A highly compelling and unique dance theme called ‘Divya Vivaaham’, conceptualized by Usha R.K., art consultant, was presented at Bangalore Gayana Samaja, as a two-day dance spectacle recently. “In today’s time we find that the marriage ceremonies have shrunk, and the rituals are being dropped to suit the availability of time. To reiterate the importance of some rituals that are essential to the institution of marriage, this two-day dance festival was envisaged.” Usha’s introduction said it all -- the idea that propelled this fine and rare concept.
Both ancient and immediate, the elemental power of this concept could be felt in its presentation. Choosing six couples from the wealth and variety of our mythological characters, the rituals of Divya Vivaaham were portrayed and conveyed beautifully.
After introducing the couples, the marriage rituals like Haldi ceremony, Kanyadaanam, Maangalya dhaarana, Jai Mala, Saptapadi, Nalangu (activities that engage the couple in playfulness, to make them feel connected) and finally the celebratory Aarti to the wedded couple - were presented in an eye-catching, and soul-stirring performances through the medium and idiom of Bharatanatyam.
Rati and Manmatha: (enacted by Arundhati Patwardhan and Parimal Phadke). Manmatha is the desire incarnate and Rati is the physical aspect of the delight, arising out of desire fulfilment. Manmatha evokes pangs of love in the minds of the mortals and his counterpart is Rati. Their amorous dalliances, their tiffs and separation and how that would leave the worlds bereft of desire and procreation, and how significant it is for both to remain united - why their Divya Vivaaha must ensue - this was the theme of the item.
Sita and Rama (enacted by Prachi Save Saathi and Anand Satchidanandan): Sita and Rama as a couple wield enormous power on devout minds that they remain etched forever as one entity. Their primordial original forms of Mahavishnu and Mahalakshmi and their bond in continuum is Rama and Sita. Sita as the boon- daughter of King Janaka, her connection with him, her feelings during the ‘Swayamvara’, the flutter of joy as Rama strings and breaks the Shiva Dhanush and the, panigrahanam, Kanyadaanam ritual amidst chants and the popular lyric, ‘Sita Kalyana Vaibhogame’- concluded this presentation.
Parvati and Shiva (enacted by Shruti Gopal and Parshwanath Upadhye): They are the universal ‘mata and pita’, the very genesis of everything. Their story of love, separation (as Shiva and Sati), their reunion as Parvati and Shiva. How, after much trials and testing of Parvati’s boundless love for him, Shiva accepts to become a groom again, how the celestial divine Vivaham was solemnized, how after benedictions were given to ‘Tirumangalyam’, it was tied in all auspiciousness around the neck of the bride, how the whole creation rejoiced as the couple reunited, formed the theme of the dance performance.
Rukmini and Krishna (enacted by Rasika Kiran and Pavithra Krishna Bhat): Krishna and Rukmini, who are but Vishnu and Lakshmi, are embodiments of perfect male and female entities. Krishna, the son of Vasudeva, and Rukmini the daughter of Bhishmaka, as though guided by the divine design, fall in deep love with each other. But there were hurdles to be crossed before they both get united. Rukmini and Krishna get wedded in Gandharva style of wedlock by exchanging garlands, the joyous celebrations at Dwaraka as the newlyweds enjoy wedded bliss, formed the theme of the dance.
Draupadi and Arjuna (enacted by Shreyasi Gopinath and Aditya PV): Arjuna, the master archer, Savyasaachi, and Draupadi, the one born of Yagna fire – the swayamvara that united both these glorious ones, as Arjuna succeeded to win the challenge put forth by Drupad, by hitting the eye of a rotating fish by looking at its reflection in the water below how amidst vedic chanting and the ritual of ‘Saptapadi’, they become one.
Valli and Karthikeya (enacted by Aditi Sadashiva and Mithun Shyam): The charm, the innocence, the love between Valli and Kartikeya - how knowing fully well of her feelings for him, he disguises as a hunter, as an old man to test her, only to finally get united with her with the help of his brother Ganesha. The Nalangu ceremony that brings the couple closer through some games and banter was showcased beautifully and energetically.
Through rich dynamics working in unison, the six divine couples created mythological stage poetry - full of rhythm, emotion, expression et al. Overwhelming and irresistible force got unleashed by the sheer energy, technique, footwork and passion of the young dancers.
A deep connection between mythology, dance, stage and audience was established through pulsating, scintillating performances. Imbued with scriptural information and storyline, the choreography was at once absorbing and captivating. There might have been a little difference between the dance narrative and theory based scriptural information in one or two instances, but that little shift created a new paradigm for one to dwell on, think and enjoy. Bolstered by a deep desire to generate a resonance in the minds of today’s youngsters
Usha R. K. ignited a glowing torch that must be carried forward with the same amount of vision and passion to create dance presentations of this kind in future too.
The exposition, interpretation, exploration created fine moments of innovation and expression. The directors, choreographers, musicians, lyricists of all the six dance presentations deserve applause.
