Dance

Vaishnavism through dance

Viswam Narayanam.

Viswam Narayanam.

The title ‘Viswam Narayanam’ is self explanatory of a theme that propounds Vaishnavism that says universe is nothing but personification of Narayana that is Vishnu. Of the 10 avataras of Vishnu, the two prime avatars are Rama and Krishna. Lord Venkateswara too is considered avatar of Vishnu in this Kaliyuga. The ballet presented by Anupama Kylash and Sivachandra Kumar, last week at Saptaparni highlighted the concept of Vaishnavite culture. The supporting script constituted of lyrics, verses and slokas penned by great devotees, eulogising these Gods.

Anupama being practitioner of both Kuchipudi and Vilasini styles, preferred to present her part this time in Vilasini style, which is more or less polished form of Devadasi tradition. Sivachandra stuck to his Kuchipudi style dancing with Anupama simultaneously to the same song and lines. It is a kind of Jugalbandi featuring them and a first time male-female combination in a duet. Script compilation and choreography was by Anupama Kylash and Sivachandra. Noted Carnatic vocalist Swetha Prasad tuned the compositions. Vocalist Chandra Rao rendered the compositions spiritedly never losing sight on sahitya content.

The rhythmic patterns were looked after by Renuka Prasad, Sivachandra and Anupama. This show was presented in memory of Anupama’s grandparents S. Ramachar and Saroja Devi. The ballet began unfolding the five modes of Lord Vishnu as described in Agama Sastras representing manifestation of his avatars. The first segment harped on ‘Maha Vishnu’ and his omnipresence, and then his avatars that destroyed evil. The second part of the dance brought in the episodes around avatar of Rama that opened touching Valmiki’s brief story on what initiated him to write epic Ramayana, highlighting Rama’s path of Dharma and ordeals he faced like how he moved away from Dasaratha, Sita’s abduction by Ravana, how she was kept under a tree in Ashoka vanam and Sita narrating her vows to Hanuma.

The ballet then brought in avatara of Krishna and concentrated mainly on the magical features of child Krishna and his adventures like killing Poothana, lifting Govardhana Giri on his little finger, Draupadi Vastrapaharanam and finally the Bhagavad Gita episode. This Krishna theme gave scope to Anupama to present salam daruvu as part of Vilasini Natyam and Sabdam for Kuchipudi. The show was backed by plenty of verses and songs.

The final part was presentation of Venkateswara and the imagery of the form of Lord, considered as avatara of Kaliyuga. It was a narration of the grandeur of the festivals held on the hills and significance of poojas and other places referred in Annamayya songs. The choreography for this feature has been planned in such a way, so as to bring out the technique, nature and unique flavour of both styles, Kuchipudi and Vilasini Natyam. Anupama excelled in abhinaya while Sivachandra was strong in nritta part. The ballet ended with ‘Venkatachala Nilayam’.


Our code of editorial values

This article is closed for comments.
Please Email the Editor

Printable version | May 24, 2022 8:44:57 pm | https://www.thehindu.com/features/friday-review/dance/vaishnavism-through-dance/article8050109.ece