Sri Krishna Gana Sabha Dance

Presenting high philosophy


Vineeth   | Photo Credit: K_Pichumani

Vineeth suceeded in conveying Poonthanam’s message

The desire to propagate the deep philosophical thoughts expressed by the 16th century Kerala poet Poonthanam Namboodri in his masterpiece, Gnanapana led Vineeth to conceptualise a dance production on this theme, which he presented to the Chennai audience at Sri Krishna Gana Sabha.

The introductory scene was a dramatised visualisation of the story of how Poonthanam wrote this bhakti poetry, which is held in great esteem by the intellectual world, especially Malayalis. Blessed with a child after waiting for many years, he and his wife are celebrating the event. But their joy is short-lived as the child dies.

Shattered, he goes to Lord Guruvayoorappan seeking an answer. It then becomes a moment of spiritual awakening for him when the Lord says, “Why are you mourning for that child when I’m always there with you in your heart.’ An enlightened Poonthanam poured out his soul in verse and the work is rightly called Gnanapana — The Pot of Wisdom. Some of the songs are rendered by musicians in concerts. Vineeth depicted the story by enacting the happy moments dancing in front of the curtain and using shadow play to communicate the scenes of sorrow.

The concept of Karma, the birth cycle and the glory of the cultural heritage of Bharatavarsha were expanded through dance in different sections. The narration for each segment correlated with the colourful images projected on the screen in the background.

Expressive face

Vineeth has a mobile face which communicates emotions with ease. He engages the audience attention through his ability to change expressions — from greed and wayward behaviour to refinement, sorrow to happiness, anger to hasya — apart from portraying flora and fauna. The impact would have been more if some of the ideas had been explored in detail; without depth, the presentation becomes a long narrative moving from one segment to another. The musical score by Sharreth did not have great variations to sustain interest.

The use of back-screen images — which has become common these days — such as the Guruvayur temple, bells, flowers and so on, only served to distract the viewer from the dance, which was in progress.

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Printable version | Jun 1, 2020 1:16:39 AM |

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