The medieval period of India saw a surge of devotion among the various regions, resulting in the bhakti movement and the emergence of bhakti poets and saints. These included the Azhwars and Nayanars, Sufi saints, and Nirgun bhakti saints. Important among them is Kabir, whose philosophies and teachings on formless worship, introspection, and universal love have remained alive over centuries and spanned cultures. 

On 11 January 2025, as part of the Bhavan’s festival, Varsha Akhouri and her Srishti School of Dance presented a group production titled Kabir. Having come across Kabir and his teachings as part of her early education and accidentally revisiting them during her research, Varsha felt compelled to share his life and teachings through a dance production. The production unfolded in seven acts, spanning Kabir’s life and emphasisng his teachings.

The introductory act had the dancers take the stage depicting the social milieu of the India of the time. With voice overs to bridge the acts, the production elaborated the birth of Kabir and his quest for spiritual knowledge and the guru. Kabir’s devotion and surrender to guru was depicted through his dohas on the topic - Guru Gobind dauo khade- in this act. There were beautiful visuals of the Chakora bird feasting on moonlight and the guru as the potter shaping the disciple’s character and spirit.

The next act delved into disseminating Kabir’s teachings. His worship of the formless divine (nirgun bhakti) was introduced. The dances in this act were set to dohas urging to seek the divine inside and a Kabir bhajan, Moko kahan dhoonde re bhande. Driving home the insanity of seeking God elsewhere, comparisons were drawn to the fish thirsting in water and musk deer searching for the fragrance outside in the grass. The dohas and the bhajan, though separate were well connected and flowed smoothly from one to another through brilliant music composition and clever choreography.

One could find Kabir’s teachings heavy as they are filled with of morals and instructions. However, the heaviness was absent in the production as Varsha cleverly used dance to depict Kabir’s bhajans - Jheeni jheeni bheeni chadariya and Yug yugan hum yogi avadoota and short sancharis to portray the dohas on the social advice. Transforming into Kabir with a white dupatta, Varsha resorted to channeling her internalized Kabir into earnest entreaties rather than portraying an overbearing and cynical philosopher. Her rounded style of dancing added to this effect.

Varsha and her group of earnest dancers worked with timing and precision. The group choreographies were well set and reminded of Kalakshetra group choreographies. The colourful costumes too had the simplistic Kalakshetra bani effect. Music and vocals were by O.S. Arun and they added much to the beauty of the production. O.S. Arun’s singing had a gentle, magical appeal and seemed to voice Varsha’s idea of Kabir. Jatis for this production were set by Sheejith Krishna, which added drama as well as merged brilliantly into this Kabir harmony. The lighting design (Sheejith Krishna) added beauty to the production, but had timing issues in execution. Varsha also had painted beautiful abstract canvases to depict each scene of the production, which was on display.

The production closed with the famous bhajan Ud jayega hans akela depicting Kabir’s thoughts on the transiency of life. It was a holistic production with the sound track and the visual portrayal having their own charm and they both came together beauty to deliver the deep delve into Kabir as the title promised. It was a good reminder for our life and times.

 By

Sreelatha Rajan