Watching “Anubhuti Dwitiyam” was an experience by itself. Kinetics of space, architectonical layers of interpretation, bordering on the unexpected, aesthetics of form, sound and content, were explored to push the boundaries of conventional Bharatanatyam choreography. Chitra Visweswaran demonstrated her mastery over “Anubhuti Dwithiyam” when she presented it in Kolkata recently.
Conceived and choreographed by Chitra, it featured her and her disciples, Vidya Anand, Uma Nambudripaad Sathyanarayanan, Arupa Lahiry, Jai Quehaeni Reddy, Nandini Ganesan, Divyashruti Reddy. The audience at the Rabindra Sadan cheered her greatly as she spoke about what made her choreograph “Anubhuti Dwithiyam”. It was created for the Opera of France, which invited her to choreograph a production conceived on the foundation of the traditional margam format of Bharatanatyam.
She had been invited to Kolkata to present “Anubhuti Dwitiyam” in connection with the silver jubilee celebrations of Kashmira Samanta’s dance institute Nritya Upasana.
A famed Bharatanatyam performer, guru, scholar, choreographer, she has collected almost all the prestigious accolades. At the outset Chitra’s disciples did a traditional Guru Vandana before enlightening the audience on the fluidity and aesthetic beauty of Bharatanatyam through Trimurthi Anjali in Ragamalika and tala Adi composed by late R.Visweswaran, the well-known music composer and Chitra’s husband. Anjali or offerings to Brahma, Vishnu and Shiva had an out-of-the-world appeal for its sheer exquisiteness and soft beauty. Rhythmically structured and adorned with a rich combination of Adavus, it showcased pure nrittya woven together with a garland of ragas.
Inspired by Adi Sankara Bhagavathpada’s Soundarya Lahari, Chitra had requested violin maestro Lalgudi Sri G. Jayaraman to compose a Pada Varnam for her on Shakti. The result was a gorgeous Pada Varnam in raga Malika and Adi tala on the nine moods of the Goddess based on the rasa aesthetics of India. Chitra garnished this lyric and music composition with intricately woven Jathis. The outcome was marvellous.
Sringara or love of Shakti for Siva-Sundereswara was symbolised through the cosmic union of the male and female principles. The warrior princess Meenakshi epitomised valour. Devi was wonder struck when Shiva turned Manmatha, the God of love to ashes through the flame of his third eye. Subduing Yama, the God of Death to protect young Markendeya displayed karuna while hasya rasa was evoked at the ignorance of people on Shiva’s leela. Devi’s disgust was vividly expressed when she witnessed Daksha, her father belittle Shiva. Divine wrath was her mood, while slaying the demons. Her fears and apprehensions enveloped her when Shiva consumed poison. Her compassion as the universal mother is well known. An epitome of peace as Lalitha at the very Bindu of the Sri Chakra completed the nine emotions, were executed with much sensitivity.
The piece-de-resistance was the presentation of the first three verses of Tevaram by the boy saint Tirugnaana Sambander in raga Gambheera Natai and tala Rupakam. It spoke of the beauty of nature at Tiruvanamalai which is revealed as Shiva. In choosing to perform from Tevaram, Chitra intricately wove history and art in a capsule offering a brief glimpse of the ancient Tamil culture . Tevarams deal with the overflowing of bhakti by the devotees of Shiva emoted in a captivating manner by Chitra.
The grand finale was Dasar Kriti of Purandara Dasa in Raga Kapi. The dasas of Karnataka were mendicant saints who belonged to the dasar kuta. Of them, the most well known is Purandara Dasa. In Karnataka, even now, his soul stirring Jagadodharana, resonates as a lullaby in the minds of the common folk. The poet is struck with wonder at Yashoda’s ignorance of her child’s divinity treating him as she would any little child, was portrayed sensitively. But when little Krishna, opened his mouth to reveal within himself all Creation , she was wonder struck. Yashoda rocked the cradle of the world itself.
Sukanya Ravindhar (nattuvangam), B. Umashankar (vocal), Sri Adyar K. Gopinath (mridangam), KP Nandini (violin), Shri Gokul (flute) were instrumental in the success of the programme.
