Govinda - A tale of faith

- Ancy Alexander

March 12, 2026

Transporting the audience to a space of divinity and surrender, the production 'Govinda - A tale of faith' commenced with chants of "Govinda" that masterfully primed one's heart and soul to experience this performance. The thematic Bharatanatyam presentation conceptualised, written, directed and choreographed by acharya Puja Unni opened with a tone of reflection - Where do I belong? The profound question formed the spine of the concert's first part. Avoiding urgency, the choreography extended an invitation to explore with a sense of wonder. Neetara Nair, disciple of Puja Unni, delivered it with soothing, pleasant grace.

Doing soulful justice to compositions by Annamacharya and playing an integral role in enhancing the performance experience was the ingeniously apt music arranged by Easwar Ramakrishnan, who was also the violinist. The ensemble included P.K. Sivaprasad on the mridangam, Sunil Kumar on tavil and kanjira, Mylai Karthikeyan on nadaswaram and Sruthi Sagar on flute, with audio design, mixing, and mastering handled by Rakesh Pazhedam.

The harmony of melodious vocals rendered by Keerthana Vaidyanathan and skilful choreography was gracefully embodied by the dancer - a vision of effortless bhakti. The dancer was in no hurry to present answers or impose an experience on the viewer, which proved to be the charm of the opening piece.

The storyteller and the story moved as one in the second part, as does the seeker and the sought. The thoughtfully and soulfully presented music and vocals in this segment felt like a warm hug to one's heart. Delivering justice to the arrangement of the presentation and her acharya Puja Unni's choreography, Neetara exquisitely blurred the differentiation between storyteller, devotee, and the essence and vastness of little Krishna. The transitions were seamless, and the emotional decibel was sustained with restraint and clarity, allowing the audience to witness and feel devotion unfold.

Neetara Nair

In the second part, from a place beyond one's reach and understanding comes a devotee's calling. The antler on Neetara's head was not merely a prop to aid storytelling. With grace, agility, and intention in each step of this intelligently stacked choreography, her transformation as a divine messenger in the form of a deer and switching between the messenger and devotee was aesthetically and creatively satisfying. During this presentation, she moved with purpose and rootedness. It became evident that the music and choreography for Vande Vasudevam worked harmoniously as a joyful statement of the object of devotion. In this segment, the jathis composed and conducted by nattuvanar K.S. Balakrishnan shone for its seamlessness and performance scope.

A wisdom beyond her age revealed itself in the breadth of movement and the depth of abhinaya, especially as the audience witnessed the fight between Vishnu's devotee Gajendra and the crocodile that caught his leg, resulting in a struggle. Exhausted and close to death, when Gajendra offered a lotus flower with his trunk to Lord Vishnu, the moment of surrender of the devotee to his Lord and of this young dancer to her art was palpable.

Brahmam Okate was presented as a physical manifestation of acceptance, which served as the central idea of the next segment of the production. It was clear that the dancer herself was in a state of joyful acceptance. The transmission from stage and artiste to audience was an internal momentum - a quicker pace and an involuntary, rhythmic oscillation of body and soul, similar to what many experience as one inched closer to the sanctum sanctorum or altar, especially after a much-awaited or long pilgrimage, that sense of entering the presence of divine grace well before the first glimpse.

The abode of Venkateshwara came to life on stage with a magnificent sculpture of the deity himself created for this production by artist Santu Brahma. Skillfully crafted jathis added more beauty and definition in movement to this part of the presentation. When Neetara, as the devotee, finds Govinda, it evoked a deep sense of discovery within us. There was a well-arranged transition into Sri Venkateshwara Stotram, a pleasant depiction of connection and devotion that could be felt moving through the entire space of the auditorium in waves.

The performance then proceeded to another layer of inner dilemma in the presence of the divine: "Am I enough?" measuring one's sense of worthiness through the lens of others' offerings. Once again, the music, lighting by Keerthi Kumar, and set design elements came together skilfully to enable an exceptional artistic and devotional experience, where Neetara's portrayal of questions of worthiness was met with quiet but certain relatability among the audience. Draped in silk, perspiration, and enthusiasm, the dancer's execution of the choreography delivered moments of unbridled joy of belonging to Govinda.

Artful music and rooted dancing guided the production to its conclusion. Once again, the choreography was in no rush to make loud exclamations; instead allowed the audience to be washed in and reflect on every moment of the production. Here, Neetara brought on stage an enchanting sense of calm - not as an ending, but as a gentle settling into surrender.

The brainchild of acharya Puja Unni, Artistic Director of Spanda, and musician Easwar Ramakrishnan, the production was premiered in Dubai on January 25, 2026 at GEMS Modern Academy.

Ancy Alexander is a PR specialist, writer, educator and speaker with a deep engagement in Indian classical dance forms. Born with a physical disability, she has championed Bharatanatyam and Kathak with Cerebral Palsy. She is a disability advocate who uses dance as a medium to promote mindful, inclusive opportunities in the performing arts for individuals with disabilities.