With lyrics and music by T V Gopalakrishnan and set in Vilamba Kala, Adi tala, this unique and rare Pada Varnam on Lord Vinaayaka, created history in Bharatanaatyam at that time. In Bharatanaatyam, Shiva and Krishna were most popular, the nayaka nayaki bhava always had the heroine (jeevatma) pining for the hero (paramatma) and no one had attempted to perform a Varnam on Vinaayaka. It was a break from the usual sringar thrust and describes the attributes and exploits of the elephant god. It is the story of how Ganesha acquired his elephant head and his intelligence and sagacity in winning against his brother Karthikeya is part of the thematic thrust. The lines given alternate mimetic interpretation, gives a balletic dimension.

A lot of inspiration has gone into the making of Vinaayaka Varnam. When Dhananjayan first heard T V Gopalakrishnan sing at the kumbhabhishekam (consecration) of the Varasiddhi Vinaayaka temple in Besant Nagar, he felt the lilting varnam had possibilities. He asked Gopalakrishnan if he could use the vibrant musical composition, to choreograph a Vinaayaka Varnam for dance. On getting his consent, Dhananjayan sent his musicians to learn from him.

The Vinaayaka varnam was first performed at the Nanganallur Pillayar Temple, Chennai by the Trio Sisters. It was later presented as a duet by the Dhananjayans, spanning an hour and 15 minutes. People found it surprising that one could present such a lengthy item on Vinaayaka (Pillaiyar). To this day, it remains a favorite item for the students of Bharata Kalanjali. Though ideally suited to a male dancer, it has been performed successfully by the Dhananjayans’ female disciples.

When Dhananjayan performed this piece after receiving the Nritya Choodamani Award at the Sri Krishna Gana Sabha in 1983, T V Gopalakrishnan himself sang for the recital.

Synopsis
The Devas and Asuras churned the ocean of milk without offering a prayer to Ganesha, as a result of which they encounter many obstacles. They realize their mistake and pray to Ganesha and they successfully get nectar from the ocean.

In the second part, the story of Ganesha's emergence as an elephant headed child is narrated. The story establishing his high intellectual prowess by winning the divine fruit is depicted. Also depicted is how he helps his brother Muruga to win the hand of Valli.

Ganesha trying to smoothen brother Karthikeya’s path of love is full of humor. Made to appear and disappear in turns, till the frightened Valli seeks the sanctuary of the old man’s (Muruga in disguise) embrace, the scene is depicted with sparkling inspirational gestures.

Finally his various attributes are sung in the Tamizh alphabetical order. This varnam is a favorite of the Dhananjayans.

“For 2 years, I wanted to do the Tamil varnam on Vinaayaka composed by T V Gopalakrishnan. Since, I did not get any great inspiration, nothing happened. While I was toying with the idea of choreography, everybody including my musicians discouraged me saying Vinaayaka was not a suitable subject, no emotions were involved, he was a pot bellied unattractive figure and so on. I gave up for a brief period and then resumed. The repeated discouragement made me determined to take up the challenge and I first started by choreographing it on the Trio Sisters. In the Trikala Theermanam, I gave some nice elephant movements, made it different from the usual adavu format. But after that, nothing major happened.”

“Then one morning, 2 people from Nanganallur came to see me, saying they wanted us to perform for the consecration ceremony of the Vinaayaka temple, to be presided over by Shankaracharya. Though they did not ask me to present Vinaayaka oriented items, I felt I was being prompted to work at it. Out of the blue, the inspiration just poured in and I feel it’s one of the most captivating items I have choreographed. A very rewarding experience. Pillayar is so popular now!!”

“When Subbudu came to see us perform the Vinaayaka varnam at the Khamani in Delhi, a strange thing happened. Contrary to his usual practice of just watching a show and leaving, Subbudu actually came backstage and nearly in tears, told me that the item had been a revelation to him. He later wrote a beautiful article on that.”