Recently, Lakshmi Sreeram presented the voices of Andal and Meera through the genres of Hindustani and Carnatic music. Her presentation, accompanied by brief narratives, was at Arkay Convention Centre organised under the banner of Madhuradwani.
She began the evening with ‘Bharare Giridhara Gopala’ of Meera in Darbari Kanada followed by ‘Vaanidai Vaazhum’ in Todi in which Andal dedicates her body and soul to her Lord.
Meera spurned her royal status and codes for the sake of Krishna. She danced around singing ‘Baga Gungroo Bandh Meera Nachire’. While one could feel the searing loneliness in Meera’s songs, Andal in her compositions was more romantic and exuberant. Nevertheless, both delineated their pain in their songs. Lakshmi, in this context presented ‘Hari Mein Prem Diwani’ of Meera and ‘Kannan Ennum Karundeivam’ of Andal. While Meera was very frugal in detailing the many forms and paraphernalia of Krishna, Andal dealt with everything related to him from the avatars, disc, conch, snake-bed etc. For Meera, he was just a dark-skinned lord with ‘Mor Mukut’ (Peacock feather crown) and ‘peethambara’ and bansuri (flute).
Both tried to send their messages through the cuckoo, bees, cloud and birds. Here Lakshmi rendered ‘Mathali Ther Munbu’ of Andal and ‘Papiha re Peev ki baani na Bol’ of Meera. On the subject of the union with their lord, Andal described it as her beautiful dream in the famous ‘Varanam Aaiyiram.’ But, Meera was more mystical; she asked Him whether she should come to him as a Jogan (Saint) or Bride in ‘Chala vahi des Oh Preetam’.
The power of music and the profundity of the meaning kept the audience engaged throughout Lakshmi’s performance. She was supported by Mannarkoil Balaji on mridangam and Adhit Ravi on flute.
