As the notes of ‘Dasarendare’ in Yadukula Khambodi ebbed in the last sequence of ‘Siri Purandaradasa,’ at Rukmini Arangham, the audience felt emotionally charged, firstly, because of the excellent music by S. Rajaram (grandson of Mysore Vasudevachar), and secondly, because of the evocative portrayal of saint Purandaradasa by Professor Janardhanan, choreographer.
Young students are fortunate to be able to watch dancers such as Professor Janardhanan, to understand how characters should be portrayed.
As the production unveiled the well-known story, every Purandaradasa pada turned into a raft on which the viewers set off on a journey led by the great Vittala Dasa.
Unique appeal
Though not as hugely popular as the Ramayana series, the contrast in Purandara’s story (a miser’s transformation into a bhakta) has a unique appeal. Yet, one wished there was more dance than just interesting visuals.
But for a handful of characters, the cast, all skilled dancers, stood around doing the same thing. Haripadman (Seenappa), Lokesh Raj (brahmin), Aryamba (Saraswati Bai) and Shaly Vijayan as devadasi, among others, proved their mettle as dancers. The team of musicians lent an edge to the presentation.
The story of the wealthy diamond merchant Seenappa Nayaka was beautifully visualised. The narration begins with Nayaka throwing out an old Brahmin, wh approaches him for help to perform the thread ceremony of his son. After tracing the episodes that lead to Nayaka’s transformation,
it ends with Purandaradasa, in the company of his wife, pursuing the path of bhakti, singing ‘Bandadella barali Govindana dayanama giralli’ in raga Kapi. (Come what may, All I want is the Lord’s blessings).
Finally, an 80-year-old Purandaradasa sings at a Vittala temple — ‘You are my only refuge, like a staff is to a blind man.’ Then, he describes the beauty of the Lord in ‘Apaada Ananda’ (Ritigowla). In ‘Dhaariyavvudaiyya’ (Kalyani), Purandaradasa, appeals, “Oh Lord, I am leaving this mortal coil — won't you show me the way to Vaikunta?”
