Day two of the workshop began with a series of sights and sounds: fireflies flutter, a blazing orange sun moves across the sky, a deep violet dusk descends, gentle hands light lamps, and waters of the river gleam in the dark night.
Bharatanatyam artiste Praveen Kumar’s three-day workshop titled “Art Thou? - my child, my companion, my Lord,” brought alive the layered emotions and complexities in the compositions of the Haridasa poets through the vocabulary of dance. This was hosted by Aalaap through Zoom recently.
Bharatanatyam dancer-choreographer-teacher Praveen Kumar described the event as an exploration of emotions through the compositions of Haridasas.
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Praveen Kumar helped the participants (who were dancers) explore the ideas of the Lord, who is seen as a child, as a companion, or the supreme through two rare compositions of Purandaradasa. He came up with multiple layers of imagery — of how a dancer could raise a subject to much higher levels of feeling and exploration.
Dimensions of bhakti rasa
The dancer-choreographer explained that Devarnamas (Haridasa compositions) are based on bhakti, but touches upon various subjects and emotions through the fundamental concept of bhakti. ‘Kadagola Thaarenna Chinnavae’, the first piece he taught was an example of Vaathsalyabhava while the other piece, ‘Ranganyaantake’, was rich in Sringara.
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Though based on Vaishnava philosophy, the compositions of Haridasas sometimes reflect Sringara, as a dimension of bhakti. “‘Ranganyaantake’ by Purandaradasa is like a javali,” said Praveen Kumar.
A Virahotkanthita (one distressed by separation) heroine waits haplessly for Krishna to appear, when a hand gently touches her shoulder. It is her sakhi. She hastens her sakhi to bring Krishna right away. The wait has been long, dusk has fallen, and the lamps have been lit. Forlorn, she can wait no longer. “Behind all these emotional layers of Sringara is Bhakti,” he added.
It is impossible to talk about the workshop without dwelling on Praveen Kumar's artistry. He brings to the Bharatanatyam abhinaya imageries of Nature to enable the audience to understand the concept easily. Then he weaves in Yashoda’s unconditional love, little Krishna’s pranks, a nayika’s emotions, a sakhi’s support, Vishnu’s avatara, and philosophy.
Moreover, this dancer/teacher has an incredible penchant for detail, be it abhinaya, movement, posture and footwork.
Ultimately through all these, the dancer aims to blend Vishnu bhakti and philosophy.
“As Dasarapadagalu are about the avatars of Vishnu, you will see several names of Vishnu such as ‘Rama’ mentioned in the sahitya. Much of it has philosophical undertones, the act of churning shows a disturbed mind, for instance; and even love implies devotion,” said Praveen Kumar.