Delving into mythology can always deliver the goods; this is so true of classical dance or song where you never tire viewing and listening to the same story or philosophy over and over again. With every viewing or reading for that matter, you seem to learn something you missed earlier. So was it with the thematic dance presentation by Yamini and Bhavana Reddy.
Choreographed by Gurus Radha and Raja Reddy, ‘Advaitam-Adviteeyam’ was as multi-layered as its title. The theme, on the surface of it, embodies the two divine principles of Shiva (exit from life) and Vishnu (existence) respectively. Personified, as lords of two streams of philosophical thought, this raised and still does opposing cults which have been warring against each other. Time and again it has been established that Shiva and Vishnu were existent in one another and there was no room for dichotomy. The dance in Kuchipudi genre, presented through song and mime embodied the unification of the two truths. This apart, Advaitam reflects on after life where exit of life force simply means merger with the one and only Supreme Being (Paramatma), the abstract.
The theme was carefully built up, step by step with the duo saluting the Para Brahman through the Shiva Panchakshari and the Ashtakshari refrain to which the duo mime with hastha mudras various symbolic representations of both Shiva and Vishnu. The esoteric song, an Annamacharya composition in simple Telugu, ‘Yentha maatramuna evvaru talachina...’, the English briefing in the background was educative as was the digital backdrop with the Shaiva and Vaishnava symbols. They did not interfere with the dance and song per se.
The opening statement having been made in unison, the stage was left for re-entry of Yamini as Shiva (Lord Nataraja) to the tunes of ‘Aadenamma Harudu...’. a Puliyar Doraisamiaiyya’s composition. Perfection in footwork, absolute precision to tala and striking postures/karna made the dance a feast for the eyes. The Kuchipudi brand of adavus so unique to this particular dance form, were executed with authentic clarity. In fact, the nritta seemed to have taken the place of abhinaya and rightly so going by the abstract enshrined in Shiva principle. The footwork patterns spelt with specific force on the mnemonic syllables by Guru Kausalya had a compelling effect. The mime to music (violin and flute) sans song was master creativity at its best. The thoughtfully crafted ochre-gold costume worn in the traditional Kuchidpudi dance style, symbolised Shiva in more than one form Percussionist (mridangam) Bhaskara Rao’s deft strokes had a striking clarity as he accompanied the footwork denominations to the last letter.
Bhavana as the ‘Adviteeya’ aspect, which is also a proxy to ‘dwaita’ philosophy, personified Krishna, the divinely human embodiment of Mahavishnu, danced in frolicking abandon in keeping with the mythical persona. The footwork patterns were worked out with less rigidity and rigour than that of Yamini (Nataraja). They had a lilting fall about them reminiscent of the lord’s dance in subjugating the vicious serpent Kalindi and in the merry Ras Leela. The agility of the artiste in the slithering moves of the serpent Kalindi came to the fore and the Kaliya Nartanam tillana was in itself a thing of beauty. Lavanya Sundaram’s vocals gave the right impetus to the tillana inlaid with daru and swara. Swift, skipping, nimble movements by the dancer enriched this dance number.
Dressed in peacock blue with a headgear sporting a peacock feather, Bhavana was the archetypal Krishna of Kuchipudi school. The following Ras Leela (Natarvara karani), a Loka dharma, prefaced by a silhouetted digital dialogue, seemed contrived and superimposed, though with relevance to the development of the theme, viz.to reach out to a North Indian audience and also underline the supremacy of the all-encompassing non-figurative Shiva.
The tarangam, a typical Kuchipudi treat where the dancers spell out jatis balanced on a wide brass plate (tambalam), made an analogous account of the divine qualities and connotations of the two super powers which are but a single entity in real. The duo displayed brilliant footwork with fine abhinaya with flawless sync all through.The show was put together by Natya Tarangini.
