Many hues of Krishna
Photo: Sandeep Saxena
UNISON The Jaibharati group
A multi-hued fusion of creative energies, Chinmaya Mission's Jaibharati was a jnana/bhakti confluence of poetry, music and star talent representing different stylistic classical dance traditions. Not the first of its kind , the attempt, nevertheless, has to be commended for providing a fine blend of pluralistic India, its diversities bound by the unifying thread of our rich legacy of Bhakti poetry.
The success of the venture rested on the pulsating musical scaffolding provided by Madhup Mudgal's score, the choice of poetry being the fruit of M.L. Singhvi's intellectual engagement. Krishna the Divine king and commoner was the object of worship. By linking each dance form to music and language not native to the tradition, the treatment provided originality while highlighting the unified approach transcending regional cultural dichotomies.
A delightful cut out of a mandir façade provided the aesthetic backdrop. To Madhup Mudgal's bhava-soaked rendering was the Meera bhajan "Koi kahiyo re prabhu aavanaki" danced by the Manipuri duo Singhajit Singh and Charu Sija Mathur in a blended indirect and representational approach ending with Holi merriment. Again bringing out the emotional sringar/ bhakti substratum with riveting intensity and grace was Bharati Shivaji in Mohiniattam, which found an ideal base in the Andal pasuram "Vaaranamaayiram" wherein Andal confides in her sakhi the details of her dream where she sees Krishna. And Sadanam Rajagopalan sang verve. Odissi dancer Madhavi Mudgal's was another evocative presentation of viraha sringar, based on Surdas' "Bin Gopal Baranabhayi Kunjar" sung by Madhup in Basant/Bahar. Contrastingly crisp was Geeta Chandran's Bharatanatyam, evoking sambhoga sringar based on Raskhan's poetry "Premavarani Sri Radhika".
Ebullient
Shovana Narayan's ebullient Kathak expression was strung to Purandaradasa's "Jagadhodharana aadisidalu Yashoda" in Kapi sung by Sudha Raghuraman. The operative word in the lyric is "Aadisidalu" - literally, "made to play". The poet expresses wonder at Yashoda being bestowed the great fortune of `making to play' the Creator of the universe Himself. So vatsalya or motherly love apart, it is adbhutam or wonderment, which should form the central rasa.
Jaya Ramarao's Kuchipudi flourish in the Vallabhacharya Madhurashtakam finale was sensitive. This critic was less happy with his duet with Vanashree. In the alternately treated Gita Govindam verses of "Yahi Madhav" and "Priye Charusheele", Jayadeva's passionate verses becoming more a chhed/chhad banter.
The end was a free for all in the bhajana sampradaya tradition.
LEELA VENKATARAMAN
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