing, some with shy askance, some them hesitant, some speeding through, some in groups, some with bedecked long hair, some swaying like golden vain, all of them wish the bride and the groom well and wish them a life of togetherness.
The sea port of Poombuhar is home to traders from all over the world.
The beautiful streets on the sea shore sport large mansions
Boats converge in to the port from various directions
Street vendors and buyers roam with their ware of fragrance, powders for make up, chandanam, flowers and incenses
the commercial districts are lined with workshops of weavers of silk and cotton, jewellers making intricate ornamnets with pearls and gold and ruby, fishermen with delicacies, carpenters, metal workers making vessels and utensils in copper and bonze, artisans, sculptors, painters, those who process animal skin into leather goods
there were entertrainers, muscians, dancers
there were chariots streeming through the streets, there were men on elephants, and some on horses
all were happily giving menaing to life in the city, each with their distinct function, serving the rest and enjoying each other
The fire burns through the palace with all its occupants including the king, the queen, their army, their horses, elephants and spreads through the various streets of Madurai.
Below are the things Kanngi asks to protect and bid the rest be burnt:
bramins, virtuous, married women, elderly and children
Our thillana, (if practicable, in addition to protecting bramins, virtuous, married women, elderly and children) can consider touching upon all the characters in Silapadikaram that were responsible for the injustice, leaving them and burn through the paths:
touch the jeweller who infact stole the anklet, leaving him and burn his workshop and his ware leaving him unable to save them
touch upon the kings men who capture Kovalan, leaving them and burning their swords and spheres/javelins
touch upon the palace, leaving the frigtened palace gaurds, soldiers, courtiers, maids, elephants, horses, fallen king and the queen, and burn the throne, its canopy and the sceptre
the queen can narrate her nightmare to the king(in Silapadikaram, she does so before Kanngi arrives, bit of liberties in the adaptation) and the king addresses Kannagi kindly as a slender waisted women who has come in front of him with (tear)pouring eyes and asks her who she is.
The ill omens from the Queens nightmare the previous night as she narrates to her maids.
- the bell at the palace gates rings incessantly (typically the bell is rung by citizens of Madurai to seek the audiance of the King to express their woes/bring issues to his attention)
- the canopy of the throne breaks and falls
- the Sceptre falls to teh ground
- the sun is engulfed by darkness
- the stars burn and rain down
The queen gets ready with the help of her maids and enters the king's court with the her very many maids, old and young to warn him of her nightmare:
- some of the maids hold the mirrors up to her as she gets ready
- some bring her jewellary to adorn herself
- some bring her new cotton and silk garments to wear
- some bring her fragrance, shades of powders/make-ups
- the older maids bless her and wish her well
A group of kuravar awe struck by what they witnessed upon sighting the poet Ilango gather around him and share their experince
there stands a neem tree with a wide canopy, stimulating wellness in those who took respite in its shade
under its golden blooms there stands kannagi, spent and pensive from her endeavours in driving accountability for the wrongs inflicted upon her loved one
she stands thus looking up to the skies in search of her beloved
men, at the bid of the king of the gods, show her, her beloved Kovalan is well amongst them
they descend to the earth and usher her up to the skies t
under the very eyes of the awe-struck kuravar, Kanngi and her beloved Kovalan ascend to the heaves together
The sun rises over the beautiful Vaigai river and wakes up Madurai as Kannagi and Kovalan arrive
Kannagi and Kovalan arrive at Madurai rejuvenated at the sight of the never failing Vaigai
the mighty river flows beautifully, as if from the bountiful hands of the trees stretched on either side of its banks
there were tall trees of very many species, each laden with its flowers; there were kuravam, vagulam, kongam, neem, marvam, nagam, thilagam, marutham, chedal, chemparuthi and shenbagam
there were vines of very many species, each laden with its fragrant flowers; there were kuruvam, thavalam, musundai, adiral, koothalam, kudasam, vediram, paganrai, pidavam, mayilai and there were thuruthi
the continence of the beautiful river painted by its flora: the laden trees as lining its boosom with nourishing flow of plenty, the red petals of the kavir parting in a smiles, the deleicate mullai vines bedecking her neck, the eyes of the animals looking up after their dirinks drawing her eyes, the flowing forests being her flowing hair decked ever adorned with flowers, the vaigai river flows like the women of Madurai, never failing in their commitment, both the women and the river being a permanent finxure in Tamil poetry
the river flows in to rivulets, lakes, pools and waterways interleaving cultivated fields of grains laden with their bounties as the birds chirp heralding the sunrise
the lotus stems gently swing their heads up and open up their burden of petals to welcome the rising Sun
soaked in the beauty of the river and its multitude of attendents, the trees, its flowers, the fields, its grains, the animals, the birds, the lillies and the lotuses, the Sun assured of another day of righteous rule, an established tradition defining Madurai, gently wakes its people
3. Mangalam
Poetry: Sumathy Ramesh | date: 26 JUL 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Prema Ananthakrishnan | date 10 DEC 2020 | Singer: Prema Anantha Krishnan | format: .m4a audio | location: Sydney
An adaptation of வஞ்சிக்காண்டம, the last of the three parts of சிலப்பதிகாரம் depicts the recognition of Kannagi’s stories from hearsay, her devotion to her husband, and her courage by the kings of the neighbouring kingdoms and adoption of her as their protecting deity. The poetry was written with a basic understanding of Mangalam in margam as the piece where the dancer and the audiance exchange mutual plesantaries before leaving each other equally enriched by the experience. Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
கனிந்தனர் கண்ணகியால் ஒளிரும் தம் அணியினின் கனிவுணர்ந்தவர்
நினைந்தனர், தம் வரை முறைதனை (கனிந்தனர்)
நினைந்தனர்; புவிதனின் நெறி உணர்ந்ததும்
அறிந்தனர் நிகழ்ந்த பிழை தனை முற்றும் (கனிந்தனர்)
அறிந்தனர் மெய் மறைத்திடல் உயிர் வதை யென
அறிந்தனர் தளை தனை அறிதலில் பிறிதிலையென
அறிந்தனர் கனி மொழி தம் உயிர் வழியென
(The kings) mellowed, sensing the shine in the eyes of those from their understanding of Kannigi (knowing they are living to tell her story a very testament that they enjoy her protection).
(The kings) thought about the scope and terms of their reach- but realising righteousness as recognised by (their) people (overrides what ever was defined in their scopes) mellowed.
(The kings) knew exactly what to do the moment they learnt what has happened; they knew what to do upon realising the torture her (simple - untrained in the ways of tradesmen or their misinformation leading to injustice resulting to her husband in the hands of the king of Madurai) sole sustained; they knew there isn’t another way than to shatter all things that bound her (and) they (at once) knew their own survival is reliant on their appreciation of Kannagi’s words (of calling out the incorrect assessment of the king of Madurai on misinformation stating her expectations based on the righteousness of the kings of Poom Puhar), of wisdom.
4. Alarippu
Poetry: Sumathy Ramesh | date: JUL 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Malathy Nagarajan | date NOV 2020 | Viniga: Malathy Nagarajan | format: .m4a audio | location: Sydney
An adaptaion of புகார்கண்டம்: மங்கல வாழ்த்துப்பாடல் where the poet sets out to narate the story of Kannagi; the song integartes the tradition of invoking Ganesa, the remover of all obstacles. The poetry was written with a basic understanding of Alarippu in the margam as a piece to synchronise the dancer as well as the audience through a composition strung on rhythmic syllables. I have taken the liberty to overload a few syllables with meaningful words to engage the audiance into the message of the portrayal of Kannagi in the whole margam. Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
Poetry
தந்தோம்
தந்ததை தந்தோம்
மறு தந்ததை தந்தோம்
பகையிலையினியென தந்ததை தந்தோம்; மறு தந்ததை தந்தோம்
போரிலையினியென தந்ததை தந்தோம்; மறு தந்ததை தந்தோம்
போர்வரைபணியினியிலையென தந்ததை தந்தோம்; உம் தந்ததை தந்தோம்
போர்வரைபணியினிஉமகிலயென தந்ததை தந்தோம்; உம் தந்ததை தந்தோம்
சற்றினி இளைத்திடுவீரென தந்ததை தந்தோம்; உம் தந்ததை தந்தோம்
பத்தினிதிறமினியென தந்ததை தந்தோம்; நின் தந்ததை தந்தோம்
உத்தமிவழியினியென தந்ததை தந்தோம்; நின் தந்ததை தந்தோம்
நின் தந்ததை தந்தோம்
தந்ததை தந்தோம்
We gave back;
We gave back the tusk;
We gave back your other(previously broken-off) tusk (the tusk, Ganesa was supposed to have broken off to scribe the Mahabharatham including the battle of the Mahabaratham as Veda Vyasa composed the epic leaving Ganesa with just one tusk for the past five millennium or so)
Stating there would be no more wars, we gave back the tusk; we gave
back your other(previously broken-off) tusk.
Stating there would be no more enmity, we gave back the tusk; we gave back your other(previously broken-off) tusk.
Stating there is would be no more work for you as documenter of wars, we gave back your tusk; we gave back your (previously broken-off) tusk.
Stating you can rest for a while (after the 5 millinium and odd of documenting conflicts in some form or other) we gave back your tusk; we gave back your (previously broken-off) tusk.
Stating the strength of devoted women (like Kannagi would bring an end to enmity and wars, would lead us) from now on we gave back your tusk; we gave back your (previously broken-off) tusk.
Stating the ways of righteous women (would lead us) from now on we gave back your tusk; we gave back your (previously broken-off) tusk.
We gave back your (previously broken-off) tusk;
We gave back the tusk;
We gave back.
5. Jathiswaram
Poetry: Sumathy Ramesh | date: AUG 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Shuba Harinath | date DEC 2020 | Singer: Shuba Harinath | format: .m4a audio | location: Sydney
An adaptation of புகார்கண்டம் where the poet describes the virtues and accomplishments of the linage of Kannagi and Kovaln, their marriage, their life as they establish themselves as a young couple in Poompuhar, Kovalan’s admiration of Madavi’s artistic excellence, his distraction from Kannagi, his loss in business and their decision to make a new beginning by selling off Kannagi’s ruby studded anklets to raise capital for new venture. The song is set as a narrator’s reflection of what is been. The poetry was written with a basic understanding of Jathiswaram in the margam as a piece to synchronise the dancer as well as the audience through a composition strung on rhythmic syllables. I have taken the liberty to overload a few syllables with meaningful words to engage the audiance into the message of the portrayal of Kannagi in the whole margam. In doing so I employ a spark from the அகண்ட ஜோதி பிழம்பு of their virtuosity: the structure of the rasikapriya jathiswaram by Sri Lalgudi Jayaraman and a unique aspect of concert format KVN used in some of his concerts*, choosing the ragam of the main piece of the concert for the varnam to set the bavam for the whole concert experience. Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
*note, the choice of ragam for the Jathiswaram by the musician became Sankarabaranam- equally rich and beautiful.பரிகாஸமா பரிகாஸமா
பாதகமா மா பாதகமா (பரிகாஸமா)
பரிஸா மா பாதக பரிஸா
ஸாபமா பாதக ஸாபமா
பரிகாஸமா பரிகாஸமா (பரிகாஸமா)
காதமா தாமதமா;
பரிகாஸமா பரிகாஸமா
;,ஸமமா பரிகாஸமா
,நீ ஸமமா பரிகாஸமா
,ஸரிஸமமா பரிகாஸமா
ஸாதகமாக , பாதகமரிக
பரிகாஸமா பரிகாஸமா (பரிகாஸமா)
5. Shabdam
Poetry: Sumathy Ramesh | date: AUG 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Chitra Krishnamurthy | date JUN 2021 | Singer: Chitra Krishnamurthy | format: .m4a audio | location: Sydney
An adaptation of மதுரைக்காண்டம்: ஊர்சூழ்வரி where Kannagi combs the streets of the city of Madurai with its architectural grandeur and multi dimensional society seeking help to correct the injustices done to her. The poetry was written with a basic understanding of Saptham in margam as a piece wheer the dancer dissolves the audiance into the characterisation to be protrayed in the main peice Varnam by claming their intellectual responses to the componets of the art form viz., layam and ragam into bhavam with the use of lyrical constructs. I am hopelessly in love with my mother tongue, Tamil; not wanting to miss an opportunity to flaunt its richness and phonetic beauty, I have chosen to fix the constituents of the rhythmic construct required by the grammer for saptham for the lyical interludes as well, even though I understand the grammer only requires alignment at the level of the whole rhythmic cycle as opposed to the individual constituents Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
கேட்பாரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
கோட்புடைமாந்தோய் கொடிய பிழைத்தனை நன் குணர்ந்திடினும் ஏனென உம் மில்
கேட்பாரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
பூட்டினநகைதமை வணிக முதலென புன் நகைதுலங்க கொணம்மெ ன் ரளித்திட
ஈட்டினரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
ஈட்டினரிலரோ நுமது மனையோர் நற் பெண்டீரெம் இடரை கண்டும்
கேட்பாரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
ஏட்டின்எழுத்தன்றி இனிய இசையுடன் பின் நாட்டியமும் வளர்த்த நாட்டினில்
கேட்பாரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
உம் நாட்டின் வளைவிலாச் செங்கோல் வளைந்திட வல் வாள்வேந்தன் கொற்றம் குலைந்தும்
கேட்பாரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
கேட்பாரிலரோ
தகிட தகதிமி அரி தகி நநக ததி மி திமி கிட
Isn’t there any one to hold accountability? {rhythmic syllables appropriate to this genre of composition}
(I ask all of you,) who are have internalised the codes of righteous practices, Is there anyone amongst you to hold accountability even though you have a sound understanding of the cruelty inflicted through the mistakes?
{rhythmic syllables appropriate to this genre of composition}
(I ask you,) good women, haven’t there been other women in your families who have spontaneously given their (lot such as) jewellery to help the family tide over a shortcoming adorned in beauty with just their smiles, and haven’t on those occasions your men went on to pick up their lot (strength) and gained their ability to earn again? knowing the infliction of harm to me Isn’t there any one to hold accountability?
{rhythmic syllables appropriate to this genre of composition}
Isn’t there anyone to hold accountability in this land that flourished documented literature, music, and dance forms expressing the culture that was prevalent amongst its people? The impeccable legacy of this land in its fair governance has been shatters to shreds (because of the harm inflicted on me) yet, Isn’t there any one to hold accountability?
{rhythmic syllables appropriate to this genre of composition}
Isn’t there any one to hold accountability? {rhythmic syllables appropriate to this genre of composition}
Isn’t there any one to hold accountability? {rhythmic syllables appropriate to this genre of composition}
6. Varnam
An adaptation of மதுரை காண்டம் வழக்குரை காதை; not having found any help, Kannagi winds her way to the palace and seeking to enter the king’s court, makes states her case holding him accountable for the injus0ces sustained with no other support but her strength propelled by her love for her husband. The poetry was written with a basic understanding of Varnam in margam as the piece nailing the message of the margam. The channels for communication of what the dancer want to convey and the receptors of the audience have been tilled and tuned to perfection, where there is nothing left but the seamless flow of the character from the sole and body of the dancer fills the sole of the audience elevating their body to the level of virtuosity of the dancer - touching them in a way the dancer becomes part of the audience for life. Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
Poetry: Sumathy Ramesh | date: 8 AUG 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Mohan Ayyar | date APR 2021 | format: imag | location: Sydney
மாணிக்கச் சிலம்பென்ரறிவீர், மாண்பிழந்தோய், என் சித்திரக் காற்கலன் (மாணிக்கச் சிலம்பென்ரறிவீர்)
ஆணிப்பொன்மாட நற்கூடலூர், ஆண்ட சீரோய், என் கோவலன் கொணர்ந்ததென் (மாணிக்கச் சிலம்பென்ரறிவீர்)
வாணிகம் பொருட்டு வந்தவனை, வீண்நெறியோய், நின் தேரலா தீர்ப்பெனும்
நாணேற்றி கோலுடன் மாய்த்தீர், நாணமற்றோய், உம் காவலர் கொணர்ந்ததென் (மாணிக்கச் சிலம்பென்ரறிவீர்)
கண்ணகி என்பதென் பெயரே; கண்ணகி என்பதென் பெயரே(கண்ணகி)
விண்ணதிர் தமிழென் மொழி கண்ணகி என்பதென் பெயரே(கண்ணகி)
வண்கொடை வள்ளல் என்தந்தை; மண்தேய் புகழினன் மனைவி (கண்ணகி)
எண்திசை விலைஞர் கலந்துரை நுண்வினை வளர்ப்பதென் நகர்
உண்மென தசயரிந் திட்ட வெண்கொடையோர் எம்மன்னர் (கண்ணகி)
கண்ணினை காக்கும் இமைபோல் அண்டினர் காப்பரெம் மாந்தர்
திண்மையில் சிவந்த குருதி புண்வழி பெருகினும் பதறார்
பண்முதல் விதிவரை பயின்றும் நண்ணுதல் இயல்பென நிறைந்தோர்
தண்மதி எரித்தினும் தவறா பெண்மையின் வழியென் மரபு (கண்ணகி)
Understand that mine is a ruby anklet; you, who has lost your claims to the virtue of balance that come about by relentless exercising of objectivity, understand that my ornamental anklet is (studded with) ruby.
The righteous king ruling the city with houses including balconies of ornate grills made of pure gold, understand that the anklet my husband brought into your city is (made of )ruby.
You, who has wasted all the established (regulatory) guidances (that were available to you, as you failed to employ them), (strung your bough) with the arrow of your (inadequately analysed) irrational decision and killed him along with your claims to righteous rule; You shameless, understand that the anklet your (policing) men brought to you is my ruby anklet.
My name is Kannagi; (I have no one else to represent me) My name is Kannagi. (but I need no one else to represent me for my legacy equips me with what is needed to make my case to you, so hear about it)
My mother tongue is Tamil, whose utterance of every syllable can transcend the skies with its notes. My name is Kannagi.
My father is known for his enormous generosity (of heart and wealth). I am the wife of (Kovalan) whose glory has travelled the globe ever so many times that it has eroded the sands of the shores). My name is Kannagi.
I hail from (Poompuhar) a city that fosters the traders from (every one of the) eight directions to collaborate into developing intricate instruments products of highest caliber; Our kings are those (like Sibi) who (listened to the grievances of an eagle when he gave asylum to the dove on its chase, thus denying its meal) carved off his thigh and gave it to the eagle in lieu, exemplify blemishless governance through their gestures (impartially to all lives). My name is Kannagi.
My legacy is that of men who protect those who approached them unobtrusively with sense of purpose and gentleness akin to the eylids as they protect the eyes, holding their nerve even if blood gushes from thier wounds and women who raise themselves by shying away from recognition, even after gaining expertise in intellectual pursuits through relentless practice in ranging from art forms such as music to unyielding rules of grammar; even if the moon, known by its cool shine turns around start burning through with its rays, they won’t slip from their gentleness towards (fellow humans). My name is Kannagi.
7. Padam
Poetry: Sumathy Ramesh | date: 7 AUG 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Mythili Iyer | date 2021 | format: audio | location: Sydney
An adaptation of மதுரைக்காண்டம்: வஞ்சினமாலை, where Kannagi reflects on the legacy of the glorious women of her clan prior to deciding on the course of her next action. The poetry was written with a basic understanding of Padam in margam as the piece establishing the message of margam in the minds of the audience as if its their own, having won over by the dancer in the varnam. Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
தடக்கை கொணடேற்றிய விளக்கே சான்றென்று
முன் நிறுத்திக்காட்டினோர் எம் மொய்குழலார் -தம் (தடக்கை)
விடத்தைப்புகட்டிடினும் வன் சொல்லால் வருத்திடினும்
படர்த்தி மறித்திடினும் சினம் பூணாது மறுபடியும் (தடக்கை)
சுடர் திறத்தை மறுத்திடினும் தம் உருவை சிதைத்திடினும்
இடறி அணைத்திடினும் மனம் சிதறாது மறுபடியும் (தடக்கை)
(When confronted with calls for evidences) Our women,(who are adorned) by their (flowing) hair resonating (with the buzz of the bees enchanted by the emanating fragrance), are those who presented the lamp they lit (in their homes) as sufficient evidence (of what they have endured and how they overcome what life threw at them).
(In demonstrating their claims for justice) even when others intoxicate them, verbally abuse them, and constrain them with exaggerations of facts (to the extent its lost any semblance to truth), without wearing animosity (towards those who hurl), they lit their lamps again and again.
(In demonstrating their claims for justice) even when others deny the brilliance of their intelligence, destroy their countenance, and deliberately kick and blow-out their lamps, holding their mind without so much as spilling a stray thought, they lit their lamps again and again.
8. Thillana
Poetry: Sumathy Ramesh | date: AUG 2020 | location: Sydney | affiliation: lzerobzero
Music Score: Mohan Ayyar| date APR 2021 | format: audio | location: Sydney
An adaptation of மதுரைக்காண்டம்: வஞ்சினமாலை, அழற்படுகாதை, depicts Kannagi’s direction to the deities of fire asking whom should be consumed and whom should be left and how the fire executes her errand.
The poetry was written with a basic understanding of Thillana in margam as the piece where the dancer and the audiance indulge in the jubilance of their mutual understanding of the margam through the various pieces. Nuanced explanations of this piece from a choreographer’s perspective will be found in later sections.
பிழையற்றோர் விடுத்து பிழை நாடி
பிழையுற்றோர் விடுத்து பிழை முதல் நாடி
அழல்கொள்கவென ஏவினாள் பொற்கொடி
சென்தழல்தோன்றி பிழைஅடுத்து எரித்ததடி
( Kannagi, ) supple ( as a) golden vein, bids the fire to consume (or correct) the mistakes (injustices) by tracing to the root-cause of the mistakes(injustices) leaving (protecting) those who are faultless and those who might have incurred the fault (due to reasons beyond their control); the fire thus raged clinging to the faults (and preventing possible paths that can lead to further propagation of the fault) (leaving the humans unharmed as per her bid)
9. Back drop for Varnam
