Synopsis

First Introduction

This event has been supported by The Bhavan and Arts Council England. Stella has brought threads from the dance project UYIR, from her children’s classes, from her academic teaching at universities and from her training in Kalakshetra together to weave choreographies that explore the myriad of narratives about Krishna; one of the most widely recognized, honored and celebrated figures in the Hindu pantheon. This performance seeks to expand the possibilities of Bharatanatyam to draw from the stories as presented in various literary styles and languages over the ages, and to explore their symbolic meanings.

So about Krishna:

When the sage Shuka took his seat in the assembly hall to narrate the story of the Bhagavata to King Parikshit, all the gods arrived carrying with them a jar of nectar. Bowing down to Shuka, all the gods requested they have first the nectar in the form of the stories of the Lord:
The glory of Vishnu, the sustainer, in the triad of great gods (the others being Brahma, the creator and Shiva the Annihilator) as the one who descends to the earth as the great Deliverer to rid the world of evil, restore balance and re-establish Dharma.

Countless tales are told in which Vishnu descends in the form of Fish, tortoise or other animals, and yet he also appears in a complete human form as Rama or Krishna. As he descends and takes the form of Krishna he is seen as both Vishnu-Krishna and Balarama, Krishna’s older brother.
Throughout time the stories that emerge of Krishna are ones of enchantment.

There is fear for his life as his uncle Kamsa sends demon after demon to try and kill him.
There are wondrous deeds that he performs, such as lifting the Govardhana Mountain with his little finger to save his kinsmen from the anger of the deluge bearing God Indira, or when he is tested by Brahma, who hides his cowherd friends, and Krishna, proving his power, expands himself to become clones of them. There is also laughter when he steals the butter from the neighborhood, and then feigns innocence, mocks his foster mother, teases the maidens of Raja and wins the heart of the Gopi’s. An image of Krishna begins to take form in the mind. Of dark of complexion, feet crossed and playing the bamboo flute watching the world and time as it rolls by.

We are following a golden thread from the childhood and adolescent days of Krishna through to the imagined land where Krishna and his friends bring sun, laughter and utter enchantment.

INTRO OF SONG OF SEVEN

“To the right of our Pinnai with her neck bent,
Stood Mayavan, bright as peacocks’ neck
To her left stood his elder brother, Balarama.
With a body fair as the stem of a flower
Performed in the open courtyard scattered with pollen
By Mayavan, his elder brother Balarama,
And Pinnai of the striped bangles.”

This piece of Tamil poetry is from the Tamil epic Silla-padi-karam, probably from around the 5th century. This choreography ‘Song of Seven is inspired from the story of Kovalan, the courtesan Madavi and his wife KUNNAGI. Following Kolavan’s infidelity with Madavi, KUNNAGI is entrusted to the care of a herdswoman Mattari, who suspects some evil is at play and makes action to ward off calamity. She calls a round dance with the cowherds and Pinnai maidens on the night of the full moon to enact incidents from the life of Krishna.

This is followed by a Jathiswaram, which celebrates the life and beauty of Krishna. It is a swarilla – a playing of the notes.

Varnham Intro:

This next piece is the Varnham, the central piece of the evening, choreographed by Stella and Christopher Gurusamy. Lyrics by S Venkatachala Saastri, Music composition by Tiger Vardachari, Raagam Sriranjani, Taalam Adi.

Many are enchanted by Krishna and to each one he is theirs and belongs to them. Yet Krishna is illusive and sometimes beyond reach and perhaps one devotee feels forgotten. A friend of this devotee, a guru speaks to Krishna of this predicament. The guru entreats Krishna by describing his beauty as more so than Cupid, praising his achievements as conqueror of the three worlds and enchanter of the forests with his flute, and asks him to show compassion to his forgotten devotee, who has beautiful doe eyes, who sings his praises, decorates her bed in fresh petals in waiting, goes out in search of him and meditates on the thought of their union.

Relationships with Krishna are threefold: one is of the lover, one is of the devotee, and one is of the parent. The next three pieces explore these ideas.

The Padam, performed by Stella explores the symbiotic love felt for Krishna. This choreography draws on imagery of nature to explore the connection between this love, physical sensuality and the spring. The musical composition is by Swati Thirunal. Raagam Suruti and Talam Misra Chapu.

This is followed by an Abhang, A piece of Bhakti poetry which although simple explores the philosophical idea of belonging, through the concept of home, much like that of your mother’s house being always your home. Krishna is the same. This is an outpouring of devotion to how Krishna can be found in all parts of our world, and how home therefore, is all around us. The lyrics are by Sant Eknat and Musical composition by Ram Phatak.

We then see a Shabdam choreographed by Stella and Eva Isolde Balzer, and performed by Eva from the perspective of Krishna’s mother Yashoda. She compares Krishna to the moon and discusses her maternal love for him. This shabdam, unlike most, is performed in two languages with lyrics by both Periyalvar in Tamil and Surdas in Braj. The musical composition is by Vignesh Ishwar. Raagam ragamalika and Talam Misra Chapu.

The final piece is the Thillana, a celebration of Krishna through the joy of dancing together. The musical composition is by Mysore Vasudevachar with Ragam Charukesi and Talam Adi.

The Original Music has been conceptualized by – Vignesh Ishwar
Choreography and Conception by Stella Uppal Subbiah
Dramaturgy and Video courtesy of Dr. Sabine Sorgel
Rehearsal Director – Dr. Debbie Fionn Barr
Program title courtesy of Dr. Uttara Natarajan
Film by Roswitha Chesher, Vita Film
Lighting Design – Christopher Gurusamy