Namami Narayanam retailed stories from Srimad Bhagavatam 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 audiences to enjoy fluid movement terminology and fine acts that mark this dance form. The compositions in Malayalam increased the appeal.

The minimum props and fine actress was the main attraction of Namami Narayanam. , Photo Credit: Special Arrangement

The evening opened with the story of Dhruva, the boy who left his father (King Uttarnaapada) and insulted by his stepmother (Suruchi), does a 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, which renounces worldly pleasures to pursue a moment of spiritual awakening. This section was particularly impressive, as the lead dancer captured Pingala’s magnificent life as a courtesy and after its change in peace.

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

A change in tone came with the fourth story, which was of Santana Gopalan. The Finale – Kalinga Nararathana – where Krishna snake dances on the hoods of Kalinga. This scene was well executed, as the dancer’s footwork and expressive control alive the symbolic subjugation of the ego.

The song, background score and rhythm by choreography, concept and nattuvangam guru Shruti Shobi, Musicbi Tharisur Krishnakumar, Kalamandalam Ganesh are performed by Nagarajan, Vocal, Anand Lal and Violin by Sudev Warrior and Adaka by Edka.