The purpose of art, besides basic entertainment, is to elevate the viewer to a higher plane. Zakir Hussain’s ‘Sri Ranga Nayakam’ in the Margazhi season with religious sentiments like Vaikunta Ekadasi in the air, was timed well.
The entire presentation was a guided virtual tour of the Srirangam temple. The opening narration by Madhusudanan Kalaiselvan, scholar in Saivism and Vaishnavism was interesting but a bit lengthy.
“I performed this eleven years ago in this Sabha, which is like my parent’s home,” spoke Zakir Hussian, referring to Mrs. YGP seated in the front row.
The decorated umbrella, conch sounds, bells and the chirping of the parrot produced by special effect helped convey a temple ambience and devotional quotient to the dance narrative. References to Kakkai pillay, poonkuyile, palli kutti, painkili brought out the lyrical beauty of the literature.
Three stories associated with Srirangam temple were delineated through dance narrative with segments of nritta that had short crisp jatis and stately stances, executed with agility and methodology by the artiste.
The first story was about Vellayi, the devadasi, who saved the idol of Ranganathar from the plundering Sultanate forces. Seated in a spot light decorating herself, turning backward tying the kashti sari, she dances tirelessly to gain time for the Ranganathar idol to be carted away to safety. With a cunning gait, she leads the commander to the high tower, pushes him down, she herself following suit. Zakir’s role play was graphic.
Highlighted by red light and sound, the pushing him to death was shattering. The shock that came through the silence that followed was palpable. Zakir looks up at the tower with tear filled eyes. Vellai gopuram named after that devotee stands tall.
The story of the old, blind washerman whose duty was to wash the deity’s clothes each day. He could identify the original idol by the taste and smell of the water in which the idol was bathed. Thus the Lord came to be called Namperumal, underlining the simple faith of this devotee.
The quick tempo of orchestra spread the mood of Moghul court.
The story of the Muslim princess, who fell in love with the Ranganathar idol, looted by her father. Pleased by the music and dance of some Vaishnavites who come to the court in search of the idol, Malik Khafur gifts them back the idol. The princess follows the idol to Srirangam and not finding the Lord sacrifices her life. Till date, she is revered as Thulukka Nachiyar and her divine union with ‘Kaili poonda kolathil perumal’ is celebrated.
Extensive research has gone into the creation of Sri Ranga Nayakam.
“I performed this at the Srirangam temple on Vaikunta Ekadasi day and I shed tears along with the viewers. It was a cathartic experience. The purpose of my dance is to spread Vaishnavism. My life is ordained for this. It takes me one year for each production. I go to Srirangam temple, a spark hits me, I work with my team and make it suitable for the viewer. I cannot pack all my studies into one dance. One and half hour of speech can tell so much, not so dance,” says Zakir.
His bright costume and bejewelled demeanour was in tune with the Lord he exalts, Vishnu who loves alankaram.
Research by Krishnamachari, script by his mentor Revathy Sankkaran, nattuvangam by Archana Kanthan, vocal by Kowshik Champakesan, mridangam by Venkata Subramania, flute by Ramesh and special effects by JayaKanthan, added to the visual appeal. The dance drama effectively conveyed the truth that there is no deity without devotee.
