Realising Vishnu...

“Vishwam Narayanam” is a cerebral journey exploring the five aspects of Lord Vishnu as described in the Vaishnava Agamas. Well conceived and brilliantly executed, the two-hour production by Anupama Kylash and Shivachandra was visually appealing and spiritually uplifting

The temple tree (Frangipani) at Saptaparni in Hyderabad is often a silent witness to art being showcased and appreciated. Sometimes, a more intense communication takes place between the artist and the art lover when art is unfolded and assimilated.

It is a cosy venue for entertainment as well as enlightenment. On one such evening, Kuchipudi dancer Anupama Kylash took the audience on a unique journey, divulging a different aspect of dance. To deviate from the clichéd descriptions of “scintillating”, “mesmerizing”, the presentation of “Vishwam Narayanam” can be termed as a simply superb experience which will stay fresh in the memories of the perceptive audience for quite some time.

It came at a time when the devout are soaked in the sacred rituals and sanctity of “Dhanurmasam”, when the soul seeks salvation through the worship of Lord Vishnu. Those chilly mornings when courtyards are filled with attractive patterns made of rice flour, when the heavenly fragrance of incense and rose petals from the puja room floats in the cool air,

when the aromas of “Chakkera Pongali” and “Chitti garelu”, (that day’s prasadam) waft from the kitchens; it is the time when Vishnu descends from his celestial abode and the world celebrates His annual vacation on the earth. Pleasant evenings are solely dedicated to music, dance and discourses that sing in praise of Lord Vishnu;

when men are in a receptive mood and women focus on Kanjeevarams (theirs as well as that of others). At such an auspicious time, the first “Ramachar Memorial Concert”, an almost two-hour production was staged and well received.

It was a pleasing convergence of Kuchipudi and Vilasini Natyam, a male-female duo presenting the legends, ideals and philosophy connected to the four major Godheads of Sri Vaishnavism. While Shivachandra Kumar’s Kuchipudi was full of vigour and vibrancy,

Anupama’s Vilasini Natyam was delicate grace personified. Supported by a highly energized and exhilarated team of musicians (led by Chandar Rao), together they wove the stories of Sri Maha Vishnu, Sri Ramachandra, Sri Krishna and Sri Venkateswara.

It was a cerebral journey exploring the five aspects of Lord Vishnu as described in the Vaishnava Agamas:

Para- the first presence or manifestation of the Supreme Being.

Vyuha- the manifestation of Gunas or attributes in the Supreme Being.

Vibhava- the Avataras or re incarnations taken on by the Supreme Being to restore good and destroy evil.

Antaryamin- a unique power seated inside the lotus heart of all creatures.

Archa- the energy of the Supreme Being manifested in a consecrated image, meant for daily worship.

In the beginning the entire Universe was filled with Narayana, his body comprising of all elements. Vishnu took form later, resplendent with all his physical attributes. To destroy evil and establish good on Earth, Vishnu also had to take different incarnations from time to time.

The second segment based on the theme of separation started with the story of Krouncha birds, depicted Dasaratha’s anguish when separated from his beloved son Rama and Sita’s distress while imprisoned in the Ashoka Vanam; on the path of Dharma, Rama granting redemption to his greatest enemy Ravana, the clash between Dharma and Adharma, which is the essence of the Ramatattva.

In the Krishnavatara, one’s duty to adhere to Karma alone, leaving the rest to the divine cosmic play of the Jagadguru, Krishna was the message.

The last segment, dealt with the 'Archa' aspect of Lord Vishnu in his manifestation as Sri Venkateswara in Kalyuga, as worship and Sankeertana are the ultimate ways to reach God. The glorious imagery of the form of Lord Venkateswara and his powers, in the 'Vigraha' swaroopa were presented here.

The feature ended with a summing up of all the concepts enumerated upon in the different segments, while paying homage to the mighty Lord Vishnu, whose function is to introduce the soul to the Paramatma, and in the process lead us on the path of salvation.

Using a wide variety of literature from Sanskrit and Telugu languages displaying different literary metres and formats, the lyrics were culled from a wide variety of sources; works of several Vaggeyakaras such as Annamacharya, Ramadas, Purandara Dasa, Tulsi Das etc.

Literature was utilised from palm leaf manuscript studies as well. The aesthetic blend of the male Natya tradition of the Kuchipudi Bhagavathas and the rich Devadasi system was the result of hours of practice combined with thoughtful choreography by Anupama and Shivachandra.

On a higher plane, it was erudition and intellectual attainment resulting in elevating the audience from a mundane level, enabling one to look at art from a different perspective. With "Vishwam Narayanam", Anupama has raised the benchmark in aesthetic creativity in dance. Hope this would inspire more such attempts from the dance fraternity in the coming times.