A Tiruppavai , in tune with the spirit of Margazhi set the tone for ‘Vishnu Margam’ presented by Vidya Ravindran Anand, senior disciple of Chitra Visweswaran, at Kartik Fine Arts . An Anjali in Gambhira Nattai, Adi Tisra nadai, was a simple and neat offering. ‘Saptha Prakara Madhye,’ a couple of verses from Parasara Bhattar’s Ranganatha Stotram, tuned by Murali Parthasarathy, flowed seamlessly into the Varnam.
‘Chalamela,’ varnam in Nattakurinji, Adi talam, was a well-structured energy packed presentation. “The jatis were composed by my guru and she has guided me in my choreography,” says Vidya. “Most Vishnu pieces are about Sripadam and dasya bhavam. I wanted to explore something different.”
A voracious reader of Srivaishnava literature, Vidya has also heard many stories from her grand uncle. Suggestions from her cousin regarding the Kakasuran episode inspired her although she did not find the ‘auchityam’ i.e. suitability for sanchari. The ideas triggered a fresh approach and she used the emotional content as the sthayee bhavam.
Poothana is in conversation with Krishna and the devotee asks the Lord whether he is poisoned, hence lying down in a non-empathetic stance. “Perumal is rarely irate except when Bhagawata apacharam takes place. So why is he annoyed now,” asks the devotee.
All living beings go into his nabhi, during pralayam and re-emerge as different creations. His namam is like lightning, shining bright and brilliant set against his dark skin. His eyes are like the lotus when he opens them and looks around. The oft-praised eyebrows of Manmath are no match for the Lord’s in beauty.
‘Midaru mezhu mezhuthoda,’ from Periazhwar Tirumozhi, music set by Murali Parthasarathy in Raga tala malika depicted mother Yashoda sending young Krishna to tend the cattle and typically like a mother worries about his safety. He has no butter to eat, no footwear, no umbrella to shield him from the sun. She sees him come back and describes his looks with motherly pride and joy. He is so charming with strings of pearl round his neck.
Inspired by lessons in her Prabandam class, Vidya chose the verses to create this choreography of contrasting moods.
Tillana in Brindavana Saranga, Adi, with sahityam of ‘Pachai maamalai’ was a fitting end piece for the Vishnu margam.
The minimalistic costume in rich peach colour and muted design brought out the tall stature of the dancer. “It was designed by Chitra akka for my production — Pancha Krishnaranya Kshetram,” added Vidhya.
Orchestra comprising Priya Dandapani Srikanth on nattuvangam, Murali Parthasarathy on vocal, Venkata Subramanian on the mridangam and Mudicondan S.N. Ramesh on the veena enhanced the presentation.
Vidya was competent in the nritta and abhinaya aspects, and provided a complete bhakti journey. Her guru seated in the first row was a motivating and appreciative factor. Vidya quit her corporate career seven years ago to pursue dance full time. She trains students at her institution ‘Madhuryam.’ “Travelling with my guru’s repertory in her group productions like Mira and Skandam, is a great learning experience,” says Vidya.
