Author: Narayana Vishwanath

Anubhuti – the dance by Chidambaram dance company of dancer Chitra Visweswaran for Brahma Gana Sabha, was marked by refinement, proclaiming that the group consists of equipped artists, of caliber, with a vocabulary of expressive gestures and intricate matrix rhythmic pattern.

The serenity in this presentation was very explicit, when they opened with the ‘Trimurte Anjali’, an offering through the medium of dance to ‘Brahma, Vishnu and Shiva’. Their dance movements, highlighting the fluidity of the art form, which pervaded, to give a soft visual appeal, when the dancers surrendered their very selves, body and soul, in celebrating the ultimate Godhood.

The popular Keerthana (Sama-Gaana-Lola) of maestro late G.N. Balasubramanian, brought a lyrical tempo, replete with integration of music and movements, where in ‘Ambal’, the universal mother, who fulfills all her devotees desire, along with her consort, Siva, who forms the cosmic whole, representing the endomorphous form Ardhanareeswara / Ardhanareeswari.

Couched in the regular ‘Pada Varnam format’, Navarasa Varnam (lyrics and music by Lalgudi Jayaraman) explored the nine rasas (moods) which governs Indian aesthetics. The choreography of Chitra Visweeswaran, who was inspired by Adi Sankara Bhagavad Pada’s ‘Soundarya Lahari’, was so enlightening when the rasas (valour), displayed by the warrior princess Meenakshi (Love) towards Siva (wonder) at Siva reducing Manmatha, the God of Love to ashes (laughter) at seeing the ignorant world’s retention to Siva, her (Disgust) on Daksha’s disrespect towards Siva, (Anger) while staying the demons (feats) of Siva-Nilakanda consuming poison,
(Compassion) of the universal mother and revealing the (epitome of peace) as ‘Lalitheswari’, the pure dance movements, highlighted the possibilities of what music can achieve, along with nritta.

The fluidity of the art form, pervaded to give a soft visual appeal when in the Dasar Kriti, Krishna, is addressed in the form of child and the dancers representing Gopis, who are symbolic of the human soul, highlighting that Krishna is ‘omni present’, ‘Omni potent’ and ‘Omniscient’ divinity. Towards the end, Anubhuthi, culminated with a Thillana in Raga Rasikapriya, which speaks of ‘Nada Brahmam’ and ‘Natya Brahmam’ coming together. Thus experiencing ‘Para Brahmam’. Certainly the concluding item composed by Visweswaran, sought to encapsulate, the entire evening mood, with its tempo and feel.

This Performance happened on 23.12.2012 (Sunday) at 7.00 p.m at Brahma Gana Sabha (Pethatchi Auditorium).