‘Tuka Mhane’, a unique dance and spoken word production, based on Sant Tukaram’s abhangs, was organised by Kalavardhini.co in memory of legendary guru and Bharatanatyam artiste M.K. Saroja, who passed away recently. Dancers Arundhati Patwardhan and Manasi Jog traced the saint-poet’s evolution as a bhakt, and the ups and downs in his spiritual journey. Tukaram’s abhangs are known for their devotional outpouring, as the sant also went through a phase of anguish, longing for his ‘saguna’ deity Vitthala to manifest. His journey ends in awakening and transcendence, when he unconditionally surrenders to the deity’s nirguna (formlessness) as well. Arundhati and Manasi came up with a poignant and captivating portrayal.
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The abhangs chosen highlighted each phase of Sant Tukaram’s journey. A hagiographical narration in dance can present many challenges but the dancers handled it well by depicting the two selves of Tukaram: Manasi essaying the role of a devout lost in meditation and worship. The abhangs from Tukaram Gatha such as ‘Sundar te dhyana’ and ‘Ubhe vitevari’, playing in the background, described Tukaram’s ecstasy as he looks at the idol of Vitthala standing on a brick with his hands resting on his waist. Sung by Shaunak Abhisheki, it built the mood and ambience for the performance. The meditative state was enacted by Manasi while Arundhati admirably conveyed Tukaram’s intense yearning for a darshan of Vitthala through the abhang, ‘Bheti lagi jiva laagalise aasa’. Her abhinaya and jatis were evocative.
The emotional upheaval he experiences was articulated through the abhang, ‘Kai tuzhe veche maja bheti deta’, while in ‘Moun ka dharile tumhi sanga Panduranga’ Tukaram implores Vitthala to appear before him. This was the piece de resistance of the evening. The sequence brought into focus Tukaram’s plight, who was a rebel in more ways than one. He challenged Brahmanical hegemony by choosing to write as a lower caste man in the language of the people.
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The choreography by Kalyani Kane was laudable with a riveting narrative sequence. The lyrical intensity of the music conceptualised by Chinmay Kolhatkar, and the recorded vocal renditions by Shaunak Abhisheki enhanced the essence of the verses.
Rich visual tapestry
This ‘Ranga-Nritya’ blended song and narration well. For instance, ‘Kaise karu dhyan, kaisa paho tuz’ and ‘Uddanda pahile, uddanda varnile, kshetra mahime’ created a rich visual tapestry of emotions experienced by the saint-poet. The climax — the euphoric state of transcendence — was communicated through the incantatory ‘Bolava Vitthala, pahawa Vitthala, karava Vitthala jeeva bhava’.
The final phase of tranquillity and realisation of the presence of the divine within was delineated through the abhang, ‘Yaj sati kela hota attahasa’ in a soothing Bhairavi (What did you suffer all these tribulations for? You wanted the last day to be peaceful, now rest awhile).
Arundhathi Patwardhan and Manasi Jog maintained a rapport while depicting the dual selves of the saint, thereby investing the dramatic narration with a rare potency. While their fluid gestures and facial expressions conveyed the emotions in the songs, the passages of rhythmic intricacies created another aesthetic form of expressiveness. Passionate and controlled at the same time, both the dancers offered a mystical experience to the viewers.
The Bengaluru-based writer is a trained musician.