Christopher Guruswamy and Vignesh Ishwar shine in creative collaboration

The topic of the day was ‘Vayu’ (air), and true to the spirit of that element, Bharatanatyam artiste Christopher Guruswamy breezed onto the stage with gusto, keeping the audience engaged with a riveting performance at Natyarangam’s annual Bharatham festival.

The core idea, envisaged by the committee members of Natyarangam to foster a creative exchange between Carnatic vocalists and Bharatanatyam dancers, found perfect expression in a collaboration between Christopher and Vignesh Ishwar. The presentation was a testimony to the fact that a well-conceptualised repertoire can not only sustain interest, but also expand its scope. Carefully curated compositions, from classical to contemporary, alternated between fast-paced songs and soft numbers, keeping the momentum alive. 

Attired in an aesthetic silver-grey dhothi, Christopher began with a salutation to sun god as a path to self realisation with pranayama. Taking verses Thirumoolar’s Tirumandiram, set to tune in Nattakurinji and Saveri by Vignesh, Christopher conveyed the significance of air for the very existence of life. This was followed by a Navasandhi Kavuthuvam in Harikamboji.

Elements of wind were effortlessely depicted by the dancer.
| Photo Credit:
Srinath M.

The soft, lyrical notes of raga Durga in Vignesh’s alaap set the mood for the dancer to explore the many shades of romance, capturing the expectation, elation and disappointment experienced by a nayika in the ghazal ‘Hawa Mahal’. Here, the hero is visualised as the wind, which rushes in to unite, embrace and disappear. Christopher’s graceful dance and nuanced abhinaya beautifully captured the ephemeral nature of the wind.

Moving from the gentle touch of vayu, the destructive power of the element and the havoc it causes, was depicted with vigour in ‘Katre vaa meduva vaa’ — a vachana kavidhai by Subramania Bharathi. Set to music by K. Arun Prakash and Vignesh, the vigorous pace and power-packed rendition found reciprocation in Christopher’s movements. 

Christopher’s graceful dance and nuanced abhinaya beautifully captured the ephemeral nature of the wind.
| Photo Credit:
M. Srinath

The performance reached great heights in the visualistion of the poem ‘If I must die’ by Palestinian poet Refaat Alareer. Written during the ongoing war and genocide in Gaza, it conveys a powerful idea about survival, memory and hope. The imagery of a kite, in white fabric and strings flying high in the sky as a symbol of love for the child who lost her father, was handled with sensitivity by the dancer. The music elevated this piece, with the plaintive melody of the violin reflecting its sombre landscape before gaining momentum through Vignesh’s vibrant singing, which served as a prelude to Christopher’s evocative interpretation of the verses. A sudden burst of rhythm from the mridangam and kanjira, along with the melancholic notes of the nagaswaram and dramatic lighting, combined to evoke the horror of bombings. The power of the piece left a lasting impression.

Vignesh Ishwar’s booming voice complemented the performance.
| Photo Credit:
Jothi Ramalingam B.

A depiction of Hanuman from Adi Shankaracharya’s Hanuman Pancharathna, as a thillana was presented before reaching for the sublime source of ‘ Prana’ in the concluding Dikshitar kriti ‘ Sri Kalahastheesa’.

The formidable team of musicians played a crucial role in the success of the performance. Sri Sudharshini’s nattuvangam remained firmly in control, while her rendition of jathis was appealing. Sumesh Narayan seamlessly integrated the mridangam and kanjira rhythms into the soundscape. The use of nagaswaram at pertinent points, enriched the narrative without overpowering the ensemble. L. Ramakrishnan’s brilliant violin playing blended beautifully with the orchestra. Vignesh Ishwar’s robust voice and sensitive singing complemented the performance.