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Hussain showcases Ramanuja

Insightful and detailed: Zakir Hussain in Yethiraja Vaibhavam. Photo: K.V. Srinivasan

Dancer Zakir Hussain's latest thematic dance production, ‘Yethiraja Vaibhavam,' on Ramanuja, the 11th century spiritual leader and social reformer, was premiered at Brahma Gana Sabha recently. The production brought alive the single-minded devotion and compassion of the Hindu philosopher through the ‘Divya Prabhandam,' (Revathi Sankaran) and sensitive and involved dramatisation.

Zakir has abundant talent as a dramatist. He is also well-versed in Vaishnavism. This makes for presentations that are insightful and detailed at the same time. For example, he opened with a ‘Dik Bandhanam,' an inspired piece. This is usually performed just before religious ceremonies, to close the sides so to speak and isolate the archaka from other spirits. The traditional ritual was adapted to dance as a four-directional piece paying obeisance to Vishnu's iconic symbols such as the Shankha, Chakra, Garuda and Adisesha.

Painted images

A beautifully worded paasuram-like Sesha Stuthi (misra chapu) then introduced Ramanuja, placed in the centre, as an avatar of Adisesha. While the first was an interestingly layered composition, the highlight of the evening was ‘Agilam Pugazhum Thiru Namam,' (ragamalika, Adi, Revathi) as it contained vividly painted images of Ramanuja.

Interestingly, the anecdotes were from different sthalams such as those concerning Thirukottiyur Nambi, Thirukurungudi Narayana Pancha Samskara, Melkote Tulukka Nachiyar, fulfilment of Andal's promise at the Madurai Azhagar Koil and the Srirangam Uranga Villi Daasar incident. Especially moving was Narayana's initiation, when Ramanuja knowingly had to use hot iron brands on the Lord himself. The lyrics went a long way in conveying the stories. The words were simple yet lilting. Sample: in the Srirangam episode Ramanuja seeks to uplift the man who is lost in his wife's beauty, with the words, ‘Manaiyaal Maivizhi Mayyalilae Mayangiya Mallanai Uyarthidavae.'

Zakir's attention to detail continued in the slight tilt of Ranganatha's face in the Ananthasayana position, in the ‘Selvapillai' doll-walk, and in the performance of the Pancha Samskara. Vishnu supposedly turned to look at anyone who praises Ramanuja, so the dancer as Vishnu actually turned towards the wings when verses from Amudanaar's ‘Iraamaanusa Nootranthaathi' were recited! Zakir also used the Pancharatara Agama Shastra mudras wherever appropriate.

But surprisingly Zakir's nritta did not reflect this care. It was too graceful and too light-footed to suit a well-muscled male dancer. The other let down was in the music department. Though the music composition (Murali Parthasarathy) was apt, especially the Islamic slant in the Tulukka Nachiyar segment, the vocalist (Sudev Warrier) was neither impressive in his enunciation nor in his melody. The difference in sruti between the singing and the chanting (Hema Seshadri) was also not pleasant. In the interpretations there was some ambiguity in the Selvapillai episode. Zakir's student Lakshmi Venkatesh (nattuvangam) anchored the otherwise skilful musical ensemble with complete control. The supporting cast consisted of Viswanathan (mridangam), Kannan (violin), Ramesh (flute), Venkatasubramaniam (keyboard) and Saravanan (special effects).

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