SUMATHI  TYAGARAJA

This is a booklet I published to illustrate the ideas that went into the choreography of this Ekaharya presentation. It was distributed to the audience and many students and dancers appreciated the notes on the compositions, selection process of the kritis and some photos I clicked when I toured Tiruvarur and Thiruvaiyaru in 1988 to pay my respects before my first performance.

A BHARAT NATYAM PRESENTATION BY INDU RAMAN

This Bharat Natyam presentation “Sumathi Tyagaraja” is not to retell the story of the Saint-poet but, but an attempt to describe some facets of his life, shaped by the trials and tribulations he faced.

The title “Sumathi Tyagaraja” is taken from his signature to the famous kriti in Kalyani Raga, “Nidhi Chala Sukhama”. It means “The Wise Tyagaraja” and the kriti contains the essence of his philosophy of life. The significance of the title to this Bharat Natyam presentation is that this particular signature “Sumathi Tyagaraja” appears only in this one kriti among the thousands composed by this Saint composer- one among thousand.

Through this unique medium of Bharat Natyam, the danseuse attempts to communicate this inner spirit of Tyagaraja. Over the years, the Saint’s music has been subjected to “music performances” in the form of concerts. While such concerts have contributed towards popularising his compositions, by virtue of excessive swara and taala drills the spirit in the Saint’s compositions seems to have lost emphasis on this kutcheri tradition.

Evening after evening we sit and listen to our artistes rendering kritis of Tyagaraja. We seem enchanted by the melodies and repetition does not sour our ears. But, let us close our eyes and open our minds to ponder for a while. Let us turn our ears to the lyrics and let our thoughts dwell on his verses, contemplate on his poetic fancies, moral precepts, moods of anguish and joy, feelings of endearment and gratitude. All these make his songs come alive when presented in visual expression.

Visual representation can provide the Thyaragaja devotee a three- dimensional perception, aiding the understanding of the lyrics. To say a kriti is touching, is to appreciate and to react to the fine musical portrayal of a mood or situation. The uniqueness of Tyagaraja’s compositions lies in their emotive content (Bhava) without which no music can appeal to one’s heart. Depicting emotion, mood or sentiment is an essential characteristic of our Bharat Natyam technique.

The ancient purpose and age-old endeavour of Dance and Music has always been spiritual upliftment of the audience above the mundane matters of human life. By making “Sumathi Tyagaraja” a solo presentation, this danseuse expresses her anxiety to avoid the thrills, frills and trappings of a dance ballet which would detract from the philosophy behind the compositions and the piety of the great Tyagaraja.

Many events believed to have occurred during the Saint’s life are not supported by actual evidence. He became a legend in his own lifetime, and his fame spread far and wide. He is credited with over 24,000 compositions of which only 700 are available in print and only some 200 are in current usage.

To pick and choose from the myriad gems is indeed a difficult task. The endeavour through this anthology is to present Kritis relevant to the theme, to alternate Ghana ragas and rakti ragas, kritis- rare and popular, while madhayama kala compositions are interspersed with those that allow for a vilamba treatment. There is also an effort to maintain the sequence of ragas to respect the musical and aesthetic logic. The compositions chosen will hopefully bring out his virtuosity and emotional appeal effectively.

A significant representation of Tyagaraja’s main works has been taken into consideration- Prahlada Bhakti Vijayam, Nowka Charitram, Sthala kritis, Pancharatna kritis, Utsava Sampradaya kritis and Divyanama kritis.

There lies concealed a constant spirit of Bhakti, in the life and works of Tyagaraja. This powerful dimension of Bhakti is reflected through the words of Tyagaraja in all the songs composed by him. “Sumathi Tyagaraja “(The Wise Tyagaraja) is an attempt to have a fresh look at Tyagaraja through his own compositions.

 SUMATHI  TYAGARAJA

A BHARAT NATYAM PRESENTATION BY INDU RAMAN

NOTES TO THE SYNOPSIS:

1.      The kritis were printed in Devanagri script instead of the original Telugu so that a larger number of rasikas witnessing “Sumathi Tyagaraja” can follow Saint Tyagaraja’s lyrics.

2.      Only charanams that have been set to dance have been printed, while their original numbering has been retained for a clear indication of the charanams that have been bypassed.

3.      The text of each kriti is followed by the central idea of the composition which appears in italics.

4.      Each central idea is followed by a commentary on the kriti with relevant choreographic notes.

Synopsis

SCENE 1

1.      DWIPADA

Dwipadas are couplets which occur in geya natakam (opera). These verses appear in the beginning of the opera Prahlada Bhakti Vijayam and describe the various aspects of Ganapati who is worshipped at the commencement of any performance.

2.      SRI GANAPATINI- Saurashtram- Adi

. Ganapati, who is the son of Parvati and a connoisseur of music, One who is worshipped by Brahma and others, and One who lives in the hearts of the pure- let us all offer our salutations to Him

The traditional salutation to Sri Ganapati commences with 4 couplets composed as the curtain-raiser for “Prahlada Bhakti Vijayam”. The kriti reiterates the sentiments expressed in the couplets. It describes the glorious coming of Ganapati with heavy and resounding steps.

Tyagaraja attained Samadhi on Pushya Bahula Panchami day in the month of January, 1857. This day is now observed every year as Aaradhana day by all musicians. They gather here to sing and listen to the compositions of Tyagaraja. The entire concourse joins in singing the Pancharatna Kritis, accompanied by artistes playing on the Veena, Flute and Mridangam.

The highlight of the Aaradhana celebrations is the singing of the Pancharatna kritis by leading musicians. The orchestra plays the pallavis of these kritis, while the danseuse describes the scene at the Samadhi. Milling crowds gather to hear and sing the Saint’s song. Abhishekam (anointing), vastram (vestment), haaram (flower garlands) and aarti (camphor) are offered to the idol.

3.      KANAKANA RUCHIRA – Varali – Adi

Our joy doubles and envelopes our heart when we see Rama in his glory. For, is it not that form which, enchanted Sita, granted salvation to the valiant Jatayu, soothed the anguished heart of Dhruva? The glory of Sri Rama is sung, not only by Tyagaraja, but also by Sita and Hanuman, Sita and Parvati, Narada and Purandara.

This Pancharatna kriti emphasises the greatness of Sri Rama’s vision.

The Pancharatna kritis are composed in a typical format and thereby evoke certain imagery in our minds. It is considered a violation to interpolate or impose sollukattu or theermanams on these unique compositions.

The Varali kriti is choreographed maintaining the traditional tempo and format. Rhythm is implicit in the swaras and an earnest attempt is made here to translate the swaras into a korvai (pure dance movement). These korvais are further coloured with the bhava (sentiment) the sahitya (lyrics) will portray, giving lyrical continuity to the whole.

The remarkable aspect of Tyagaraja’s lyrics is his choice of words to present an idea- like a flash of lightning it reveals all in one enlightening sentence. A graphic word picture is presented and a scene flashes before your eyes like a cameo.

This aspect is exploited fully in the Varali kriti. Noticed, for example, how an entire story is enacted with gestures in the following lines:

Having heard stepmother Suruchi’s cruel words and feeling unbearably wounded, Dhruva turned to meditating on Hari and obtained moksha.

Having heard Hanuman praise Your form, desolate Sita was thrilled and enchanted.

With an economy of words, he vividly brings to our minds this most poignant scene in the Ramayana.

The scene flashes back to the life and times of Tyagaraja.

SCENE  2

Sitamma, the mother of Tyagaraja was devoted to Sri Rama and hailed from a family of great musicians. Ramabrahmam, the father, was a renowned scholar of Sanskrit. Their third son Thyagayya showed great interest in the worship of Sri Rama, and was blessed with a talent for music. One of his daily chores which he undertook most happily was to gather flowers. One day, engaged in this pleasant task, he felt verse and music pour out from his tender heart.

4.      NAMO NAMO – Desya Todi – Rupakam

This is considered to be his first composition. He wrote it down with a piece of charcoal on the wall of his house. The simple beauty of this Divyanama kriti was the forerunner to hundreds of kritis that were to emanate from him.

5.      NIDHI CHALA SUKHAMA – Kalyani – Misra Chapu

“Which gives greater happiness?

Wealth or the service to Rama?

Which is more delicious – milk, butter, curd or the ambrosia that is Rama’s name?

Which gives happiness – a bath in the Ganga of controlled senses, or a dip in the murky well of sensual pleasure?

Which gives happiness – flattery of men with pride and ego or the singing of the Lord praised by the Wise Tyagaraja?

This Kriti, it is popularly believed, was sung as a reply to the messengers from the court of King Sarabhoji II, the Maratha ruler of Tanjore. Tyagaraja was piqued at being asked to sing in praise of the King, and refused to go to the royal court or accept any gifts. This is the essence of Tyagaraja’s philosophy of life. Wealth, honour or pleasure cannot equal the happiness one obtains from the service and worship of Rama.

Abstract ideas are difficult to translate into a dance composition. In the context of this presentation, this kriti assumes magnified importance. The alternating feelings of horror (at the mere thought of singing the praise of a mortal), disgust (at the flashy snow of wealth and royal honours) and valour (dignity and assertion of inner spiritual strength) portray the inner conflict of the great savant.

6.      MELUKOVAYYA – Bhauli - Jhampa

Tyagaraja’s day began and ended with the worship of Rama’s idol. His Utsava Sampradaya Kritis are sung during everyday activities like waking up, partaking of milk, bathing, wedding, play and lullaby at night. This kriti is sung to awaken Sri Rama from his slumber reminding him gently that gods, kings and devotees are awaiting His blessings and protection.

This lilting sunrise melody is used to appropriately portray the various details of worship. Tyagaraja associated himself with Sri Rama in various relationships – as a devotee, a servant, parent and beloved. Vatsalya (maternal or paternal love) is portrayed as the Sthayi Bhava (dominant mood) in this kriti.

7.      CELIMINI JALAJAKSHU – Yadukula Kambhoji - Adi

His elder brother Japyesan could neither appreciate nor comprehend Tyagaraja’s disdain towards royal honours and gifts that came his way. In a fit of anger and jealousy, he threw away the idol of Sri Rama into the river Kaveri.

Tyagaraja suffered intense agony and deep sorrow during this separation. He spent several months in a state of shock, wandering here and there, unable to eat or drink. This kriti is from the opera “Prahlada Bhakti Vijayam” and is rarely heard in our present  day music platforms. Usually sung in Madhyama kala (medium tempo) it undergoes a transformation in vilamba kala (slow tempo). The verses clearly spell out Tyagaraja’s anguish at the loss of his dear idol, his emaciated condition, fervent pleas to others for help and the description of the idol.

SCENE 3 (KANUGONTINI – Bilahari)

Thrilled with excitement and overjoyed, Tyagaraja discovers his Rama – exclaiming, “I have seen him”

8.      SWARARAGASUDHA – Shankarabharanam – Adi

If a crane and frogs frolic among the lotuses of Brahmananda, is it of any purpose?

To realise the origin of Naada and Mooladhara is itself bliss and salvation. So also is knowledge of the various parts of the body from which seven notes emanate.

Without the understanding of the mysteries of rhythmic variations, playing on the mridangam is merely like thumping.

A man worshipping God without a pure mind is only as contemptible as a pig.

The secrets of the Swararnava were imparted by Shiva to Parvathi. This deep secret is now known to the blessed Tyagaraja.

Hailed as a major kriti for its delineation of the raga as well as for its profound literary content, Swararagasudha contains deep philosophic insights.

The choreography of this kriti called for deep thinking and much research. The musical form of a kriti with Pallavi, Anupallavi and Charanam lends itself easily to adaption. Originality and composition is preserved without distortion by either repetition or omission e.g., the pallavi and anupallavi can be sung once or six times, still the kriti or its meaning does not suffer. One can sing all the charanams, only two charanams or only the mudra charanam. The composition is still whole and does not appear truncated.

The danseuse has chosen to include the 1^st, 3^rd and 4^th charnams of Swararangasudha as they contain authoritative guidance to the secrets of good music, a worthy musician and the high status of our music in our lives. The sanchari (expansion) in the anupallavi describes a pond where lotuses bloom, bees hum and fish swim. A sly crane stands on one leg, serene and still as though in meditation, awaiting a chance to hook a fish. A frog too frolics among the lotuses, snapping at insects. If the ultimate Bliss is compared to the lotuses, can one assume that the crane and the frog too are contending for Bliss?

The first charanam extolls the knowledge of the origin of Naada and the seven swaraas (basic solfa notes), which leads to moksha (salvation). When Brahma was created, he could only see a brilliant light. Then he heard the distinct sound “Om” which rang in the stillness of the vast space. This Omkara gives him the power to create. And the creation of the world begins – trees, creepers, flowers, fruits, animals, rivers and finally man come into being. The following sancharis may be noted here:

The transcendental sound Naada is personified by the Pranava Om. The seven notes emanate from the five faces of Lord Shiva. They rise at the navel, are enriched by the heart and voiced by the throat and the nose.

The seven swaras imitate the sounds of the beasts and the birds.

Sa – Peacock

Ri – Buffalo

Ga – Goat

Ma – Krounca Bird

Pa – Cuckoo

Da – Horse

Ni – Elephant

The Navarasas (nine sentiments) are ruled by the seven swaras

Sa – Veera and Raudra (Valour & Anger)

Ri – Adbhuta (Astonishment)

Ga & Ni – Karuna (Compassion0

Ma – Hasya (Humour)

Pa – Shringara (Erotic)

Da – Bhibhatsa (Disgust) & Bhayanaka (Fear)

The seven swaras pertain to Shankara (Lord Shiva) and his Abharana (ornament). This is particularly significant for this composition.

Sa – Sarpa (Snake)

Ri – Rudraksha (Beads)

Ga – Ganga

Ma – Mrga (Deer)

Pa  - Pushpa (blue lily)

Da – Damaru (drum)

Ni – Nishakara (moon)

The chittaswaram (preset solfa composition) composed by Smt. D. K. Pattammal, the great musician, especially for this dance presentation, serves to highlight the importance of the seven swaras and their integration with the rhythm.

The third charanam emphasises the need to have a thorough understanding of the intricacies of rhythm before attempting to play them on the drums. The introduction of this juncture at the Panchajati Theermanams, specially composed by Adyar K. Lakshman, serves to highlight this advice.

9.      CHALU CHALU – Saveri – Misra Chapu

“Enough of your trick, O Krishna! Why this sudden interest in our welfare?

We have come here, charmed by your lovely face.

You have enjoyed our company which is worthy of the celestials. We did not know you are also as cunning as Shalya, the charioteer. Tie up all your mischief into a bundle. Listen to our words like an intelligent boy. Your tricks will not work with us.”

This enchanting kriti is chosen from Tyagaraja’s musical opera “Nowka Charithram”. This opera conveys the idea of complete surrender to God.

A group of gopis go out on an excursion in a boat with the child Krishna in their midst. They believed that their youth, beauty and love have completely enchanted Krishna. Pride draws a veil over their minds.

In order to test them, Krishna asks them to ply their oars on the western side. The gopis are immediately suspicious and accuse Krishna of trying to trick them and one of them speaks up in the form of this kriti.

In the opera, Krishna conjures up a storm which rocks the boat and tears a hole in its base. When the gushing water threatens to sink the boat, Krishna orders the gopis to plug the hole with their own clothes. They obey him in total surrender, thus purifying their hearts.

This rarely heard kriti is full of cadences like a lilting javali, sparkling as it is with sringara rasa.

10.  NADUPAI – Madhyamavati – Jhampa

“People blame me for dividing the family. Having renounced wealth and taken a simple life, will I demand partition of property?”

Tyagaraja’s name spread far and wide as a great teacher, composer, musician and devotee of Sri Rama. But the uncongenial environment at home caused agony to this simple soul. This composition is an outpouring of misery to his beloved Sri Rama.

Tyagaraja is hurt, his pride wounded when his relatives accused him squarely of causing the partition of ancestral property. His supplication to the only friend in this world “Sri Rama” is poignant. He petitions Rama for sympathy and demands justice. He is contemptuous of such accusers and their thoughtless words sadden him.

In the four charanams that follow Tyagaraja has expanded his idea. These have been used as sancharis (expansions) for the pallavi. The choreography of this composition thus faithfully reproduces the poet’s own thoughts projecting a true picture of Tyagaraja.

1.      Do I not believe that worldly pleasures evaporate as does the dew at dawn?

2.      Did I covet others’ prosperity?

3.      Did I lose my dignity (and flatter others) to fill this stomach of mine?

4.      You who protect everyone who worships you, protect me as (I have none other) your own.

This kriti lends itself admirably to Vilamba Kala (slow tempo) and the full import of the Sthayi Bhava (dominant mood) which is Karuna (compassion) is clearly etched.

11.  HARIDASULU- Yamuna Kalyani – Adi

Initiated into Ramamantram very early in life, Tyagaraja took to the lifestyle of a singing mendicant. He and his disciples went around the streets near the temple, singing the names of Vishnu. They accepted whatever was offered by way of grains. The Haridasas, immersed in singing the glorious songs in unison, dance with measured steps to cymbals and the drums, hands keeping time with castanets.

SCENE  4

STHALA KRITIS

Towards the end of his life, Sri Tyagaraja undertook a pilgrimage to several places, at the instance of his many disciples and admirers. They requested him to honour their households and sanctify them with a visit. He visited many places like Kanchipuram, Thirupati, Kovur, Madras, Lalgudi, Srirangam etc. Travelling in a palanquin carried by his followers, Tyagaraja’s visit to Srirangam is significant for the immortal songs he composed on Lord Ranganatha.

12.  O RANGASAYI – Kambhoji – Adi

This song was inspired by the deity of Srirangam. The alapana style of the Sangatis brings out effectively the beauty of this ragam.

13.  TERADIYAGARADA – Gaulipantu – Adi

This is a dramatic incident in which acute disappointments leads Tyagaraja to look inward at the screen of earthly passions, which opaque real vision. On reaching Thirupati, Tyagaraja eagerly went to the temple to worship, only to find the priest drawing the curtain, which barred him from the darshan. The Saint uses this incident to allude to the screen of anger, jealousy and vanity which prevent us from realising God.

14.  DARINI TELUSUKONTI – Shudha Saveri - Adi

The intricate sangatis are translated into awe- inspiring aspect of Devi. The kriti is addressed to the Godess Tripura Sundari on Tiruvotriyur. This is a composition which is classed as a perfectly polished gem with the complicated sangatis shining with the many facets of the melody.

15.  VARASHIKHIVAHANA – Supradipam - Adi

This rare kriti is in praise of Sri Subramanya, and is believed to have been composed on his visit to Sirkazhi. This Sanskrit composition shines with melodic charm.

SCENE 5

16.  GIRIPAI – Sahana – Deshadi

“Rama promised to give me salvation in ten days. Hearing this, my whole being thrilled, tears of joy streamed from my eyes and I could only mumble, in my stunned state”.

This composition is believed to be one of his last – describing the clear vision of Sri Rama in all his splendour. Sri Tyagaraja thereafter renounced the world, gathered his disciples around him and prepared to give up his soul at the predicted hour. With the air filled with vibrant chants of Ramanama, Tyagaraja attained Samadhi.

For the danseuse Giripai proved to be a challenging situation:

Tyagaraja has completed his mortal life span of fourscore and eight years. Physically weak and mentally weary, he is awaiting the call. Yet the dream does catch him unawares. He is stunned, confused, at a loss of words. He undergoes the various stages of Satvika Bhava (involuntary state), immobility, horripilation, trembling, tears and change of voice.

17.  MANGALAM

Choreography of “Sumathi Tyagaraja”:

Choreography of kritis is simple for one who is well- versed in the grammar of dance. But for choreography which portrays Tyagaraja, his life, his philosophy and thought, one needs to merge oneself completely in his personality. One has to breathe the air that he breathed, walk on the sands that he walked and cleanse the mind with the waters of the holy Kaveri.

With the Mangalam, I prostrate myself and my being before this great soul. The meditation on and study of Sri Tyagaraja Brahmam have enormously enriched my life. I am grateful to Sri Ganapati for removing all the obstacles which aroused menacingly before me and to Sri Rama for showing me the Right Path.

-INDU RAMAN

 Photo (Below): Tyagaraja's house at Tiruvarur was in shambles in 1988 when I visited. there is a small dark room inside where he was born. It was thrilling to set foot inside this sacred space. It has hence been repaired and maintained by Trustees.

Photo: (above) The samadhi at Thiruvaiyaru where every year thousands come to pay homage during the  ceremonial Aradhana conducted by the Trustees. 

 BIBLIOGRAPHY

1.      The Spiritual Heritage of Tyagaraja

C. Ramanujachari

With a thesis by Dr. V. Raghavan (1966)

2.      Sri Tyagabrahmopanishd Book 1

K. K. Ramaswamy Bhagavatar (1935)

3.      Sri Tyagopanishad

T. S. Balakrishna Sastrigal

4.      Sri Tyagaraja Swamigalin Charitram

P. K. Murthy (1947)

5.      Tyagaraja Ganamitram

S. K. Sitadevi Chellamaiyer & A. S. Panchapakesan

6.      Prahlada Bhakti Vijayam

Dr. S. Ramanathan

7.      Divyanama kritis 1 and 2

Dr. S. Ramanathan

8.      Utsava Sampradaya Kritis

Dr. S. Ramanathan

9.      Sri Kritimanimalai

R. Rangaramanuja Iyengar (1976)

10.  Sri Tyagaraja Swami Kirtanaigal

T. S. Parthasarathy

11.  Tyagaraja

Dr. V. Raghavan

12.  Isai Valartha Tyagaraja

V. Ramaswamy

13.  Great composers- Tyagaraja

Dr. Sambamoorthy

14.  Tyagaraja Kritis

Tillaisthanam Paattam

15.  Tyagaraja Kritis Visualised

N. Srinivasa Rao

16.  Thyagopanishad

E. N. Puushottaman

Acknowledgements

Nestling in the new sylvan settings of Thiruvanmiyur in Madras, Kalakshetra has, for decades striven unceasingly with a rare dedication to bring to art lovers, the pristine classical beauty of Bharata Natyam.

To give Art a proper place in life had been the mission and the message of the late Rukmini Devi, founder of Kalakshetra’s activities. This gifted and noble lady, herself the foremost devotee and exponent of Indian Classical Art of Bharata Natyam during her lifetime, has built this temple dedicated to Art, in order to mould and project an art form that has been our pride for centuries. Her demise in 1986 marked the end of an era for classical dance in India.

My arduous training in this great institution under the leadership of the great Smt. Rukmini Devi has equipped me with the courage to attempt “Sumathi Tyagaraja”. The urge to create and enact the kritis of Tyagaraja had taken seed in my heart even as a child. I could feel the surge of emotions within me, responding to the lilt of their music and thus recognizing every mood expressed by them. When my mother sang “Mohana Rama” with its beautiful sangathis, lo and behold! There in front of my eyes was the beauteous form of Rama, to feast their eyes on which Brahma and the gods took the form of birds, beasts and monkeys in the forest.

When I began a serious study of the infinite variety and abounding richness of these kritis, I realised that here lies a veritable treasure trove for an artiste to unravel through dance. Many a kriti which has since been forgotten by our musicians appeared to me as an important statement on his life and philosophy. It was an arduous but spiritually fulfilling task that Smt. Vijaya Vishwanathan and my mother Smt. Padma Swaminathan undertook. They reconstructed at least 30 chosen kritis. Their willing involvement and unflinching support and encouragement were important to me in structuring this presentation.

The highly philosophic and unpanishadic content of Tyagaraja’s kritis left me wondering if an ordinary mortal like me could ever depict them with mime and movement. My fears were allayed by the loving guidance given to me by Smt. D. K. Pattammal. She explained to me in simple terms, even the most profound thought. She even demonstrated with vivid imagery the meaning of certain philosophic ideas contained in Tyagaraja’s Kritis. The most challenging of all the kritis was “Swararagasudha” in Shankarabharanam. Smt. D. K. Pattammal has kindly embellished this composition with a delightful chittaswaram composed by her.

INDU RAMAN

Photo (Above): D. K. Pattammal attended three performances of Sumathi Tyagaraja.Seen here at the Music Academy (Chennai).

 Photo(Below): Adyar Lakshman, Adyar Rama Rao and Sushila Raman gave extraordinary support for the performances. Adyar Sri Gopinath (mridangam), Sri Sasidharan(Flute) Kannan (Veena) and Sri M. Sundaresan on percussions.

TYAGARAJA’S KRITIS – NEW VERSIONS IN CHOREOGRAPHY

To innovate, according to the dictionary, is to bring in novelty, make changes; and innovations is the name of the game. Have we exhausted the ocean of our traditional heritage? Should we go beyond tradition or innovate within accepted norms of classicism? These are questions we may well ask ourselves. Tradition is not static. It is a question of changing one’s approach to the art to embrace contemporary thought and social needs. One of the many ways we can bring in innovation is to depict new themes, and draw from composers.

MUSIC FOR DANCE

What is it that a dancer seeks in music that can inspire one to give it movement and mimetic expression? Is it the lyrics that strike our minds and stir us into movement? Is it the tune or rhythm to which we automatically tap our feet? Is it the sentiment that tugs at our heart and moves us to express it? Or does a well – loved piece, comforting in its familiarity, urge one to dance to it in a known format? Tyagaraja is all this and more.

The force of this mighty and soulful personality breathes through every song. Tyagaraja’s songs have intense religious fervour, appeal of divine love, tender pathos and the charm of clever poetic play of words. The emotive appeal of his lyrics offers tremendous scope to the dancer.

3-Dimensional APPROACH

Let our mind dwell on and contemplate the moral precepts, high Upanishadic truths, the rustic similes and proverbs, moods of anguish, joy, endearment, surrender, gratitude – all these make his song come alive, lending themselves to visual expression. Visual representation of Tyagaraja’s kritis gives a three-dimensional approach and understanding. A serious student of Tyagaraja can discover padams, javalis, bhajans and varnams among his kritis. We have not yet adequately tapped this enormous fund of ideas, which can be a meaningful exercise and a further expansion of Bharata Natyam repertoire. From the over exposed, over exploited Ramayana and the Krishna Leela themes, to the religious, social, moral and the descriptive ones, there is a veritable treasure trove open to us.

CHOICE OF THEMES

The association of a real-life event to the inspiration of a kriti is peculiar to Tyagaraja rather than any other composer. His eventful life offers many memorable moments immortalised by the kriti born spontaneously. These, along with Utsava Sampradaya and Divyanama kritis allow depiction even by children and male dancers. For instance, Nannu Palimpa (Mohanam) is one such kriti which has a beautiful story-line behind it. It is the morning of his daughter’s wedding. Standing at the threshold of the house, Tyagaraja sees at a distance an enormous painting of Kodandarama, carried by two of his students. Thrilled, he breaks into an ecstatic song: “Oh, Rama, have you come walking all the way to bless me?”

In Nadupai (Madhyamavati) and Munnu Ravana (Todi) he speaks of domestic conflict and disharmony in his own life. He cites the examples of Sugriva and Vibheeshana whom Rama rescues from the humiliation they suffered at the hands of their brothers. These episodes not only offer an entirely fresh pasture for sanchari but are also eminently suitable for male dancers.

 Melukovayya (Bhauli), Sita Kalyanam (Kurinji) and Uyyala Lukavayya (Nilambari) are ideal items for children and group choreography. Ra Ra Sita (Hindola Vasanta) made famous by Smt. Rukmini Devi, is a charming description of child Rama being adorned with ornaments, silk and sandal. The Dasavatara kriti Deenajanavana (Bhoopalam) and the Ramayana kriti Vinayamu nannu (Saurashtram) also fall in this category.

SCOPE FOR ABHINAYA

A separation from his beloved idol drew some heart-rending lyrics. Tyagaraja does not shy away from Sringara rasa either as many of us would have believed. Like Vatsalya, Sringara too is a form of Bhakti or devotion. This idea of  love of a woman for a man has occurred to saints of all ages and times. Emani Vegintune (Huseni), Chelimini Jalajakshu (Yaadukula Kambhoji), Nannu Vidachi (Ritigaula) are all full of the yearning of a young maiden to attain union with her Lord.

Most of the composer’s songs are traditionally sung in madhyama kala. There are many, however, which can be sung in a drawn out tempo with padam-like cadences. The beauty of the raga, meaning of the lyrics and the predominant mood is evocatively brought out. The above mentioned kritis are an apt example of this. Lilting melodies of Nowka Charitram easily fill in the place of javalis in a programme. They brim with Sriranga rasa. Vaadenu jaripu (Saranga), Chalu Chalu (Saveri) and Gandhamu puyyaraga (Punnagavarali), approach Nayika- Nayaka Bhava from a fresh angle.

 SRINGARA WITH A DIFFERENCE

It is to Tyagaraja’s credit and greatness that Bhakti pervades the scenes as the predominant Sthayi Bhava. In this respect the treatment of Tyagaraja must be different from that of Kshetragna and Jayadeva.

The Pancharatna kritis have always been irresistible to dancers. The length of the item immediately gives it the status of a varnam in a typical recital of a Bharata Natyam programme. The vigorous swaras have been composed with a masterly touch of intricate jati patterns, making any other interpolations like theermanams practically unnecessary.There are also innumerable references to Lord Rama and other deities like Venkateswara, Devi, Sri Ranganatha, Subramanya and Ganapati

The composer has utilised several colourful, colloquial phrases and proverbs. His kritis also contain allusions to the less known myths which can give freshness to choreography.

STEP WITH CAUTION

A word of caution to the dancer who chooses to pick a kriti for delineation. Although the lyrics beckon invitingly, the musical aspect may not be suitable for dance. The kritis have emotional appeal in them. This bhava is an essential characteristic of our unrivalled dance technique. Abstract ideas, high philosophical thoughts and totally didactic lyrics are best avoided. Some colloquial idioms can be too colourful for depiction in a chaste, aesthetic manner. Down to earth gestures or lokadharmi in a Tyagaraja kriti may jar and detract from the noble spirit running through it.

Any kriti in which Tyagaraja refers to himself or an event in his life cannot be attempted with success without a deep understanding of his personality, his devotion and philosophy. His transparent sincerity and simplicity must be portrayed. “Sri Tyagaraja”, said Shri S. Parthasarathy in 1952,” offers a fertile field of exploitation in abhinaya provided of course the artiste can reach supreme heights of spiritual conception.”

-Courtesy: SHANMUKHA, July 1989.