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(Herala Sangeeżha .f’dataka Acad»my
Fellowship & Award. Winner}
Birth
Father Mother
Address
Educatión Schooling
Dence
At Ennakkad near Mavelikara on 10* October
1950
Late Shri Gopalan Thampi, Ennakkad
Karthyayani Pillai Mahadevikad Puthenpurakkal
Mannur Madom Palace Mavelikara - 690 101 Alleppey Dist., Kerala Tel. No. 0479—2304331
Mobile. 9847157554, 9497337115
E-mail: narayanankutty59Bgmail.com Matriculation
At Mahatma High School Chennithala, Alappuzha Dist. Kerala
Started learning dance at the tender age of 7 under Guru R.P. and had an early education (1965 - 70) in dance under the renowned Guru Shri Guru Gopinath (Kerala Nadanam).‘
Kuchipudi
3 years (1972 - 75) intensive training under the renowned Gurus Thanjavur Bhaskar, S.K Rajaratnam Pillai & Kalakshethra Thomas.
3 years (1975 - 78) rigorous training under the renowned Gurus Venn pati Chinnasatyam and Andhra Sumati Kaushal.
7 years (1978 - 85) from the great Mohiniyattam Maestro Kalamandalam Kalyanikutty amma.
Appointed in 2011 bq th Government of Kernlu to occupy ltte position of Executive Member of Th Ker«ln Snngeetlin Niitiikii Acndemq and currently
Principal
Director
5 years (1978 - 85) as Principal of KPAC Dance School.
During this period composed and choreographed both classical and other forms of dances for KPAC and man) other dance dramas including Samskara Sahithi, KPAC, Kalidaasa Kalakend ram, Sangac hethana, Viswa Ke rala Kala Samithy, Aksharakala etc.
Founder and Director of Kerala Kala Dance Academy, the Institute for dance and a Dance Troupe, that functions on behalf of the Institute for the last 22 years. During this period composed, choreographed, di rected and played lead roles for man)• dance dramas of the Troupe.
Worked ns Instructor J'or line Arts in the f’ollou›ing Institutions:
Assumption College, Changanacherry
St. Mary's H.S.S, Kayamkulam
St. Antony's H.S. Chengannur
St. Mary's H.S. Kdnjirappally
St. Joseph's H.S. Kottayam
St. Goretty H.S. Trivandrum High School for Deaf and Dumb,
General
Founder and Whole Time Director - Uerala Sala Dance Academy, Mavelikara. This instiéuW has its existence for the last 40 years and 1s fazrto for the Indian Classical dances and impart trar ing ón Bharatanatyam, Kuchipudi, Mohiniyattam and Keralanadanam.
+ Kerala Kala Dance Academy is also havlng a professional dance-drama troupe which is famous for stage performances through-out Kerala.
Currently active in composing and directing dances and dance dramas. In addition plays lead roles for the above items.
Over a perio.d spanning 46 years of professional life, has trained a large number of young aspirants-in Classical Dance and the students dis‘tmctively différ in style, movements, rhythm and perfection from others. Generally students start learning tedious steps of Classical dance at the tender age of 3 or 4 years.
Eminent film stars such as Parvathi Jayamm, Usha, Rashmi Kailash, Navya Nair, Karthika Kannan, Vijayakumari and several others are former students.
tajor Achievementa:
Kerala Sangeetha Nataka Academy Fellowship-2005
Kerala Sangeetha Nataka Academy Award- 2000 for exclusive contributions to dance.
Guru Chengannur Memorial Award-1992 awarded for upholding the traditions of classical dance and integration of the same with modern thoughts and processes.
Fig ures in Kerala's 1000 most popular pirblic personalities as per the book published by Avonthi Publications. This book depicts the artiste as the true successor to the most renowned personality of erstwhile Princely State of Travancore, Late Shri Kanakku Chempaka Raman Pillai, who was the maternal uncle of the artiste.
Guruvandhana Puraskkaram awarded in 2005 for devotion to and performance of traditional art and dance forms of Kerala.
Provided organizational guidance and support for the ISC Drama fest conducted in Muscat in 2014 at the behest of Kerala Sangeetha Nataka Academy.
Organised and conducted Mohini Nrithyathi - the festival of Mohiniyattam during the year 2013 at the behest of Kerala Sangeetha Nataka Academy.
Organised and participated in several programmes conducted by Kerala Sangeetha Nataka Academy.
Rece ived several other awards from cultural organizations
Vast experience and familiarity with all aspects of various dance forms and stage based performances.
WOf
Conceived, composed, directed and choreographed several classical dances in Bharatanatyam, Kuchipudi and Mohiniyattam styles besides several semi classical and contemporary dance forms for stage performances and dance dramas. Masterpieces include dances composed in Jugalbandhi style on the themes ot “Enmronmental Protection, “Netioiio/ Jntegrnttoii”, “Y#or of the South”, “Nava Sahasmbdha Dhundhubhi”!Welcoine to No MiJienium) along with commemoration of Kargil war and highlighting of Atrocities against
Wife
Children
Women etc. Details of these programs are given in the attached sheet.
Rajam Narayan, who has encouraged and supported me in all my activities and performances since our marriage in 1979.
Nrxtiio Narayan, danseuse and a Post Diploma student from Kalakshetra, Chennai. She is presently , pursuing another P.G in Bharathanatyam from Bharatidasan University. She has to her credit several awards and accreditation at District and State Level school competitions for Classical Dance. Currently, engaged in training students in Bharatanatyam and composing dance and classical dance dramas for presentation on stage.
Sruthi Narnyeii, completed Graduation in English Literature and holder of an MBA post graduate degree. Currently, employed as an officer in The South Indian Bank and at the same time preparing for MA in English Literature. Seriously interested and knowledgeable in classical dance.
YEAR OF THE YOUTH
The dance was performed first on stage in the year 1986 on the occasion of the 5° Annual Day Celebrations of the Kerala Kala Dance Academy, which was subsequently performed on many stages throughout Kerala. The inaugural function was presided over by the then Kerala Speaker Shri V.M. Sudheeran.
The theme centered on the strength ofliidiaii you th, the great poieitNl key possess sitd ifi role thy are supposed to pint for tJteVelopment and prosprriti of our nation. The youth have to learn lessons from past and strive to bring back the lost glory of"Bharat Mata". They should keep themselves awav front all vices, be prouci of our old civilization ahd respect our age old traditions and family bonds. All our energv and efforts should focus on making mother India a strong and truly great nation.
The media acknow ledged the dance as a great source of inspiration to the youth.
ENVIRONMENTAL PROTECTION
“Mulatlio BralivtnroopaJa Madliyntlio Vishnu Rospiiiui Agrofft0 Shine Roopsya Vrikshh rnujñj/Hthe Nantnh”
’Vriksh i Pooja’ (Tree worshi[ ) is done in many parts of India. This is done with the noble concept that Lord Brah ma forms the root of the tree, Lord Vishnu is the middle and Lord Shiva is the upper most part. It un-enigmatically explains the “Srusliii, SfhifJii, Samliurn” phenomenon, its origin and rationale by comparison with the three parts of trees. It is mother earth on which mankind ’lives and thrives’. If mother earth loses her balance, the result w ill be catastrophic. Inspired by the importance of this theme, it has been articulated into a beautiful |ugalhatid!ti i.e. combination of Blmrntonayoiit, Moliiiiiattnin, Kucliipudi and Katliaknli and performed on stage. This was a phenomenal success.
The theme centers on the over exploits tion of nnturul resourCCS, fflobal perming, environmental polJx tion, ozone layer depletion etc. It sends a strong message on the disastrous consequences of mankind's
shortsightedness. It was w idely acclaiiiied by the media and public o t large as one of the best classic pieces of Jugalhaiidlii. Its contemporary importance need not be overstressed. It still serves as an eyre opener to the erring sons of mother earth.
Composed this dance in Raga inal ika fr Thalamal ika anal cJirected, choreographed and ex en played the lead role while performing it on the stage in 1993 in connection with the 16th Annual Day Celebrations of Kerala Kala Dance Academy. The inaugural function was presided over by the then Kerala Speaker Shri Therambil Ramakrishnan. It was subseijuently performed live on about 150 stages. Stills are given at the end of this write-up.
Comments by the press:
Almost all the newspapers in Kerala gave wide publicity and coverage to the programme. The report published bv some of the major news papers are given below:
Indiscriminate exploitation of natural resources, environmental pollution, global warming, ozone layer tie lction etc. are haunting the mankind of 24“ Century. Ennakkad Naraya nankutty's ”Vrikslia Pooja” performed in the form of Jugalbandhi gave a rare experience to the audience.
The dance gave a fore-warning to mankind against the over exploitation of mother earth, environmental pollution and ozone layer depletion. The message went down strongly to the hearts of people.
Mathrubhumi reported that the dance gave a rare experience to the and ience and alerts its readers on the disastrous consequences of over exploitation of the environment.
Madhyam‹im — “Worship o/ tree ngni›isf deforestation”
It reported that the dance gave a strong message to the Govt. of Kerala on the indiscriminate and irresponsible felling of trees in the name of “selection cutting” industrialization etc.
(6) The other papers also reported the event including Mangalam, Jayadhwani etc.
NATIONAL INTEGRATION
The dance was performed first on stage in the year 1995 on the occasion of the 18a Annual day of the Kerala Kala Dance Academy. The inaugural function was presided over bv the then Kerala Excise Minister Shri M.R Raghuchandra Bal.
The theme centered on theuntuk, individusliy and distinctiomess ofMother India, her inhermt st:rmgIhs, necessifl ofher children to stay strongly united tind reri iin solidly behind her as one to mee! tie cliMlenges almad. It compares the sons/daughters of India to budding flowers. As we love and derive joy from flowers, so should we love and appreciate fellow citizens, unity and integrity and our old values. We should be proud of our ancient culture, tradition and our foremost position as land of “spirituality”. Knowingly or unknowingly, nothing should be done to endanger our unity. Society should not be divided on caste, language, religion or any other sectarian grounds.
The programme was performed on about 100 stages as an introduction to other stage performances. It was acclaimed as a masterpiece.
WELCOME TO THE NEW MILLENIUM (SAHASRABDA DUNHUBHI)
It was first stage performed in the year 2000 and coincided with the 23a Annual day celebrations of the Kerala Kala Dance Academy. The inaugural function was presided over by the then Kerala Speaker Shri
M. Vijayakumar.
The theme centered on the arrival of new millennium for Bfinrefambo, the new hopes and aspirations she got for her children and earnestly cafls to work hard for its early fulfillment.
The dance remembers the good old days of Indian women who were revered and held in high esteem. They enjoyed a unique position in society. It should,be our pledge in the new millennium to regain all her lost pride and happiness and to crown the glory of Bharelemba. The nation can ill afford the pains ofwomen and continue to disregard their plight. The dance is .very critical on the atrocities against women, importance of protecting them and giving them adequate security.
It briefly touches on the unfortunate events in Kargil and the great sacrifices made by our Jimsns. It recollects our freedom struggle and pays rich tribute to all those who lost their lives in battle and calls for the supreme sacrifice in our fight against divisive forces to preserve unity and national integrity. It is more like a new “Vande Mataram
Inforination•on a few acclaimed dance dramas is given below: PADUKA POOJA
"Padjuka Pooja" (Worship of Bhagwan Shri Ramachandra's Lotus Feet). Conceived as a dance drama, composed, directed and choreographed the play. The dance drama centered on Shri Ramachandra's birth, life and the ideals he lived for during Treta Yuga.
Valmiki started Ramayana with the famous Sloka:
“to Nish da PrathiMtaml:hva-NIngama:
Sosu›sthee Same:
Beth K:romncha Midhunamdeka-lWniedhi:
KamnmohitJiam.”
This dance drama commences with the very same verse. This ballad was very enchanting to the audience. Itwas well received and instantly accepted as a mega hit. The lead role of Bhagwan Shri Ramachandra was enacted by the composer. The story stnrts on the bank of the holy river Sarayu in Ayodhya where King Dasaratha performs the Puthrakameshti Yaga which culminates in the birth of Shri Ramachandra (incarnation of Mahavishnu). His childhood, education, performance as a great son, a loving and caring brother, a dutiful husband and a truly responsible king are afl superbly portrayed on the stage. People from every walk of life love and adore Shri Ramachandra and hail him as the perfect man "Maryada Purushothaman". His exemplary life is re-enacted with great mastery and skill. All along, the audience watches the play in rapt attention. It gives deep insight on the values for which Shri Ramachandra stood and lived for. The dance-drama was a phenomenal success and was played on more than 200 stages.
(2) PALAZHIMADANAM
This is a piece of story taken from Shivapurana. The story is centered on the most conspicuous character “Narada”. It is styled as a dance drama and the lead role has been played by the composer. Narada explains the misdeeds of Ravana to Bhagwan Mahavishnu. Bhagwan tefls Narada that the time as of now is not opportune to destroy Ravana. Narada reaches Lanka and makes Ravana even more wicked and atrocious. He even manages to make Ravana tnke Bhagvan Shiva's abode “Kailas” in his hands and play ball with iL In the whole episode Narada acts as a catalyst to speed up Ravana's end. At last Bhagwan Vishnu incarnates as Bhagwan Shri Ramachandra to end Ravana's misdeeds. The story dramaticafly
unveils the intolerance and demonic misdeeds of Ravana. It announces to the world that God will not tolerate wicked deeds and one will definitely have to pav dearly for evil acts.
Shivashakti is based on Shivapurana and Devi Mahabnyam. The creation, existence and destruction phenomenon is endless, unknown and unexplainable. Shiva and Shakti are interrelated, complimentary and interdependent and yet separate. R ithout Shakti, Shiva is non-existent and w ithout Shiva, Shakti is incomplete. Though this ultimate truth is known, due to Narada's instigation, difference of opinion arises between Bhagwan Shiva and Devi Shakti. Shiva and Shakti are personification and a nice and enchanting story of sorts is carved out in this mega hit dance-drama Shivasakthi. A truly devout and compassionate mother's sorrows in life are clearly pictured and Bhagwan's divine blessings and granting of Moksha are beautifully enacted with heart throbbing scenes throughout.
TRETAYUGAM
“Dds/tnvors/id Soluisratii
It is said that Bhagwan Shri Ramachandra rulecl the Kingdom of Ayodhya for 10,000 vears. We Indians long for a second Ramarajya. There is no super worship than worship of husband. Tretayuga beautifully portrays Pathivrityam through the stories of Savithri, Sitadevi and Anasuya. Savitri, who by her relentless devotion worship, brought back the life of Sathyavan. Sitadevi, though she was under the confinement of ctemon King Ravana for years, did not lose her tha(as Pathivrityani, Anasuya who made 10 nights at the request of Devas are all good examples of Indian ethos of true loyalty and faithfulness.
The play clearly portrays that there is no life beyond one's husband and
taking good care of one's family is the greatest worship that one can do.
BIBLE DANCE DRAMA: DAIVAPUTHRAN
This play deals with the entire life span of Jesus Christ. It starts with the holy conception and follows Frith the birth in the Manger and the visit by the three kings of the east (the Magi). Being a trance drama, thg scene Jumps severa1 years and starts again at the time when Jesus stnrts his preaching. The ballad continues and shows his holy powers in the way he cures the sick and the suffering and pardons sinners like Mary Magdalen. It
highlights the betrayal by Judas and the tridl by Pontius Pilate and finally the cruel scene of the journey with the cross and the crucifixion. The ballad ends wsth resurrection of Jesus Christ which is a symbol of faith and deliverance for all of humani .
KALIPRASAADAM
The concept of this dance drama is that Goddess Kali who is considered to be the strongest formyroof manhood incarnates herself in this world. She uplifts and empowers the women of this world so that they attain a position of honour and self respect.
GEETHOPADESHAM
Whenever there is a decline of righteousness and rise of evil, I manifest Myself.
This dance drama starts with the battle field of Kurukshethra. After explaining the circumstances that led to this battle, the all inn( ortant and sacred scene of Sri Krishna advising the warrior Arjuna through the “Bhagavad Gita” is rendered clearly. It depicts how the Lord manifests himself on this world whenever the moral standards of the world become gravely endangered.
