When a Tyagaraja kriti inspires a dance production

The vast diversity of art, thought and literature that flourishes in India is a rich source of inspiration for creative minds. Acknowledging the contributions of innumerable poets, musicians and spiritual leaders, Tyagaraja says: ‘Andhariki Vandhanamu’ (I offer my obeisance to all) in his popular Sri raga Pancharatna kriti, ‘Endaro Mahanubhavulu’. As a tribute to the saint-composer, his unwavering devotion to Rama and his spirit of total surrender, scholar Dushyanth Sridhar has conceptualised and scripted a Natya Nadakam titled after this timeless kriti.

Anita Guha, founder of Bharatanjali, has choreographed the production to the musical score by Rajkumar Bharathi with sound design by Sai Shravanam.

The narrative, presented in seven segments, opened with the story of Doddacarya of Cholasighapura. His steadfast devotion to Varadaraja moved the deity to grant him darshan of the temple processions whenever he was unable to travel and witness the festivities in person. The opening sequences depicting the Sibika, Simha and Ashva vahanas were vibrant and evoked a festive spirit.

A succession of stories followed: Adi Shankaracharya’s Kanakadhara Stotram; Vedanta Desikar’s Sri Stuti, which invoked goddess Lakshmi to bestow prosperity; and Muthuswami Dikshitar’s ‘Anandamritakarshini’, a hymn to goddess Bhavani that is believed to have brought rain to a parched land. Together, these episodes underscored the power of unwavering devotion to the divine..

Anecdotes and compositions with a range of poet-saints and literary figures, from the lesser-known Telugu poet Bommera Pothana to Jayadeva, Kamban, Andal, Meerabai, Bhadrachala Ramadasu, Purandaradasa and Sant Tukaram, were interwoven with verses from sacred texts, shlokas and the Puranas to depict the concept of dharma.

Over the years, Anita Guha has evolved a choreographic formula that combines a wide range of movement patterns and striking visual elements that would appeal to a wider audience. This production adhered to that familiar format, featuring an ensemble of 53 well-trained dancers and a choreography with no dull moments helped sustain the momentum throughout. Fast-paced nritta sequences, vibrant costumes, elaborate headgear and makeup, an amazing LED backdrop, colourful lighting and an engaging musical score collectively enhanced the production’s appeal.

While Bharatanatyam formed the core of the presentation, Anita Guha also incorporated elements from other dance forms to enrich the narrative. For instance, Kuchipudi’s yavanika tradition, based on verses from Krishnadevaraya’s Amuktamalyada, was woven into the episode on Andal drawn from the Nachiyar Tirumozhi. In the segment on Meerabai included movements from the Rajasthani dance form Ghoomar, complemented by colourful costumes, while Kottichedam, a distinctive dance style associated with Mohiniyattam, was employed to show the durbar of a Chera king.

The Hanuman Chalisa, which has become something of a staple in dance productions of late, was used not only to celebrate Hanuman’s strength and devotion but also to introduce hasya rasa through the playful antics of the monkey brigade. The energy levels rose further with the depiction of Varkari seva, the singing of abhangs by marching devotees and the collective chanting of “Panduranga Vittala”, gradually building the production to a crescendo.

Among the production’s most significant moments were its excellent visuals, particularly the image of Lakshmi emerging from the lotus, depicted through a choreographed formation of dancers, flanked by the images of Adi Shankarar and Vedanta Desikar, The lotus pond imagery on the screen further enriched the sequence. Equally impressive was the dramatic Gajendra moksham, where Vishnu’s swirling chakra vanquishes the crocodile, conveyed through the circular movements of the dancers. The careful attention to detail in Garuda’s costume and makeup, as well as the props, including the five-headed snake, also merits special mention.

The continuous flurry of activity kept the audience constantly engaged. Yet some of the episodes, rich in emotions, could have been dealt with in detail and in an unhurried manner, allowing the rasanubhava of bhakti to unfold more fully.

The large ensemble of dancers performed admirably, marked by neat entries and exits, well-coordinated movements and a clear understanding of the characterisation. The lighting design by Murugan and Nambu Kumar enhanced the visual narrative. The thoughtful props were by ‘Kumar Stage’ Shanmugam while Gnana Chandra’s screen visuals stood out for their restrained palette.