CHENNAI: We are aware that Upanishads form the core of the Indian Philosophy. The Upanishads reveal the inner meanings of mystic teachings, which are in turn a collection of Vedic texts. Adi Sankara, in his commentary on Taitreya Upanishad says that the highest bliss is contained in the Upanishad which gives one both spiritual and philosophical vision, through which ignorance is annihilated. Though the etymology of the word Upanishad is a matter of debate, it means destruction of the untruth.
Natyarangam of the Narada Gana Sabha with the patronage of Intellectual and Emotional Stimulants presented ‘Upanishad Bharatham’, a dance festival, in order to make the precepts available to people. The precepts were illuminated by episodes, outlining the concepts of the performance itself as a Yagna.
I was thrilled in the esoteric sense, when Brahmopanishad Param, which was conceived and presented by noted senior dancer Roja Kannan, delivered a detailed evaluation of this Upanishad. Exploring the various facets of this spiritual odyssey, Dr R Asha, a doctorate holder in Sanskrit, dancer and musician of merit explored the depths and nuances of the contents and provided the audience with cross references drawn from the Bhagavad Gita, Bhagavatham, Saint Thyagaraja, Thirumanthiram and Ramana Maharishi.
The prelude presented by Roja Kannan dealt with the Brihandaranyaka Upanishad, that stressed upon three cardinal virtues, that is, self control, (dama) charity, (dana) and compassion (daya). The nuances were beautifully incorporated into the evergreen song of Paramacharya of Kanchi. Maithreem Bhajatha, followed by selections from Taithriya Svetasvatara, and Mundaka Upanishads explicated that creation spreads from the Brahman, echoing the idea in the mesmerising kriti of Saint Thyagaraja — Paramathmudu velige.
It was one of the most enlivening presentations that identified the subtleties and inner essence of all as revealed in Chandogya Upanishad. The seeker, with lilting lines from the appalam song of Ramana Maharishi, who lectured the process of sadhana, or kaivalya (liberation) presented a lively composition of Ghanam Krishna Iyer, modelled as a Tillana which was indeed a fitting summary for the programme.
Undoubtedly, this programme, with a detailed commentary by Dr Asha and the dance exposition of Brahmopanishad Param by Roja Kannan was refreshingly appreciable, the lyrical movements adding to the overall attraction.