In tune with the spiritual season of Ashada Ekadasi, ‘Paraspar,’ a soulful dance and music production based on Krishna Consciousness was organised by Mahatma Gandhi Mission at Rukmini Sabhagriha, Aurangabad. The programme was in three segments, Odissi by Parwati Dutta, Baul Sangeet by Parvathy Baul and Paraspar, mutual reciprocation — a spontaneous artistic dialogue between the two.
The opening Jagannatha ashtakam portrayed the facets of Krishna, his Brindavan raas mesmerising the gopis and gods alike, concluding with the majestic Puri Rath Yatra. The ten incarnations of Vishnu were featured in crisp, concise sections through Jayadeva’s ‘Pralaya Payodhi.’ Parwati covered the entire stage with dexterous movements and striking stances. Two disciples of Parwati captured the poses in ‘Vedanuddharate’ capsule and exited to a lilting tune, with impressive grace.
The next abhinaya piece was an ashtapadi from Geeta Govindam. “In all art arrangements you usually travel from one point to another but a sanchari is an artistic endeavour to expand each line, like swimming in an ocean,” said Parwati introducing the Ashtapadi. Lovelorn Radha sees Krishna everywhere, “Paschyati dishi dishi.” Her pangs were evocatively emoted by Parwati Dutta.
Sarpa Janana, a Ninda stuti, composed by 15th century Oriya poet Surya Baldeo Rath, depicted a story, where a bhakta’s son is bitten by a snake in the temple premises. The lord is evoked with agony and angrily compared to a snake. Parwati concluded with a Bengali Mangalgeet by Tagore, a soulful rendition on the eternal melody of the flute. Krishna Tandav showcased the omnipresent Krishna with Krishnanagar chant in the end, seamlessly overlapping the tandav.
Parwati’s performance brought to the fore her technical virtuosity and aesthetic sensitivity. Years of learning under various veteran gurus have shaped Parvathy Baul to a rounded artiste. She is poised to receive the Sangeet Natak Akademi award.
Clad in a humble sari, with a gopi tilak, rudraksh beads, and flowing matted locks, she was a symbol of surrender to the Supreme.
Playing the Ektara (one stringed instrument) with one hand, the duggi (percussion aid) with the other, and chilambu nupur (metallic anklets) while singing in high octaves with immaculate pitch and piety, she has carved a niche for herself in the male preserve of Baul. Parvathy Baul adds her own dohas (couplets) to the traditional repertoire. Her theatre experience, acting out the lyrics, song stories and explanatory speeches add to the transcendental communication. Her opening song was about a devotee’s complete surrender to Krishna as Guru. The whole world praises Krishna but accuses the devotee of loving him. “I take all these accusations as ornaments, while I rest only in you,” says the devotee. “Chalo mann anand bazaar mein”, is the sadhaka’s journey to the city of joy, which is above physical mind and physical body, yet within this body.
The next piece accosts Maa Kaali to stand like Krishna in a tribhangi, throw away her trishul and espouse a bansuri, replace munda mala with ban phool mala and gather gopikas around her.
Radha’s pangs
Paraspar, an artistic collaboration, deployed 10th century Radha Krishna poetry. Radha prepares to receive Krishna who does not come. In despair she vouches never to see him and shuns anything black that reminds of him. She even talks of tonsuring her head. She may even spurn her eye ball but can she shut out his image that rests there? Krishna remembers his promise to Radha next morning but Radha refuses to meet him and deploys her sakhi Brinde to stop him. Finally she agrees that Krishna is within and everywhere, so life cannot be without him. Brinde brings him saying that he has to become the bhakta to understand the love of the Bhakta. The presentation ended with a verse from Dnyaneshwari on the significance of the Guru.
Both the artistes, in this quest of an internal ideal, dwelt in personal spaces; subtle musical dialogue, underplayed yet intensely communicative, between them and beyond them.
The orchestra ensemble comprising of Shivshankar Satpathy on the Mardala, Manoj Desai on Vocal, Hriday Desai on Sarod, and Niranjan Balerao on Flute provided splendid and soothing support.
