Namami Narayanam again told the stories of Krishna through Mohanyattam

In a performance that flickers with a calm elegance and spiritual echo, Namami narayanamA Mohiniyam dance production, which was choreographed by Guru Shruti Shobi, was presented at the Mylapur Fine Arts Club as part of the Abbas Cultural Dance Drama Festival. Shruti and her disciples were performed by the Srishati School of Classical Dance, thematic production revealed five timely stories that were on Krishna.

The strength of this production is not in grandeur or ambiguity, but in its simplicity. Choreography used minimal props, allowing the audience to enjoy the fluid movement terminology and fine acting. It portrays this dance form. The spontaneous mixture of classical compositions in Malayalam increased the emotional appeal.

Moniatam performance, on Krishna, themed by students of Srishati School of Classical Dance. , Photo Credit: Special Arrangement

The evening opened with the story of Dhruva, the boy who left his father (King Uttarnapada) and insulted by his stepmother (Suruchi), does a deep penance to win the grace of Narayan. Illustration of childhood craving, rejection and divine blessings, with the restrained expressions of the dancer, was running with the unbreakable determination of the pole.

This was followed by Ajmila’s poignant story, which is a fallen Brahmin, despite his moral fall, receives salvation through unknown pronunciation of the Lord’s name. Redemptive power of confidence and surrender, highlighted during the performance, was a recurring subject throughout the evening.

Katha deepened with the story of Pingala, a courtesy, who renounces worldly pleasures to carry forward spiritual awakening. This section was particularly impressive, as the lead dancer destroyed both of Pingala’s former life and after her change was the possession of that peace.

Namami Narayanam, Mohinitam performance by students of Shruti Shobi’s Shruti School of Classical Dance. , Photo Credit: Special Arrangement

A dramatic change in tone came up with the fourth story, which is of Santana Gopalan, which usually refers to Krishna’s birth in challenging circumstances and was filled with challenging his early life. This symbolizes how the infant God protects and helps to remove conflicts easily. In this production, the dancer depicted the Brahmin’s frustration over his children, Arjuna’s ego-powered fast and the loss of the final intervention of Krishna. The couple between Arjuna and Krishna, brought out with controlled intensity, was one of the high points of the evening.

The closing was a visual treatment – Kalinga Narthana – where Krishna danced to the hoods of the snake Kalinga. This scene was executed with a balance of dramaticness and technical cleverness, as the beautiful footwork and expressive control of the dancer survived the symbolic subjugation of the ego.

The performance was elevated by a well-coordinated team-the lyrics, the concept and Nattuvangam Guru Shruti Shobi, Musicbi Trishur Krishnakumar, Kalamandalam Ganesh have been song, background score and rhythm by Nagrajan, Volinon by Vocals, Thrisur Krishnak.

Minimum yet stimulating, Namami narayanam There was a celebration of devotion through dance and a reminder that grace is often in restraint.