Ramanuja’s life and philosophy inspires a dance production

On the second day of the festival, KP Rakesh, Girish Madhu and Vidya Girish Madhu made a presentation on the life and teachings of Ramanujachari.

The performance began with Ramanuja Chhatashloki, a set of verses, which highlights Ramanua’s ignorance and highlights his mastery on the scriptures; It is read to seek their grace and blessings. A nritta piece, it stood out for the clear and firm footwork of the dancers.

As the production came out, the dancers played different roles to effectively express the essence of philosophy.

Once Yamnacharya, a Vishtadavaita philosopher saw Ramanuja in Kanchipuram and was influenced by his presence. He was certain that it was the disciple he was looking for. He asked his disciple Mahaporna to bring Ramnuja to Srirangam. When Ramanuja reached the banks of Kaveri, he came to know that Yumanacharya had passed. He quickly went to his house and found that his three fingers were closed. Just before his death, Yumanacharya expressed his three incomplete desires. When Ramanuja vowed to fulfill his wishes, the fingers opened automatically.

The performance exposed Ramanuja’s teachings and philosophy through well choreographed pieces. Photo Credit: M. Shrinath

As Ramanuja, Rakesh took out the emotional turmoil of character with amazing restraint.

Ramanuja was determined to learn the Maha Mantra from the Hastiporna, a disciple of Yumanacharya, who had the essence of Vishistasndeham. He traveled 17 times, to meet him in vain. He finally managed to meet him on his 18th journey, when Hastiporna took out a promise of secrecy from Ramanuja and gave Upshuke However, Ramanuj climbed the gopuram of Soumianarayan Temple and taught Maha -mantra to the gathering.

Once in Srirangam, Ramanuja saw a young man walking with a beautiful woman. With public gaze, he grabbed an ornate umbrella for her in one hand and folded her with another. The couple brought out Sriingra Ras in this scene as Girish Madhu and Vidya Girish Madhu.

Ramanuja sends him for him and asks what he made him. The man, Dhanurdas, replies that he was completely fascinated by the woman’s eyes. Ramanuja tells him that he will show him more attractiveness to a pair of eyes, and will take him to the temple of Ranganath. As the lamp illuminates the eyes of the Lord’s lotus, the young man becomes ecstatic, and all the worldly attractions fade in triviality. He pledges for a lifetime service, renouncing the content. This scene could be more attached.

The deep influence of Andal on Ramanuja was shown in the event where Ramanuja sees his Acharya’s daughter and takes her as Andal and goes into a trans. It is believed that he loved to be called Thirupapavai Jayer.

Ramanuja recurs the idol of Ramapriya, which he considers to be his Disciple pillaiRestore the Sultan and as Sampathkumar. Ramnuja’s staunch devotion to Narayan was painted with realism by Rakesh. Girish Madhu showed Sultan’s royal performance well, while Vidya was influential as the daughter of Girish Sultan.

Ramanuja appointed Acharya to ensure the continuity of his mission, formed a spiritual network, which protected Samapradaya.

To express the concept of production, the production ended with Bhagwad Gita to Charamshloka RefugeThis was a suitable completion for a well -researched production.

Dushyant Sridhar was a resource person and choreography himself was done by the dancers.

The contingent of music artists was led by Sudarshini Devnath, who not only did Nattuvangam, but also explained each scene. Parur Ms. Anantashree, who composed music for the presentation, Vocal Support. Mridajam on Guru Bhardwaj, N. Veena on Anantanarayan, Violin and Adhwith Bhanu on Shriya enhanced the appeal of presentation on the flute.