Mahakavi Subramanya Bharati’s name instantly brings forth images of a fiery, nationalist poet known for his powerful poems that inspire feelings of patriotism in each one of us. Very few people know about his philosophical writings, penned by him during his exile and stay in Pondicherry, and his association with Sri Aurobindo. The writings from this period formed the premise on which the Natya Nadakam ‘ Veda Bharathi ,’ presented at Kalakshetra auditorium, was conceptualised.
Sujatha Vijayaraghavan had done considerable research on this subject and ideated a narrative pattern to the production. The complete philosophical quest of the poet starting with the kinship and unity of mankind with Nature, to the journey of self discovery, questioning the existence of God, maya (illusion), the pursuit of self-realisation and understanding the truth of Brahman, which forms the crux of his writings, were highlighted in Sujatha’s narration acting as a link to the dance sequences.
‘Jayabherigai kottada’ composed in Mallari format, like a victory march, with the dynamic entry of four dancers, was appealing. The beautiful use of Behag (a rather unusual choice for an introductory number) could have been more powerful if the singers had infused more spirit to their rendering. The musical score by Lalgudi G.J.R. Krishnan and Lalgudi Vijayalakshmi was a creative amalgam of a wide range of ragas in a ragamalika.
In ‘Arive Deivam,’ the use of the folk style Kavadichindu for lokdharmi and classical ragas such as Nadanamakriya for exalted thought was a sensitive touch. One thought that came to mind was that if a single classical Carnatic raga had been explored extensively for any one segment in the midst of ragamalikas for each sequence, the impact would have been manifold.
The musical ensemble moved from one raga to another seamlessly. Vocal support was by Mumbai G. Shilpa and Pranavswaroop B N, nattuvangam by Jayashree Ramanathan, mridangam by Ramshankar Babu, violin by Sree Lakshmi and flute by Sruti Sagar. Conspicuously missing was the tambura.
The four young dancers, Manasvini Ramachandran, Sai Santosh Radhakrishnan, Medha Hari and Apoorva Jayaraman, who choreographed the dance sequences on their own, need to be complimented for presenting philosophy in a narrative manner appropriate to their age and experience.
The production was aesthetic, and had the dancers paid attention to the coordination of colours of their costumes, it would have enhanced the impact.
