Guru Krishnakumari Narendran’s most important guideline is clarity; you cannot miss the logic in her thought-process as well as the detail and discipline in the execution of her Bharatanatyam productions. Her latest, a multi-media dance production, ‘Sri Chakra Nayaki,’ was based on Devi Lalitha Mahathripurasundari and the doctrine of Shaktism, a branch of Hinduism that considers the Divine Mother, Adi Shakti, as the absolute power. It was presented with the guidance of Mathaji Vithamma.
The mega two and a quarter hour show starring 76 students of Abinaya Natyalaya had a clear-cut plan- start with the preceptor of Sri Vidya worship, Lord Hayagriva, who initiates to Sage Agasthya; introduce Adi Shakti and the theory that all Hindu gods manifest from her (Devi Mahatmiyam); present the five elements of creation, the Panchabhoothas, that emanate from her, followed by a brief piece on the theory of evolution. Then, tell a story about the power of Shakti (Kollur Mookambika); introduce Adi Sankara’s Sri Chakra, known to be the highest form of Devi worship, as the one kept under the deity in Kollur; highlight its three-dimensional equivalent, the Maha Meru, and end with Sankara’s vision of the heavenly Lalitha Mahathripurasundari Darbar populated by Kameshwara, Kameshwari, Lakshmi, Vani, Varahi, Shyamale, Hayagriva, Ganesa, Muruga, Balai, amongst other gods and goddesses.
Guru Krishnakumari’s handling of the mostly abstract, content-heavy production was deft. It opened solemnly with Ganesa mantra, ‘Om Shrim Hrim..’ followed by the Lalithopakhyanam featuring the sacred Pancha Dashakshari Mantra, ‘Ka E I La Hreem...’ and the opening verse of the powerful Sri Lalitha Sahasranama, ‘Sree mata shree maha-ragyni...’ A folk-like Tamil lyric by Krishnakumari, ‘Shakti koothile chakram suzhalum..’ introduced Adi Shakti (Vyjayanthi) whose fiery entry in a blistering pancha-nadai solo upped the histrionics. \At the end of this, she appears on a throne with the Sri Chakra revolving in the background in a dramatic and rather filmy visual.
There was no let up in the energy. The well-rehearsed dancers excelled with their neat entries, exits and appropriate costuming. A strong musical foundation provided by Kunnakkudi Vaidyanathan and senior musicians Rajkumar Bharathi and Pugazhendi (who also wrote the Kollur segment) along with easily assimilated and often rhyming Tamil lyrics by Sadagopan (Maha Meru segment), Poovai Senguttuvan (introduction, Devi Mahamiyam) and Krishnakumari, were obvious advantages.
The piece de resistance, the 60-minute long ‘Sahasraksha Vidya’ about the nava avaranas of Maha Meru was another example of the choreographer’s skill; visuals such as the three-dimensional animations and the Meru replica assembled on stage were both dramatic and educative, and were balanced with the minute details of the goddesses/ siddhis of each avarana, what they stand for etc, with quiet efficiency. Even the smallest detail of Adi Sankara (Darshini)’s mudra for each avarana was not left out. Guru Krishnakumari certainly knows how to dramatise and package her productions- here it meant adding swara segments, a brisk pace and a narrator (Nritya Ranjit) to anchor the avarana presentations.
There were some lighter moments as well. In the excerpt from Subramanya Bharati’s ‘Yadhumagi nindrai, Kali’ (Hamsanadam, performed by Divya Manohar) Guru Krishnakumari added a catchy refrain, ‘Kali, Angali, Kangali, Kali, Kali’ in between the elements with added sound effects like ‘.. zummm, zummm..’ for wind, etc. Another was the Kavutuvam-style tisra-nadai introduction of Tripura Bhairavi (Thivya Priya) in Kollur before she holds Kamhasura’s tongue so he cannot ask for favours of Siva.
In conclusion, ‘Sri Chakra Nayaki’ was educative and entertaining all at once.
