Of art and music: Spirit of matrimony through dance

DECCAN CHRONICLE.
Published Nov 7, 2017, 6:29 am IST
Updated Nov 7, 2017, 6:29 am IST
‘Samyoga’ sets to peek into the truth and justice of the sacrament of marriage.
The presentation brought alive the spirit, sanctity of the sacred institution of matrimony through various episodes of three divine marriages of ecclesiastical Goddesses, including Sita, Meenakshi Kalyanam and Valli Thirumanam.
 The presentation brought alive the spirit, sanctity of the sacred institution of matrimony through various episodes of three divine marriages of ecclesiastical Goddesses, including Sita, Meenakshi Kalyanam and Valli Thirumanam.

Indian Council for Cultural Relations, Chennai (ICCR) recently presented a dance drama ‘Samyoga’ weaved in Bharatanatyam, by accomplished dancers of Kalpana dance theatre ensemble from Malaysia. The presentation brought alive the spirit, sanctity of the sacred institution of matrimony through various episodes of three divine marriages of ecclesiastical Goddesses, including Sita, Meenakshi Kalyanam and Valli Thirumanam.

What is Samyoga: Samyoga derives its form and substance from  the love aspect of our ‘Puranas’ and ‘Kavyas, seeking to draw us closer to God, by finding the best contentment in life through holy  matrimony, Samyoga. ‘Samyoga’ sets to peek into the truth and justice of the sacrament of marriage.

 Kalpana dance theatre is the brain child of Sangeeta Namasivayam, a Kalashetra Bharatanatyam graduate, with more than 15 years of teaching experience, who has devoted her life to sharing her passion for dance. Kalpana dance theatre has come to be recognised for its high quality of teaching and holistic approach which focuses on creating a complete art Samyoga - the divine union. 

The troupe’s latest production featuring with all Malaysian cast, under the choreography of P.T. Narendran of Kalakshetra, who has discovered the deep relevance of dance, in nourishing the cultural roots of the community and in shaping the growth and artistic awareness of our youth. The dancers, trained actors illustrated all the ‘navrasas’, the emotions corresponding to physical state of moods through Mudras, enlivened with dramatic and verbal experiences, body movements with geometric accuracy and cultivated decorative effects. 

Samyoga sets to peak into the truth and justice of the sacrement of marriage, through three divine matrimonials, which are based upon love. Many Bharathanatyam dancers focus on perfections, but not on joy.  It is important for a dancer to find joy in what they do. That is how a performance connects with the rasika.  It was a well presented programme where we got connected to the performance, through its universality.





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