Praveen Kumar’s three-day on-line workshop introduced out the hyperlink between Bhakthi and Sringara within the compositions of Haridasas
Day two of the workshop started with a collection of sights and sounds: fireflies flutter, a blazing orange solar strikes throughout the sky, a deep violet nightfall descends, light arms gentle lamps, and waters of the river gleam at nighttime night time.
Bharatanatyam artiste Praveen Kumar’s three-day workshop titled “Artwork Thou? – my baby, my companion, my Lord,” introduced alive the layered feelings and complexities within the compositions of the Haridasa poets by the vocabulary of dance. This was hosted by Aalaap by Zoom just lately.
Bharatanatyam dancer-choreographer-teacher Praveen Kumar described the occasion as an exploration of feelings by the compositions of Haridasas.
Praveen Kumar helped the contributors (who had been dancers) discover the concepts of the Lord, who’s seen as a toddler, as a companion, or the supreme by two uncommon compositions of Purandaradasa. He got here up with a number of layers of images — of how a dancer might elevate a topic to a lot greater ranges of feeling and exploration.
Dimensions of bhakti rasa
The dancer-choreographer defined that Devarnamas (Haridasa compositions) are based mostly on bhakti, however touches upon varied topics and feelings by the elemental idea of bhakti. ‘Kadagola Thaarenna Chinnavae’, the primary piece he taught was an instance of Vaathsalyabhava whereas the opposite piece, ‘Ranganyaantake’, was wealthy in Sringara.
Although based mostly on Vaishnava philosophy, the compositions of Haridasas typically replicate Sringara, as a dimension of bhakti. “‘Ranganyaantake’ by Purandaradasa is sort of a javali,” mentioned Praveen Kumar.
A Virahotkanthita (one distressed by separation) heroine waits haplessly for Krishna to seem, when a hand gently touches her shoulder. It’s her sakhi. She hastens her sakhi to carry Krishna straight away. The wait has been lengthy, nightfall has fallen, and the lamps have been lit. Forlorn, she will wait not. “Behind all these emotional layers of Sringara is Bhakti,” he added.
It’s inconceivable to speak concerning the workshop with out dwelling on Praveen Kumar’s artistry. He brings to the Bharatanatyam abhinaya imageries of Nature to allow the viewers to grasp the idea simply. Then he weaves in Yashoda’s unconditional love, little Krishna’s pranks, a nayika’s feelings, a sakhi’s assist, Vishnu’s avatara, and philosophy.
Furthermore, this dancer/trainer has an unbelievable penchant for element, be it abhinaya, motion, posture and footwork.
In the end by all these, the dancer goals to mix Vishnu bhakti and philosophy.
“As Dasarapadagalu are concerning the avatars of Vishnu, you will notice a number of names of Vishnu equivalent to ‘Rama’ talked about within the sahitya. A lot of it has philosophical undertones, the act of churning exhibits a disturbed thoughts, for example; and even love implies devotion,” mentioned Praveen Kumar.