Composer: Madurai R. Muralidharan
Ragam: Dharmavati
Talam: Adi
Language: Tamil
Choreographer: Gopukiran Sadasivan (senior disciple of Padmabhushan Dhananjayans, Kalakshetra)

The Varnam is often described as the “piece de resistance”. This Varnam, “Aadi aadi magizhndaar” literally means “Dancing dancing happiness”. This varnam is in praise of Lord Shiva.

First half:
Verse 1 (“Aadi aadi magizhndaar…”): The blissful or “Ananda Nataraja” is depicted as the one who dances happily and is worshiped by the devotees and the ascetics. He is described as one who does not have a beginning or an end.

Verse 2 (“Theydi theydi…”): There was once an argument between Brahma and Vishnu on who is the most powerful. To help declare a winner, Shiva came and said I’ll give you a task: the one that can find my full form is the best. Hence, Lord Vishnu (the Preserver) went in search of Lord Shiva’s feet and Lord Brahma (the Creator) went in search of Lord Shiva’s head.

Verse 3 (“Paadi paadi…”): The story of Markandeya is expanded upon through a sanchari in this varnam. Mrikandu was a great rishi who longed for a child, and thus prayed to Lord Shiva. Shiva appeared, and said, "I am pleased with you, Mrikandu. Tell me, what do you want?" The rishi responded that he wanted a son who would be brave and smart. Lord Shiva responded that the rishi would get his wish, BUT under the condition that the boy would only live for 16 years. A little bit later, the rishi’s son, Markandeya was born, with much intelligence and bravery. When Markandeya reached 16 years old, he began to pray to Lord Shiva day and night in hopes that he would save him. On the last day, Markandeya was about to sing bhajans, when Yama, the God of Death, came to him. Yama rode on a buffalo. He held a noose in his hand. As Yama put the noose around Markandeya’s neck, Markendeya cried in fear and clung to the Shiva-Linga as one clings to one's mother. Then the Shiva-Linga burst open and God Shiva came out of it, kicked Yama, and blessed the boy. This story enumerates the underlying devotion of all devotees whose anguish is relieved upon praying fervently to Lord Shiva.

Verse 4 (“Vaadi vaadi…”): Lord Shiva is then praised for appearing as soon as he hears his devotees’ sufferings and giving them blessings. This quality of Shiva is demonstrated with a small story of how there was once a man from a lower class who really wanted to see Shiva, yet the nandi was standing in between the man and Shiva. Shiva saw the man wanting to look, and made the nandi move, and blessed the man.

Verse 5 (“Ven pirai thigazh…”): The devotee recounts how the nectar that was received from the churning of the ocean between the asuras and devas, was devotedly used to sanctify the Kadamba forest surrounding the city of Madurai, whose temples were filled with golden lotus ponds. The concept of “Ardhanareeswarar” is referred to by depicting how one half of Shiva is the fish-eyed Goddess Meenakshi (Devi). It is also explained how Shiva’s blessings resemble rain helping plants sprout in the middle of a drought.

Second half (Charanams):
Verse 1 (“Anandam pongum…”): Nithya extolls how Lord Nataraja while dancing happily, once did so by raising his right leg (instead of his customary left leg) in the silver hall of Madurai Meenakshi temple.

Verse 2 (“Kandan annai…”): Devi, the mother of Lord Muruga, is delighted and filled with awe upon the divine sight of Lord Nataraja dancing with his tender, caressing feet.

Verse 3 (“Bhootha ganamaada…”): The “bhootha ganas” or celestial beings and Lord Ganpathi, the child of Lord Shiva, come together to dance with joy as they sing the praises of Lord Nataraja.

Verse 4 (“Needuyarnda malaigal…”): The beautiful natural landscape is described with tall mountains shrouded with clouds, mist and rain. Lord Shiva is addressed as “Neelakantha” to depict the legend of him swallowing the poison that stops in his throat, thereby earning the epithet “Blue-throated one”. The dancing Lord Nataraja is vividly described as the majestic one with flowing and matted locks, curling serpents around him and smeared with “vibhuthi” (ashes) all over his body.

Verse 5 (“Maan maru nayagane…”): Nithya seeks the blessings of Lord Shiva who is described as the one who holds the deer and the ax in each hand; he who recited the omkara manthram (the sound “Om”) with happiness; he who has Uma on his left side, symbolizing the Ardhanareeswarar concept; he with overflowing beauty; and he who is adorned with jewels. Nithya concludes this varnam by saying “Oh dancing Lord, please come and bless me with compassion; provide me with a good mind and virtuous path; I bow down to you; protect me and save me as I surrender to you”.

Nithya’s remarks:

My family’s ancestral God is God Arunajadeswarar, which is another name of God Shiva. I would like to dedicate this dance to my paternal grandparents (Vichu thatha and Lakshmi Patti). This is definitely the most tiring piece I have, being 30 minutes, and filled with so many steps! I have invested so much time learning and practicing this piece, which I learned entirely over Zoom. Although it is definitely difficult and exhausting, it is a very fun and upbeat piece which makes it enjoyable. All your positive energy will definitely help me keep going! Of course no Varnam is easy to learn, so thank you to Gopu Anna for choreographing this lovely piece, and to my guru Neha Aunty for practicing it again and again with me, cleaning it up, helping me figure out the intricate talam, and helping me emote more. The musicians are just amazing, their innovative musical abilities make this dance really exciting!