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 Mad and Divine - Satish Suri e-mail: satishism@yahoo.co.in Photos: Prof K.S.Krishnamurthy June 26, 2024 'Mad and Divine' held on the 14th of June under the aegis of Kalavahini Trust at the Bangalore International Centre is an exquisite dance production that encapsulates the essence of spiritual poetry of both the Vaishnava and Shaivate traditions through the medium of interpretive dance. Choreographed by Rama Vaidyanathan, it is a profound homage to the poetic works of Janabai and Lalded, two revered women poets known for their devotional and ecstatic verses. The performance was a confluence of emotive dance movements and evocative music, where Sudha Raghuraman's vocals complemented Vaidyanathan's choreography to perfection, creating a synergy of music and dance, that not only paid homage to the mystic poets but also offered a transformative experience for the audience, allowing them to explore the intricate relationship between the divine and the mundane.  Rama as Janabai Woven around the personality of Janabai, a maidservant in the house of Sant Namdev, who evolves into an ardent devotee of Panduranga Vitthala, the performance began with the entrance of the dancer draped in the sari worn in the typical Maharashtrian style. "Utho Panduranga" the dancer urges the Lord in the temple to wake up, as Vaishnava devotees are waiting for a glimpse and worship. As Janabai becomes increasingly engrossed in her devotion to Panduranga, Rama's dance reflected her journey through abhangs, illustrating the Lord's different manifestations in her life., the depth of her devotion and the versatility of her poetic expression. The choreography captured the vivacious Maharashtrian flavour through the dancer's sprightly movements and natural, understated sensuality. Janabai, often depicted herself in various roles in her abhangs, or devotional songs, to express her love and service to Panduranga. Rama's depiction infusing each role with life and vibrancy brought out the nuances of these relationships, from the protective and nurturing mother deer to the camaraderie of a fellow maid, the innocence of a child, and the surrender of a humble servant. Janabai's profound connection and devotion were beautifully showcased through the mundane chores she performed. By engaging in these simple yet essential tasks like pounding rice or using a mortar and pestle, Janabai infused them with spiritual significance, recognizing the divine presence in every aspect of her daily life. Furthermore, Janabai's offering of leftovers from her humble meal to the one who received the best in the temple revealed her selflessness and deep sense of surrender. Rama's interpretation of Janabai's work exemplified the transformative power of performance art. By weaving together thematic elements with a seamless narrative, the performer invited the audience into a shared experience that transcends the stage. The use of vocal dynamics paired with expressive physicality not only captured attention but also evoked a spectrum of emotions, fostering a deep resonance with the story's characters and their journeys. Sudha Raghuraman's evocative vocalisation of the abhangs added an invigorating layer to the presentation.  Rama as Lalded In a departure from the previous portrayal, Rama graced the stage draped in a dull white ensemble and open tresses embodying the spirit of Lalded. Born into a Brahmin family, Lalded's life was marked by a violent marriage and harassment by in-laws, leading her to abandon domesticity and embrace sainthood. Her life became consumed by the pursuit of the Shiva/Sakti union and the higher consciousness of the Kundalini Sakti. Lalded's poetry, often composed in the form of vakhs, is known for its depth and philosophical insight, reflecting her journey towards self-realization and her yearning for union with the divine. Rama's portrayal revelled in austere majesty, embodying the spiritual journey of Lalded. The dance, in its abstract form, transcended the need for visual representation, becoming a pure expression of the spiritual. It mirrored the expansive nature of Lord Shiva, reflecting the profound journey of self-realization and enlightenment as experienced by Lalded. The simplicity of the movements was not a lack but a deliberate choice, emphasizing the raw, unadorned power inherent in the concept of "Parama Shivo Tantra." This approach aligned seamlessly with the narrative, where the focus was on internal transformation rather than external embellishments, inviting the audience to engage with the performance on a more introspective level. Lalded's transformation, as she immerses herself in divine love, discarding her clothes was a poignant representation of ego dissolution, where even societal norms and judgments become inconsequential. Societal criticism and praise were marked by a knot tied on either shoulder, with the two slips of cloth weighing equally after years symbolizing the equilibrium between societal critique and commendation, a balance achieved over time. Lalded's life and philosophy are a testament to the pursuit of jeevan mukti, a state of liberation achieved not in seclusion, but amidst the throes of life, signifying a liberation that is both profound and accessible to all who seek it. Rama Vaidyanathan's interpretation of Lalded was indeed a profound homage to the legendary Kashmiri mystic poet. She captured the spirit of Lalded's poetry, which is imbued with themes of spiritual awakening and the quest for truth. The minimalist movements in her dance reflected Lalded's ascetic life, while the intensity of her expressions conveyed the depth of Lalded's devotion and enlightenment. This portrayal not only showcased Rama Vaidyanathan's deep comprehension of Lalded's work but also her ability to translate complex philosophical ideas into a visual and emotive narrative that resonates with audiences, allowing them to experience the mystic's journey towards transcendence. The ensemble of Sudha Raghuraman's vocals, Sumod Sreedharan on the mridangam, Dr. Sridhar Vasudevan on the nattuvangam, and Raghuraman on the flute, created a rich tapestry of sound. Together, they exemplified the synergy that is possible when talented musicians unite. The presentation was first conceived in 2011 for 'Mad and Divine' seminar of Natya Darshan for Kartik Fine Arts curated by Dr.Anita Ratnam.  Bangalore based Satish Suri is an avid dance rasika besides being a life member of the Music and Arts Society. |
