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REVIEW / REPORTParatattva: The Supreme EssenceA Kuchipudi offering on the many faces of Krishna- Satish Surie-mail: satishism@yahoo.co.in Photos: Prof K.S.Krishnamurthy August 5, 2026 On 17th June, Pranamya Suri presented "Paratattva" at the Bangalore International Centre, an evocative Kuchipudi production that explored the many dimensions of Krishna through story, music, movement, and surrender. The evening opened with a vibrant invocation to Lord Shiva, vividly portraying his cosmic majesty and iconic attributes, including the serpents, crescent moon, and his all-encompassing presence. The energetic presentation established a deeply spiritual atmosphere while gracefully bridging the Shaiva and Vaishnava traditions before leading seamlessly into the Krishna-centred narrative.  The recital commenced with Narayana Teertha's "Nanda Nandana Gopala" set in Ragamalika and adi tala and choreographed by Shobha Naidu. Through a series of engaging episodes, Pranamya brought alive Krishna's playful innocence and irresistible charm. An exasperated Yashoda attempted to discipline her mischievous son by tying him up, only for Krishna to free himself with the help of the gopis, steal butter, relish it, and quietly return to his bound position before she returned. Yashoda's astonishment on discovering the empty butter pot was portrayed with delightful abhinaya, balancing disbelief, maternal affection, and gentle frustration. The butter itself became a powerful metaphor for devotion and divine grace. The narrative also incorporated Krishna's majestic lifting of Govardhana Mountain to protect the villagers from Indra's torrential rains, where Pranamya's physicality expanded convincingly from intimate storytelling to epic grandeur. This was followed by a scintillating Tharangam. Dancing upon a brass plate with remarkable poise, Pranamya executed intricate jathis with impeccable rhythmic precision and effortless balance. Her command over technique exemplified the virtuosity that distinguishes the Kuchipudi tradition, making an extraordinarily demanding sequence appear graceful and natural. The emotional centre of the evening emerged in "Marulu minchera", composed by Dr M. Balamuralikrishna in Chenchuruti ragam and misra chapu talam, and choreographed by Guru Srilatha Suri. This deeply introspective work explored the inner world of the waiting nayika with remarkable psychological sensitivity. Her longing was portrayed not as passive yearning but as an intense state of awareness, every gesture anticipating Krishna's arrival. Floral and lunar imagery became extensions of emotional experience rather than decorative motifs, each carrying layers of unspoken meaning. Pranamya moved through hope, vulnerability, joy, and uncertainty with striking honesty, allowing every emotional transition to unfold organically. Rather than decorating the music with expression, she immersed herself in the aching sweetness of Chenchuruti, creating an abhinaya that was restrained, deeply felt, and profoundly moving.  A spirited Behag Tillana, choreographed by Jaikishore Mosalikanti, brought a welcome shift in mood. Crisp nritta passages, rhythmic vitality, and sculptural poses highlighted Pranamya's command over movement while providing an exuberant conclusion to the recital's technical segment. The live ensemble responded with exceptional cohesion, their musical energy complementing every rhythmic nuance. The production concluded with "Lakshmi Venkataramana arati ethire", Purandara Dasa's Dasavathara Arati in Surutti ragam, also choreographed by Jaikishore Mosalikanti. Invoking the ten incarnations of Vishnu in devotional sequence, the concluding work possessed both grandeur and tenderness. Its expansive spiritual vision gradually settled into serene stillness, leaving the audience with a profound sense of fulfilment. In an era where spiritual expression often risks becoming detached from lived experience, Pranamya, a practising physician as well as an accomplished Kuchipudi dancer, presented a production that brought together the realities of birth, suffering, healing, and mortality with the intimate devotion of Krishna bhakti. This dual perspective lent the thematic conception of "Paratattva" an uncommon depth and sincerity. While the evening featured choreography by distinguished gurus, including Shobha Naidu, Guru Srilatha Suri, and Jaikishore Mosalikanti, Pranamya inhabited each work with complete artistic conviction and a deeply personal interpretative voice. Whether portraying Krishna as the mischievous child, the compassionate protector, the longed-for beloved, or the Supreme Truth that transcends all form, she sustained a compelling emotional and spiritual continuity throughout the recital. Her eloquent hasta mudras, expressive eyes, graceful stage presence, and precise rhythmic footwork drew the audience effortlessly between moments of joyous playfulness, profound devotion, and quiet contemplation. The live orchestra was outstanding throughout the evening. Raghuram Rajagopalan's resonant vocals, Gayatri Rajaji's crisp nattuvangam, Harsha Samaga's assured mridangam, Srikrishna Bhat's evocative flute, and Aditya Sreeram's sensitive violin accompaniment created a vibrant musical landscape that animated compositions by Narayana Teertha, Dr M. Balamuralikrishna, and Purandara Dasa. The music did far more than accompany the dance. It entered into a sensitive dialogue with the choreography, reflecting the intuitive understanding shared between the musicians and the dancer. What ultimately distinguished "Paratattva" was its refusal to sentimentalise devotion. Instead, it confronted the deepest vulnerabilities of human existence and revealed Krishna as the compassionate presence encountered precisely at those thresholds where human strength begins to falter. The production became a luminous reminder that great art, much like true surrender, dissolves the boundaries between performer and audience, and between earthly experience and divine consciousness, leaving behind not merely admiration but genuine spiritual resonance.  Bangalore based Satish Suri is an avid dance rasika besides being a life member of the Music and Arts Society. |
