From the pages of our history, mythology and poetry
In this 1.5 hour traditional margam presentation of Bharatanatyam, we shall be bringing to life different types of women from our mythology, history and poetry. There is one who is acknowledged as a great poet in a field dominated by men and she writes and sings in complete Bhakti for the cosmic union with her Lord. Another, who is distressed by the separation of her love and questions him with that teary eyed anger that only love can justify. Now there is this other woman, who shall defy all your moral expectations. She is in a transactional relationship with her partner. And when he fails to deliver his end of the bargain, she would not shy away from a nasty fight. Well, we also have a mother in our line-up, for we have nothing more undefinable than the sentiments of motherhood. No woman is the same as the other. Every character comes with its own realities, layers and contexts. But all are beautiful.
ANDAL, THE POET
Andal, is one of the Azhwars – great devotees of Vishnu, who write his praise. Andal’s bhakti surpassed into the realm of complete surrender and she yearns for the divine union through her poetry. Amongst her greatest contributions to Tamil literature is the Thirupugazh Pasuram which has 30 verses each for every day of the tamil month of Margazhi. Even now you will be able to hear her songs being sung in temples during this month. Her 30th verse will be part of the initial presentation of this show, which gives an overview of the benefit of chanting all the verses everyday, about how young girls of Srivilliputhur (Andal’s village) with bright moon-like faces went to Bhagwan Krishna and managed to get his blessings. The same Krishna who helped in the churning of the ocean to get amrit for devas, the one who vanquished Kesha, the asura in the form of a horse and is sweet like Madhu (honey). All those who recite these pasurams, written by the devoted daughter of Pattar, Andal (a.k.a Kothai), the one who has weaved the 30 verses like lotuses in a garland, with devotion will receive ample wealth – both material and spiritual, leading them to Moksha and blessings of Lord Krishna – Vishnu, the one with strong shoulders that carry the weight of the world, the one with beautiful eyes and a divine face.
A NAYIKA IN DISTRESS OF SEPARATION
The second but the central piece of the recital, Varnam, is the longest item of about 40 minutes that has all the components of dance, movements and storytelling. This is about a Nayika (female protagonist) described as the Virahotkandita – the one in distress due to separation of her love, in this case, Krishna. The verses are structured in a way that it starts with an angry tone and builds towards a desperate call.
“Gaanam Isaithu Nindrai Oh, Ennai Marandha Kaaranam Ondru Sollayo” – Have you been lost in playing the flute? Can you give one valid reason as to why you forgot about me?
Story: A creative description of how Krishna is playing with the gopikas in the Brindavan. He sees that they all have been stupified due to his flute music. He picks up flowers from the garden and starts throwing at them to bring them back to awareness. Realising that there are so many gopikas, he shakes the tree with the flowers and it looks like it is raining flowers. This wakes up all the gopikas and they run towards Krishna asking him to play more of his divine music. And he gives in to their heartfelt requests. But our Nayika on the other hand is waiting for him and starts going in search of him into the Brindavan. When she finds him happily enjoying his evening with the others, she is hit by jealousy and with bitter-sweet anger asks him how he could forget about her!
“Maanam Kaakave Sendrayo, Oru murai Maamugam Kaati Selvayo” – Have you gone to save the honour/dignity (in the context of Draupadi)? Why don’t you show me your divine face and then go?
Story: The iconic scene of Mahabharata where the whole court of Hastinapur became the silent spectator to the disrobing of Draupadi by Dussasan on the command of his brother Duryodhan. Once Yudhisthira (eldest of the 5 husbands of Draupadi) loses all his brothers along with himself in the fateful game of dice, he loses Draupadi as well. She is dragged into the court by her hair and pushed to the floor. As the situation slowly dawns on her, she is angry, disappointed, disgusted and helpless at the same moment. She seeks justice from the King, Dronacharya and Bhishma, only to be stunned by their silence. She is disgusted at the inability of her husbands to stand up for themselves and her. Having been left alone to fend for herself she warns, threatens and tries to fight Dussasan. But he manages to get hold of her sari and starts pulling it. At one point Draupadi finally gives up her fight and surrenders completely to Krishna, calling for his help, for she has lost all respect for the humans in the court. The divine intervention of Krishna, where he makes sure the saree of Draupadi never ends, stuns everyone. But our Nayika is determined to seek an answer from Krishna as to why he forgot her.
“Dhaanam Kekave Sendrayo, Udan Vara Thaamadam Innum Seivaayo” – Have you gone to ask for charity/Dhaan (in the context of Karna)? How much more will you delay coming back to me?
Story: Again in the context of Mahabharata, Krishna disguises himself as an old man to go ask Karna for alms. Karna, here is struck by the arrow from Arjuna, but is unable to die because the good deeds that he had done in his life, are not letting him go. Hence, to relieve him of the pain and to give moksha Krishna asks for all the virtues that he collected in his life. Karna, the greatest philanthropist of all times, knows that there is some divine power play happening and gives away all his virtues as he is someone who never says no when it comes to giving. In the last moments before his death, Karna gets to see the Vishwaroop (grand vision of the supreme divinity). But our Nayika is restless and can’t wait to have her Krishna back.
“Neela Nira Vanna Meniyane, Inimel Nee Varum Velai Sollvaayo, Karunaikondu” – The one with the complexion of the dark blue skies, please tell me when you will be coming back.
“Kaalingan Meethinil Kali Nadam Purindhai, Vadam Seithai, Kamsanai Vendraai, Kali Thanaiyo, Maa Malai thanai thookiye, ennaiyum maranthanaiyo, Kanna” – You danced on the head of the Great Kalinga snake and controlled him, you killed Kamsa; you lifted the mountain to save people from rain; have all these tired you so much that you forgot me, Kanna?
“Aanandham Kondu Nadanamaadi Varuvaayo, Gopiyargal soozhndidave” – Will you be dancing with happiness while coming towards me? With all the Gopikas around you?
“Geethai Uraithu nalla Paathai Vagutha Maathava” – You are the one that explained the divine Geetha and showed the right path to the world.
Story: The story of Krishna narrating the essence of Gita to Arjuna is depicted here. Krishna becomes the charioteer for Arjuna on the battlefield of Kurukshetra. But Arjuna falters when he sees that the expanse of people he is prepared to fight are his mentors and relatives, his own people. Krishna then appears in his Vishwaroop and explains to him the truth of Dharma and righteousness, the importance of duty and commitment to such a life. Arjuna is stunned to see the divine truth unravel in front of him.
“Maadanthorum Oli Maavali Theepamai, Maayan untha adi Maandhargal Naada, Maana seegamai maayam seiyaamal, maadhu-ennai thediye maalai ida varuvai” – The whole corridor is lit with lamps for your arrival, do not play games with my heart, come to me and garland me with love.
“Saagasam nee seivathu enna kannaa, Kaaranam indriye karunai seiyaamal” – What is this attitude that you are displaying? You are not being unsympathetic towards me without any reason.
“Maamugam kaatavum manam irangavum, naan paayiram paadinen pagal iravaaga” – For you to show your beautiful face and to express your compassion I have been singing day and night.
“Saagaram meethinil paambanaiyin mele palli konda parandhaama, manam naada” – My heart yearns for you, the supreme Lord Vishnu who is resting on a snake in the divine ocean.
THE MATERIALISTIC NAYIKA
“Nee maatale maayamura” is a Telugu javali where the nayika is in a completely transactional, materialistic relationship. She is not someone who gives a second thought about morality, loyalty or the social gaze. This dramatic piece follows the entire conversation of this woman with her partner who had promised to get her expensive gifts but failed, every time.
In anticipation of his arrival with all her gifts, she gets ready wearing a beautiful saree, make-up and all jewels, EXCEPT jhumkas, bangles and nose-pin hoping that she can wear them just as he brings them for her. She treats him to an exaggerated display of love by serving him hot milk and fresh paan. Seeing that he is not taking out the gifts yet, she starts showing her empty hands, bare nose and ears. Well, our hero is unfortunately (for him) oblivious to these warnings. And that is the tipping point for our nayika. She blasts with all these days of disappointment at not being delivered her promised jewels! She reminds him of the specific conversations in the past where he had promised her all of these jewels in his moments of great satisfaction.
Her partner, who is quite used to these bursts of temper, did not even imagine that this would lead to the end of this illicit relationship that he had been keeping a secret. Our nayika does not hesitate before literally dragging him out of her house and shutting the door on his face. End of yet another chapter. She, who does not need so much time to get over a person, finds another just as this one goes out. Beginning of yet another chapter. No hearts broken, no sleeps lost in this all-transactional relationship!
THE MOTHER WHO DISCIPLINED (at least tried) THE GOD
Next is a cute conversation between a mother and her child, Yasoda and baby Krishna. Our little mischievous Krishna, imagine to be around 5-6 years old, enters the cowshed and gets excited to see so many cows and calves there. He starts playing with them and suddenly decides to take them on a trip across the village. Ahh, he gets caught red handed. She shouts at him and pulls him inside the house. But who can continue to stay angry at a cute little kid? She then bribes him with milk, sweets and butter so that he chooses to stay home. But this kid is very sharp. He rejects all these temptations and tries to convince her that he will be safe. She says there will be thieves out there who won’t hesitate to hurt him for which he says he can easily fight them and they should be afraid of him. She tries to scare him by saying that the wild animals of the mountains will eat him alive. Who is she talking to! Krishna laughs profusely at this and says all animals come running towards him with love and even if they try to eat him he can easily get them under control. Mother now is running out of arguments and finally uses the father to try to scare him. But our little Krishna knows how to deceive him too!
Krishna makes his cute faces and somehow convinces the mother to let him go! Yashoda knew that her child was divine. Yet, she couldn’t get over her protective instincts. Well, is it not the same case with all parents?
