— Narasimhan Vijayaraghavan
Just a Minute. There are nostalgic thoughts flooding one’s memory, as one enters the IIT campus, in Chennai. One remembers Debjani Mulherjee and Kalyan Banerjee. They were the then reigning champions in the JAM sessions Pan India, including in Mardugras. The two of us, rookies, were from Vivekananda College. We were debuting.
No expectations on our side. Neither us nor the institution. That we had made the grade to qualify for the finals was akin to an unseeded Boris Becker making it to Wimbledon finals. And as Providence would have it, we won against the odds, in a repeat of Boris Becker at seventeen! IIT audience did not like it one bit. And that made it sweeter as Chakksrai Pongal in Margazhi!
This piece is not to tomtom my little known exploits on the debating stages. Who cares? Not you, for sure. Not even me, you see. Four decades on, words poured out, as they did. Sorry. The campus looks so different. But greener after Michaung havoc. And one wound down the well laid and better kept roads, to reach the auditorium.
A beautiful setting. It resembled the ancient Greek theatre which was more than just a venue for entertainment; it was a vibrant hub for civic engagement, religious ritual, and artistic expression. Its unique architectural design fostered an unparalleled intimacy between performers and audience, creating an immersive experience that continues to inspire awe today. And one was Wowed by this IIT ambience!
The occasion was ‘Bhaje Pandurangam’ performance by disciples of Roja Kannan. She is a renowned Bharatanatyam dancer and guru, known for her grace, expressiveness, and innovative approach to the art form. She has received numerous awards, Kalaimamani for one, and accolades, and her disciples have gone on to become successful dancers themselves. One could see why and how?
A young wife and mother, Sakkubai faced immense hardship and injustice. Yet, her unwavering faith in Panduranga sustained her. Her heartfelt bhajans, often sung while grinding grain or tending to household chores, expressed her pain and devotion with remarkable beauty. Her story was depicted beautifully with a poignant presentation and it reminds us that even in the midst of suffering, faith can be a source of strength and solace.
And then the other devotee character non pareil. What a story?
In the village of Teredoki lived a devotee of Lord Vitthal by the name of Gora Kumbhar. A potter by profession, he would always be engrossed in singing bhajans (devotional songs) of Lord Vitthal and chanting the name of Pandurang (Lord Vitthal) even while working.
Once, his wife left her child in the courtyard where Gora Kumbhar was working and went to bring water. Gora Kumbhar was busy in preparing the mud required to make the earthen pots and was as usual engrossed in singing bhajans of Pandurang. His child playing near him, fell in the shallow ditch where the mud for preparing the pots was laid. Gora Kumbhar was churning the mud with his feet. While doing so, he accidentally crushed his child under his feet. He was so lost in singing the bhajans of Pandurang that he didn’t even hear the cries of his child.
On returning back, his wife started searching for the child. As she was unable to find it, she went to Gora Kumbhar to inquire about their child. There, her eyes fell on the churned mud, which had become red with blood. She realised that her child had been crushed under the mud. She started wailing in grief. As an atonement of this mistake, Gora Kumbhar broke off both his hands.
On the auspicious day of Ashadhi ekadashi (11th day of the month of ‘Ashadh’ of the Hindu lunar almanac), the famous saints, Sant Dynaneshwar and Sant Namdev were on their way to Pandharpur. On their way, they came across the village of Teredoki. There, they asked Gora Kumbhar and his wife to accompany them to Pandharpur.
Sant Namdev started delivering a kirtan (Devotional discourse). All the other saints sat down to listen to him. Gora Kumbhar and his wife also sat down to listen the kirtan. During the kirtan, people raised their hands in the air and started clapping and singing praise of Lord Vitthal. Even Gora Kumbhar instinctively raised his broken arms in the air. To everyone’s surprise, hands sprung up from his broken arms. All the saints were glad to see this and they all sung praise of Lord Pandurang.
Gora Kumbhar’s wife realised how merciful Lord Vitthal is. She loudly said, “O Lord, my child was crushed under my husband’s feet. The loss of my child has made me miserable. Lord, please have mercy on me. Give me my child back.” A few seconds later, she saw her child crawling towards her. The merciful Lord Vitthal had heard the prayers of his devotee. She lovingly took the child in her arms. Everyone present there expressed their happiness with a loud applause.
These two stories were danced and dramatized by the students of Bharatha Natyalaya on 14th Dec,2023. The Panarona of colours on display and closeness of the performers on the stage, in literal handshaking distance, was a fascinating experience.
Excuse me, one came here to listen to Prithivi Harish, the upcoming Carnatic musician, or ‘upcome’ already, to be fair to his prowess and now settled nasal twanged melody. He was on song from Sa pa sa to mangalam. And the involved fervour with which he ‘belted out’ ( the closeness did not make it loud, but lovely) the numbers, inspired the dancers to be ‘on dance’.
Surprisingly, the hall was half plus full. One was told that such classic performances usually draw far lesser audience. Typically and tragically only a cinematic nexus may fill such halls. Sad but true. Well, better to have discerning and devoted audience. Numbers matter. Yet, they don’t.
These are passionate amateur artistes. They love what they do. No need to get paid for their performances. Just the joy of gay abandon among themselves, seemed fulfilling. It is the discipline, devotion and love of such artistes, on this art form, which keeps alive its treasured state and thanks to Margazhi Music season, they have huge and welcome traction too.
It was a wonderful and creative production. The accompanists in violin, flautist, keyboard and mridangam, to the lead singer jelled well to make it a mellifluously musical and magical eviening. Thanks.
Ms. N Bhuvaneshwari’s expositions on what was being ‘performed’ to nincompoops like yours truly, were humorously educative. And she stood out in stage performance too, deserving to be identified by name. Why not?
Yet, it was Prithivi Harish’s variant by play on Bharathi’s ‘ Kakkai Chiraganile’ that made my day, evening and night of song and dance!
( Author is practicing advocate in the Madras High Court)
