‘Maalyada’ – Andal’s devotional dance journey

HCL Concerts and Ravindra Bharathi as the venue partner presented on Sunday ‘Maalyada – Andal’s Sacred Garland’, an 80-minute interpretation through dance, conceived and choreographed by Rama Vaidyanathan, based on the book by D. Jeysundhar with music composition by Sudha Raghuraman. The book of the same title brings out the hidden meaning of the 9th century text, Thiruppavai, via casual conversations between Andal and her friends replete with philosophical content.

As the voice of the book, renowned senior Bharatanatyam exponent Rama Vaidyanathan took the audience through the journey that Andal and her friends embarked upon in search of Krishna. The Bharatanatyam dance adaptation featuring Guru Rama Vaidyanathan and her students — Reshika Sivakumar, Sayani Chakraborty, Shubhamani Chandrasekhar and Vaishnavi Dhore — was an attempt to view the epiphany of Andal through selected narrative stanzas delineating the chosen path of the poetess —nine forms of devotion that a devotee experiences before realising the Divine (‘Nava Vidha Bhakti’).

Thus, the production was like a choice garland of variegated ‘nritta’, ‘abhinaya’ and ‘natya’ seamlessly woven to set the story before the audience who had waited in anticipation for the immersive treat in store. The ‘aharya’ was scarlet with touches of different colours individually to the students’ costumes to indicate their roles. The orchestra was innovatively perched on square pedestals in the four corners of the stage with the singer a little towards the middle. Surya Rao’s light effects were gentle shifts in tone rather than dramatic contrasts in order to mark emotional transitions and devotional depth.

‘Nattuvangam’ was by Himanshu Srivastava, ‘mridangam’ by Sumodh Sreedharan, ‘flute’ by Raghuraman, special effects by Sannidhi Vaidyanathan and logistics and other support by Kamesh. Vocal support was by Sudha Raghuraman.

The first tableau on the stage was the prelude scene of Andal (Vaishnavi Dhore) who is absorbed continuously in the thought of her beloved Krishna in every waking moment as she strolls in the fields of Srivilliputhur. The garland being woven by her for the Deity is scrutinised by her with charming mischievous looks as the thought of wearing it strikes her mind. She ponders and hesitates before donning it glancing at her image in the mirror where her every movement is duplicated by Lord Krishna who appears as her reflection.

This was very daintily done and was engaging to witness as Andal’s exact gestures are repeated with synchronic verisimilitude. Andal bends and beckons trying to catch out the Lord but fails as both wear the garland.

‘Shravanam’ extolled the name of the Lord. The chanting of his divine name Narayana grants salvation. The sakhis are encouraged to wake up and get ready as the auspicious month of Margazhi is the time to fulfil vows with the Lord’s help. The beautiful boy with effulgent face is eulogised.

‘Smaranam’ — contemplation with discipline and austerity is the path to reach him. With a purifying early morning bath, charity has to be done by practising a simple pious life sans adornments. These principles are holy.

‘Sankeerthanam’ — singing his praises as Lord Vamana who covered the three worlds with his stride and saved the universe brings bountiful rains, abundant harvest and overflowing milk for nourishment.

‘Vandanam’ — where his devotees join in prayers. Padmanabha’s shoulders are compared to dark clouds from which lightning emerges like the Sudarshana Chakra’s power, thunder as the Panchajanya conch blares and raindrops like the Saranga bow’s released arrows.

‘Archanam’ — surrender to him who orchestrated his own birth to be born in the Vrishni clan, as with purity of mind presenting flowers is an offering.

‘Pada Sevanam’ — prostrating at the lotus feet of the divine cowherd who looks after the welfare of the world for whose succour he appeared in ten incarnations.

‘Sakhyam’ depicts the ideal friendship of Krishna and Arjuna. Humble Arjuna as compared to the proud Duryodhana was the one succoured by Krishna in the Kurukshetra war.

‘Dasyam’ hails the prowess of him who defeated terrible demons with ease. Devotees at his feet are humble servants.

‘Atma Nivedanam’ is dedication to him everlastingly in all births. To be in his presence is more desired than liberation itself. Krishna anubhava is to serve, experience and become one with him.

The outstanding feature was the strong ‘nritta’ displayed as the senior maestro melded effortlessly with her students surpassing them in her agility. The choreography had a set template which remained at the same level for all the pasurams epitomising each aspect of bhakti.

The stentorian voice of the singer did seem slightly overpowering at times. The audience gave a standing ovation to display their appreciation.

Senior artistes Padma Shri Dr. Ananda Shankar Jayant and Smt. Deepika Reddy graced the occasion.

‘Maalyada – Andal’s Sacred Garland’ thus stood out as a spiritually elevating and aesthetically refined production, where scholarship, music and movement merged to create a luminous offering of devotion through dance.