Dancer Bala Devi Chandrashekar pays homage to Mother Nature with ‘MAA – The Eternal Truth’

MAA – The Eternal Truth is a solo thematic operatic Bharatanatyam production, and this performance explores and celebrates the loving nature of both Mother and Mother Earth, highlighting the profound connection between them.

The production draws inspiration from ancient texts and philosophical contexts, emphasising the protection and nurturing role that mothers and Mother Earth play in sustaining life. It delves into the significance of karma bhoomi (land of action) and explores the interconnectedness of all existence. It utilises the classical Bharatanatyam dance form and features world-class recorded music. It also incorporates symbolism, such as the 18-faced rudraksha, to represent the intricate web of a mother's love.

As the world grapples with climate change, MAA – The Eternal Truth comes at a crucial time, paying homage to Mother Nature and raising awareness about environmental issues. 

The inspiration for this production originated from my desire to celebrate the interconnectedness of all existence, with a particular focus on the nurturing aspects of motherhood and Mother Earth. I have delved into various sacred texts, including Adi Shankara's works, the Brihadaranyaka Upanishad, Srimad Bhagavatam, and Mandukya Upanishad, to form the philosophical backbone of the performance. As the concept took shape, I recognised the power of using Bharatanatyam as the medium to express these complex ideas. The decision to structure the performance around the concept of Maa (mother) allowed for a seamless integration of various aspects of Indian philosophy and mythology. The production's structure, divided into four acts, evolved organically as I explored different facets of motherhood and Earth. Each act was carefully crafted to highlight specific themes:

1. The opening act establishes the divine nature of motherhood and Earth.

2. The second act explores the cosmic dance of creation and destruction.

3. The third act focuses on the Varaha avatar and the rescue of Mother Earth.

4. The final act celebrates devotion through the story of Andal.

Throughout the conceptualisation process, I have paid meticulous attention to selecting ragas (melodic frameworks) and talas (rhythmic patterns) to enhance each segment's emotional and spiritual impact. I have incorporated the Navavidha Bhakti (nine forms of devotion) through Andal's story, which suggests a deliberate effort to make the production a performance and a spiritual journey for the audience.

Ultimately, MAA - The Eternal Truth has been conceptualised as a call to action, reminding the audience of their responsibility to honor and protect their mothers and Mother Earth. My vision is to culminate in a powerful message about the hidden feminine Shakti that nurtures all of existence, inviting viewers to recognise and celebrate this eternal truth.

The choreography is a carefully crafted journey through four acts, each exploring different facets of motherhood and Mother Earth. In Act 1, we open with Adi Shankara's Mathru Panchakam set to Ragam Dhenuka, incorporating intricate movements to represent the primordial sound of Om. A traditional Mallari in Ragam Gambiranattai and Misra Eka Thalam weaves together salutations to Lord Ganesha and Uma Shiva.

Act 2 features a cosmic dance set to Ragam Panthuvarali, exploring the Ardhanareeshwara concept through contrasting masculine and feminine movements. We incorporate the powerful Maheswara Sutrani, using complex rhythmic patterns to depict the sounds of Lord Shiva's damaru.

Act 3 focuses on Lord Varaha rescuing Bhooma Devi, set in Adi Thalam Tisra Nadai. This section showcases intricate footwork and expressive abhinaya to portray the rescue of Mother Earth.

The final act celebrates Andal's devotion through the nine forms of Bhakti, incorporating a variety of ragas and talas to express different emotional states. It culminates in a Thillana set to Ragam Kosala and Kanda Eka Thalam.

The music, composed by talented artistes, features a rich ensemble including mridangam, violin, veena, flute, tabla, nadaswaram, and sitar. The diverse range of ragas, including Dhenuka, Gambira Nattai, Sri Ranjani, Revathi, Panthuvarali, and Suruti, enhances the emotional depth of the performance, supporting the dance in conveying the profound themes of motherhood and Earth's nurturing force.

Performing Bharatanatyam on the international stage has been an exhilarating and transformative journey for me. With over 300 performances across 35 countries, I've had the privilege of sharing this classical Indian dance form with diverse audiences worldwide. The reception has been overwhelmingly positive, with many viewers describing their experience as transformative. My distinct scholarly approach, which combines intense research of ancient texts with contemporary interpretations and investment in world-class music, has captivated audiences from various cultural backgrounds.

I've been honored to present Bharatanatyam in prestigious venues such as the Paris 2024 Olympics, the Bali World Cultural Festival, UNESCO headquarters in Paris, Broadway, and the Metropolitan Museum of Art. These performances have not only elevated the global status of Bharatanatyam but also strengthened cultural ties between nations. Audiences often describe my performances as engaging and almost movie-like due to my portrayal of multiple characters, which has helped break cultural barriers and foster a deeper appreciation for Indian classical dance.

Despite the challenges of presenting a traditional art form on international platforms, I've remained committed to preserving the authenticity of Bharatanatyam while making it accessible to global audiences. This approach has allowed me to create a unique cultural bridge, offering viewers a profound connection to Indian culture and philosophy. Through my performances, I strive to weave ancient wisdom with contemporary relevance, exploring themes such as the divine connection between Mother and Mother Earth in productions like MAA - The Eternal Truth.

This unique production aims at preserving the majesty of the dance compositions, which combine an intense knowledge of Carnatic music and Bharatanatyam of the Tanjore Quartet illustrious brothers that form the Bharatanatyam repertoire, the crescendo to our glorious artistic heritage. 

Ode to the Tanjore Quartet is a digital presentation of a traditional Bharatanatyam Margam, continuing the Nritya Upachara series. This production aims to create a new Renaissance in understanding traditional classical Bharatanatyam, as evolved by the famous Tanjore Quartet brothers. The project, guided by Guru Nandini Ramani, showcases specific compositions of the illustrious brothers Adi Ponniah, Chinniah, Vadivelu, and Sivanandam, who were court musicians trained under the renowned Carnatic musician Sri Muthuswamy Dikshitar.

The Margam follows the traditional format codified by the Tanjore Quartet, considered the lifeline of a Bharatanatyam performance. It includes a series of items such as Alarippu, Jatisvaram, Shabdam, Varnam, Padam, Javali, and Tillana, each designed to showcase different aspects of pure and interpretative dance. The presentation adheres to this order to preserve and propagate the values of the Margam-based Bharatanatyam recital, which is meant to be solo dancing according to ancient treatises and oral tradition.

This production features compositions in both Tamil and Telugu, reflecting the linguistic diversity of the Tanjore court. The centerpiece of the recital is the Varnam, a challenging item that combines pure and interpretative dance, set to a composition by Sivanandam of the Tanjore Quartet. Other notable pieces include a Shabdam addressing Lord Krishna, a Keertanam devoted to Lord Brihadeeshwara, and a Tillana composed by Adi Chinnaya.