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REVIEW / REPORTNritya Samagama: A captivating confluence of dance- Y.K. Sandhya Sharmae-mail: ykss77@yahoo.com September 26, 2026 The Sadhana Sangama Trust, the dance institution led by renowned guru V. Jyothi Pattabhiram and Dr. P. Sadhanashree, has nurtured a commendable tradition of presenting something fresh and distinctive at every annual celebration. Equally praiseworthy is the institution's steadfast commitment to providing every student an opportunity to perform on stage. The presentation of a different thematic production each year has, in fact, become the hallmark of Sadhana Sangama. This year, as the institution celebrated four decades of its artistic journey, it presented the richly varied dance production 'Nritya Samagama' at Bangalore's Sri Puttanna Chetty Town Hall, before a packed and appreciative audience of art lovers. The program opened with a vibrant succession of dance pieces by the enthusiastic young dancers of the Sadhana Sangama Dance Centre. As has been the institution's practice, the program culminated in a thoughtfully conceived dance-drama in which Guru Dr. P. Sadhanashree herself joined her accomplished disciples on stage. This year's offering, 'Vachana Vaibhava', brought the profound vachanas of several leading poet-saints of the 12th century alive through dance. Their ideas, philosophy and spiritual vision were translated into compelling visual narratives, making the production an enriching and distinctive experience. The Vachana movement of the 12th century continues to resonate even today. Its enduring relevance lies in the universality of the thoughts expressed by the Vachana poets, whose literature has continued to inspire explorations in music, theatre and dance, opening up new social and artistic dimensions. In this context, Vachana Vaibhava proved to be an imaginative and stimulating experiment.  Of the eight vachanas chosen for the production, those reflecting the philosophical thought, spiritual vision and life experience of the great Mahasharana Basavanna and the renowned Sharane Akka Mahadevi were particularly striking. The dancers gave these profound compositions a compelling visual language through sensitive and expressive abhinaya. Sadhanashree's thoughtful choreography, which transformed the vachanas into vivid stage imagery, was both aesthetically appealing and conceptually effective. The presentation began with Basavanna's celebrated devotional vachana, 'Vachanadalli namamruta tumbi'. The dancers brought its devotional essence alive through graceful angika abhinaya. Sadhanashree, portraying Basavanna, was especially impressive in her deeply felt interpretation of the lines 'Koodalasangamadolu aanu tumbi'. Her complete identification with the vachana enabled her to communicate its spiritual essence with conviction and emotional depth. The vachana 'Vedapriya Shivanembaru...' followed, evoking the karuna rasa. Supported by an elaborate sanchari narrative, it unfolded with emotional clarity and left a lasting impression. Interspersed between the abhinaya pieces were graceful and visually engaging nritta sequences, which added rhythmic vitality and variety to the presentation.  The much-loved vachana 'Ullavaru Shivalaya Maduvarayya' was another highlight. Rich in devotional and philosophical significance, it was rendered with considerable impact. Srivatsa's sonorous voice enhanced the musical appeal of the presentation, while the dancers brought out the central philosophical thought of the vachana 'Sthavarakkalivuntu, jangamakkalivilla' the transience of the stationary in contrast to the enduring vitality of the moving and living. This was followed by 'Jagadagala mugilagala', an evocative celebration of the boundless, ineffable and incomparable Linga, the Lord Koodalasangamadeva. The devotional fervour with which the deity was invoked created a deeply contemplative atmosphere. The transition to Akka Mahadevi's vachanas brought a different emotional texture to the production. In the exquisite 'Sulipalla goravana', the beauty of Akka's intense spiritual bond with her beloved Chennamallikarjuna was explored with sensitivity. Sadhanashree, as Akka Mahadevi, portrayed this profound and inseparable relationship with remarkable poise and emotional restraint. Another poignant vachana evoked the entire natural world - the chirping parrots, the singing cuckoos, the humming bees and the myriad creatures of nature - as Akka Mahadevi anxiously searches for her beloved Chennamallikarjuna. Her yearning, expressed through an intimate dialogue with nature, was rendered with touching simplicity and emotional depth.  In another vachana, Akka Mahadevi, considering herself the bride of Chennamallikarjuna, questions the need for worldly adornment when her beloved is none other than the divine. The vachana beautifully conveys the distinctive nature of her spiritual union and her transcendence of conventional notions of feminine adornment. The vachana 'Arishinavane mindu', in which Akka expresses her anguish as she waits restlessly for her beloved, was particularly moving. Her sense of longing and desolation was conveyed with an emotional intensity that touched the heart. By bringing together a carefully chosen selection of vachanas steeped in devotion, surrender, spiritual yearning and philosophical insight, Sadhana Sangama succeeded in transforming the timeless poetry of the 12th century into a vibrant contemporary dance experience. The production was a testimony to Sadhanashree's artistic imagination, sensitive choreography and sustained effort, as well as to the dedication and accomplishment of the dancers who brought the vachanas to life with grace and conviction. Heartfelt appreciation to the entire team of Sadhana Sangama for a production that was as intellectually engaging as it was aesthetically rewarding. 'Nritya Samagama' was, indeed, a memorable confluence of dance, literature, music and spiritual thought.  YK Sandhya Sharma is a Kannada author, poetess and dance-drama critic. |
