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 Maalyada - The Garland of Wisdom - Bibin Balan e-mail: punarjjaniculturalcentre@gmail.com Photos: Sanjit Debroy May 11, 2025 A girl in the quaint village of Ayarpadi, known not just to her people but also to the trees, cows, and birds, begins each day bathed in the soft glow of a divine smile. Every day, her hands gently weave a garland with unshaken devotion to her beloved Krishna. Before placing it before the deity, she adorns it herself, gazing into the mirror. And every time, she sees not herself, but Krishna, smiling back at her. In that magical moment, Maalyada, the sacred garland becomes not just an offering but a symbol of her unwavering devotion and wisdom seeps into her.  This poetic story took on flesh and movement on April 26, at Kamani Auditorium when acclaimed dancer and choreographer Rama Vaidyanathan presented Maalyada - Andal's Sacred Garland, a stunning dance adaptation based on Jeysundhar D's book of the same name. The book itself speaks of Andal's inner journey, tracing the intimate yet transcendental bond between a devotee and her divine beloved. Rama's adaptation elevated the story beyond its literary form into a visual and emotional tapestry that resonated with all. As the lights dimmed, Rama, the storyteller, entered the stage. With grace and quiet authority, she transported the audience to Ayarpadi, painting with her movements the gentle rhythms of rural life during Margazhi, the sacred month of devotion. In the background, girls celebrated in vibrant hues, echoing a time-honored tradition.  The young Andal of Srivilliputhur then entered, walking barefoot along emerald fields, a parrot perched on her shoulder, lost in thought and devotion. As she wore each freshly woven garland, Krishna appeared in her reflection, encouraging her gently, divinity mirrored in love and surrender. Rama's prelude scene was transcendent, effortlessly capturing this spiritual interplay, setting the emotional and divine tone for the rest of the performance. The core of the presentation unfolded through nine captivating dance scenes, each representing a form of Navavidha Bhakti, the nine ways of expressing devotion. What made this production exceptional was the thoughtful pairing of each form with verses from Andal's Tiruppavai. Out of 30 pasurams, nine were meticulously chosen to reflect each bhakti form, with Sudha Raghuraman's soulful rendition of Andal's Tamil poetry bringing divine melody and emotion. Sudha's vocals, both delicate and powerful, lent a sacred depth to the storytelling, adding a rich musical dimension. Rooted in Jeysundhar's work, Rama's choreography gave Andal's familiar tale a fresh, philosophical twist. Casual conversations between Andal and her friends were transformed into moments of revelation, with Rama anchoring the narrative within the Margazhi celebrations, a brilliant conceptual move that gave emotional texture and contextual grounding to the abstract ideas of devotion. Scene by scene, each form of devotion - Shravanam, Smaranam, Sankeerthanam, Vandanam, Archanam, Pada Sevanam, Sakhyam, Dasyam, and Atma Nivedanam - unfolded in harmony, culminating in a unified act of surrender, as Rama brought it to a soulful close.  Atma Nivedanam One of the most commendable aspects of the performance was Rama's collective storytelling approach. Every dancer in her troupe was given a significant role, leading parts were distributed across scenes, allowing each artiste to embody shifting roles and express their unique interpretation of emotions. This was seamlessly accomplished by Rama's disciples, Reshika Sivakumar, Sayani Chakraborty, Shubhamani Chandrashekar and Vaishnavi Dhore. The stagecraft was deeply symbolic. Properties were strategically placed to recreate the pastoral charm of Ayarpadi, and even the musicians, often confined to the backdrop, became part of the village scene. Sudha Raghuraman and her team (Dr. Himanshu Srivastava - nattuvangam, Sumod Sreedharan - mridangam, G Raghuraman - flute and Sannidhi Vaidyanathan - special effects) interacted with dancers, blurring the line between performance and life. This clever integration gave the audience a visual clarity, a more immersive view of the narrative.  The sequence of scenes was also thoughtfully adapted. Though the traditional order of the Navavidha Bhakti was rearranged, the flow remained coherent and impactful. A notable example was the seamless merging of Pada Sevanam with Sakhyam through the story of Arjuna, who found both surrender and companionship at Krishna's feet during the war. These transitions were smooth, lifting the tale from mere mythology to philosophical reflection. The lighting design by Gaurav Sharma further enhanced the experience, casting mood and movement into visual poetry. HCL Concerts, whose support was instrumental to this initiative, deserves special recognition and praise for its valuable contribution. Maalyada was not merely an artistic performance, it was an enlightening offering, an invitation to the audience to rediscover the divine within. As the final notes faded and the curtain fell, the reverberations of Andal's wisdom and Rama's artistry lingered in the hearts of all who witnessed it, a garland of wisdom gently placed around the soul.  Bibin Balan, Managing Editor of Punarjjani Bharat, is working on cultural advancement based on digital media platforms. His area of focus is on promotion of performing arts and digital contents under this category. He is a Yoga Educator based in New Delhi since 2008. |
