Namami Narayanam retells stories from Srimad Bhagavatam through Mohiniyattam
The strength of this production lay, not in grandeur or opulence, but in its simplicity. The choreography used minimal props, allowing the audience to enjoy fluid movement vocabulary and nuanced abhinaya that characterise this dance form. The compositions in Malayalam, heightened the appeal.
The evening opened with the tale of Dhruva, the boy who, abandoned by his father (King Uttanapada) and insulted by his stepmother (Suruchi), undertakes an penance to win the grace of Narayana. The portrayal of childlike longing, rejection and divine blessing was moving, with the dancer's restrained expressions evoking Dhruva's unwavering determination.
This was followed by the poignant story of Ajamila, a fallen Brahmin, who, despite his moral decline, attains salvation through the inadvertent utterance of the lord's name. The redemptive power of faith and surrender, highlighted during the performance, was a recurring theme throughout the evening.
The narrative deepened with the story of Pingala, a courtesan, who renounces worldly pleasures to pursue a moment of spiritual awakening. This segment was particularly impactful, as the lead dancer captured Pingala's luxurious life as a courtesan and the serenity that prevailed after her transformation.
A shift in tone came with the fourth story, that of Santana Gopalan. The finale — Kalinga Narthana — where Krishna dances upon the serpent Kalinga's hoods. This scene was executed well, as the dancer's footwork and expressive control brought alive the symbolic subjugation of the ego.
Choreography, concept and nattuvangam were by guru Shruthi Shoby, musicby Thrissur Krishnakumar, lyrics by Kalamandalam Ganeshan, background score and rhythm are by Nagarajan, vocals by Sudev Warrier, violin by Anand Lal and edakka by Thrissur Krishnakumar.
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