Jagat Pāvanī Gangā
She has been the seat of sacred civilization for millennia, She has provided for the tiniest and the mightiest of beings that have resided on her banks, She flows despite mighty terrains that stand in front of her, She removes sorrow, She nurtures, She is mother, She is Ganga.
Ganga is now a silent witness to the abuse and pollution that is heaped on her. She patiently waits like a mother despite suffering ignominy and cultural destruction,continuing to provide for her children, for us.
Time has come to wake up to Ganga. Let us pledge to protect her sanctity.
Jagath Pāvanī Gangā is a stage presentation of the glory of Ganga interpreted with ancient and contemporary verses which extol the need to preserve Her purity and sanctity. It combines Bharathanatyam, Classical Carnatic music, Gadhwali music and dance, Mime (Mactricks) and Theatre (Crea- Shakthi) to depict the incomparable splendour of the HIMALAYAN GANGA. The saga of the sacred Ganga is unfolded through an artistically interwoven ensemble of corps de ballet with an intent to culminate in a philosophical introspection of the ecological value systems that is gripping the society.
A thematic presentation by Smt. Revathi and her daughter/ disciple Manasvini. This presentation delineates Shiva as Nataraja and Daksinamurthy. Laya is derived from the verb “Layate” which is to move or keep in pace with.
As Nataraja, he performs the acts of creation, sustenance and destruction and keeps the Jagat in Laya or harmony. Nataraja denotes Karma Yoga, whereas as Dakshinamurthy, he transcends these karmas as he resolves the world into one or Pralaya. Dakshinamurthy, is one who is limitless. He is the “Mouna Guru”. The juxtaposition of knowledge and action which is the quintessence of Advaita is very subtly brought out in this feature presentation. Lilting songs, chants from Chamakam, Adi Shankara’s Gurvashtakam, Thayumanavar’s Ananda Kalippu have been taken.
Tamizh Arasi Kuravanji
This Production was sanctioned by the Tamil Nadu Iyal Isai Nataka Manram. Tamizh Arasi Kuravanji is in a drama format and the main plot revolves around a Nayika or heroine “Tamizh Arasi” who is smitten by Lord Muruga. She along with her friends engage in playing ball when she sees her Lord and falls in love with him, after which she cannot think of anything or anyone but Muruga.
She sends her Sakhi or friend to beckon her Lord, who en route meets a gypsy or Kurathi. The Kurathi travels to her house with her Sakhi and predicts her fortune in a rather comic dialogue! The expression of contrast in characterisation of the three main roles of the witty friend, the forlorn heroine and the cheery gypsy endears the audience to the play.
This beautiful solo- Bharata Natyam transformation of the most abstract concept of Advaita Vedanta has been achieved through the interpretation of the Svethashwatara Upanishad of the Krishna Yajur Veda. The key feature of this Upanishad is its emphasis on Upasana to realise the Supreme.
The soul of the presentation is the imagery of Brahman or pure consciousness which is beyond time and causality which is elaborated in a Ragam Tanam Pallavi set to Karaharapriya Ragam and Rangapradeepa talam (the 3oth tala of the Ashtotrashatha talas with 40 askaras- 2 Gurus, 1 Laghu, 1 Guru and 1 Plutham). The tala’s name means enlightenment of the theatre. The RTP culminates in a Theermanam with the words “Thajjam” “Thallam” and “Thadanam” signifying the eternal cycle of birth, growth and transformation, the endless activity of Maya.
The music has been set by “Arsha Kala Bhushanam” Smt. Suguna Purushothaman.
The position of women in society is usually regarded as a fair index of excellence of its culture and the character of its civilization. Though the Indian tradition has respected womanhood, there are certain periods in Indian history where women education was suppressed, throwing them into illiteracy and superstition.
This was mainly due to misinterpretation of ancient texts by selfish mortals who were interested in enslaving women to suit their needs and fulfil their desires. This presentation in four acts brings out the various paths trodden by women in India- Her glory, fall, plight, suffering, turmoil which she travels and yet moves forward. Verses from Manu Smriti, a mordern day english poem by Zoya Zaidi, verses of Bharathiyar’s Pudumai Pen are a few texts that are used. Music has been set by Sri. B. V. Balasai.
The women, inspite of oppression have gained strength as Daayinee…. The eternal giver, The mother, The Maker.
Om Saravana Bhava
Om Saravana Bhava: Lord Muruga, Guha or Karthikeya is associated with tamil land and blood. He is one who was born out of the ashes from Shiva’s third eye. He taught his ow maker, the meaning of “Om” the Pranava, thus he is Nadadi Nada. He valorously battled Gajamukha and Simhamukha and defeated Surapadman, the deadly demon. He Married Valli and Devanai. He rides on a mighty peacock and holds the “Seval” kodi or flag. We pray to this lord for well- being and strength. This production traces the puranic stories that surround Muruga. The music is from verses of tirupugazh and other tamizh texts and the myriad dance forms used are classical, folk/ Kurathi and Kavadi
Ambalathil Aadum Jothi
In praise of Lord Shiva explores the various aspects of Bhakthi in a smooth interrelation of philosophic thought and aesthetic concepts. The Ananda Thandava of Shiva as Nataraja symbolises the Pancha Kritya or the fice acts of creation, sustenance, destruction, obscuration and salvation.
Ambalathil Aadum Jothi elaborates there aspects of Shiva incorporating songs and poems froms ancient Tamil Saivaite literature and contemporary works. Music by sri. Raghavendra Rao
Aayar Kula Thilakam
Based on the Divya Prabandham, an ancient 16th century work, depicts the birth of Krishna, Antics with the Gopikas and Andal’s dream of her wedding to krishna. The ballet incorporates verses from Tirupallandu, Kannan Avathara Chirappu, Undhi Para anf Kuzhal Udhar Chirappu. Music by S. Rajeswari.