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.