Trīs dejotāji izceļ universālumu mācībās Ramakrishna, Sarada Devi un Vivekananda

The stage was empty except for three dancers sitting in silence. Before the music began, Uttiya Barua and Radhika Vairavelavan bowed as Ramakrishna and Sarada Devi, while P. Sundaresan stood before them in silent worship. This moment set the tone for the evening’s performance.

From this opening, the narrative unfolded on Ramakrishna’s early spiritual journey. Uttiya Barua Abhinaya depicted his devotion to the goddess Kali, his moments of longing and his transcendence. In a stunning soundscape, “Allah” and “Hallelujah” are sung with Sanskrit hymns, symbolizing Ramakrishna’s belief that the divine can be approached through all faiths.

Sarada Devi’s presence was delicately woven into the narrative. Radhika, through subtle expressions and restrained movements, foregrounded the challenges of a quiet life and spiritual strength.

Uttiya Barua, Radhika Vairavelavan and P. Sundaresan speaking at Narada Gana Sabha | Photo: B. Jothi Ramalingam

 

The play then moved on to the life of Narendranath Dutta, born Vishvanath Dutta, who would later become Swami Vivekananda. Sundaresan captured the young man’s doubts, questions and spirit of exploration. The narrative emphasized his encounter with Ramakrishna and how the Guru’s instructions transformed his path.

A particularly thoughtful interlude came with the story of Nachiketa from the Katha Upanishad, a boy who questioned Yama, the Lord of Death, about the meaning of existence. Taking Vivekananda’s journey, the episode reflected his relentless pursuit of truth and deeper understanding. The narrative then took the audience to Chicago, in 1893, where Vivekananda’s voice rose in his historic address at the Parliament of World Religions: “Sisters and Brothers of America…”, precisely layering Sancharisa, the choreography following his transformation from questioning disciple to spiritual leader who carried Indian philosophy to the world stage. The segments also featured Vivekananda’s teachings, culminating in his eternal exhortation: “Arise, awake, ceaseless, until the goal is reached.” This phrase became the anchor of the show, visually reflected in sweeping, synchronized movements.

Three dancers trace the journey of Ramakrishna, Sarada Devi and Vivekananda | Photo: B. Jothi Ramalingam

 

The evening’s orchestra featured Sourav Das on vocals, L. Narendra Kumar on Nattuvangam, Ms. Sukhi on Mridangam, TV Sukananya on violin, Aju Ambatt on flute, with voiceovers by Sankar Ganesh and Anna Purani.

By keeping the stage and costumes simple, the production focused on the stories.