Reviews

Agre Pashyami: A journey through devotion, dance and poetry

The 100th Dasakam of the Narayaneeyam, that breaks into the verse Agre pashyami, written by the renowned 16th-century poet Melpathur Narayana Bhattadri, opens a doorway to a world where devotion and divine love merge in sublime poetry. Titled Agre Pashyami, the grand dance-theatre production, inspired by the Narayaneeyam, was brought to life through the vision and narration of scholar Dushyanth Sridhar and Bharatanatyam choreographer Anitha Guha. The music was composed by Rajkumar Bharathi, with soundscape design by Sai Shravanam, and the performances featured students from Anitha Guha's academy alongside dancers from other schools.

The production began with a focus on the significance of the Guruvayoor temple. According to the story, Melpathur Narayana Bhattadri voluntarily took upon himself the ailment of paralysis caused by rheumatoid arthritis from his guru. He was then carried to the shrine of Guruvayoor, where he sought refuge at the feet of Lord Krishna. Following the advice of the renowned contemporary poet Thunchaththu Ezhuthacchan, he began composing verses about Vishnu’s Dasavatara, starting with the matsya avatar.

The segment then featured the story where sage Durvasa cursed Indra, leading the gods to seek Narayana's help. He advised them to churn the ocean for nectar, using the Mandara mountain and Vasuki as tools. When the mountain sank, Narayana took the form of a tortoise, lifting it on his back and enabling the gods and asuras to continue the churning. Then, Lakshmi Devi emerged, enchanting all with her beauty and grace. Bearing a wedding garland, she sought the best among Narayana’s forms—Ranganatha, Srinivasa, and Vittala. Her quest ended with Guruvayurappan.

The highlight of the day was when Hiranyakashipu, enraged by Prahlada's devotion to Vishnu, struck a pillar in fury. From it emerged Narasimha, a form neither beast nor human, who tore Hiranyakashipu apart, fulfilling the boon and triumphing over tyranny.

Moving on, it showcased Krishna's Kalinga Narthanam dance, which Bhattadri witnessed with his own eyes in Guruvayoor. The dance production also beautifully incorporated the enchanting Rasakridha, depicting Lord Krishna’s divine dance with the Gopis. Bhattadri, blessed with a celestial vision of this transcendental moment at Guruvayoor, vividly captured its essence, weaving it seamlessly into the performance’s narrative.

The production ended with Bhattadri's Agre pashyami moment, a vision of profound realization. Surrounded by numerous forms of Krishna, the saying “Krishna is everywhere you look” resonated powerfully.

Visual Splendour: Costumes, props, and expressions


The costumes of the production deserve special mention. From the traditional Malayalam attire to the outfits of Siva, Narada, and even Guruvayurappan, every detail was crafted meticulously. The dancers excelled in portraying multiple roles, seamlessly transitioning between costumes with remarkable efficiency.

The use of props, such as the tortoise shell and Narasimha’s face, stood out as highlights. Additionally, a display screen at the back enriched the experience by showcasing relevant photos and backgrounds for each narration. The dancers delivered captured the essence of the characters.

Celebrating diverse cultural and literary heritage                                                                              

The production also incorporated Cambodian dance elements in one of its segments. Each segment featured a variety of verses, including the Narasimha Shatakam by Vijayendra Theertha in Sanskrit, compositions by Irayimman Thampi in Malayalam, works of Ambujam Krishna in Tamil, excerpts from Silappadikaram by Ilango Adigal in Tamil, ashtapadi by Jayadeva in Sanskrit, the Tamil Prabandham by Vedanta Desika, the Venkatesha Stotram by Prativadi Bhayankaram Annan Swamy, an abhang by Jnanadeva in Marathi, a Yajurvedic hymn from Sri Rudra, and verses by Oothukadu Venkata Kavi.



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