The recent cinema experience of the Mahavatar Narasimha has proved that our mythological tales can razzle-dazzle when dramatised and the story can appeal to a contemporary audience, especially through a gripping narrative style. Having said that, do we need the theatrics of cinema to move closer to our cultural roots? Is the purpose and scope of narrative tradition meant as a spectacle? Can these stories go far beyond the blind sentiment of faith?
Hailing from a family of Bhagavatas is Priyamvadha Murali, her ancestry has been dedicatedly upholding a five hundred year old unique theatre tradition. Being initiated into the oral tradition of Bhagavata Mela, the question on the scope of dramaturgy and story-telling was naturally put forth to her. “Among various ritualistic traditions, dramaturgy is the highest offering, according to wisdom texts. I strongly believe it too; as my father repeatedly stated how our art forms can elevate our spirit. Also the indigenous theatre traditions have been engaging audiences, holistically shaping personality including behaviour, orienting a being to imbibe qualities of self-restraint, empathy, and compassion.” Unwaveringly, she stated that the scope of traditional narrative texts were not meant to be just a spectacle but were a pedagogy that helped imbibe righteous virtues.
Priyamvadha runs a foundation established by her father, the Bhagavata Mela Vidyalaya, with a one-pointed intention of imparting classical dance as a journey of artistic enrichment and cultural empowerment. About the foundation, she said, “When appa returned back from the mid-West, he chose to settle down in the village to spend his retirement days. My mother had observed that the young adults were straying without any socio-cultural purpose. It was during that time that my mother nudged him to teach dance for the boys and girls of the village.” She shared more on how her dad approached teaching dance for infusing dedication and discipline. She also explained how the students have always looked up at her father with awe, especially since on some occasions they have witnessed his performance, rising like a phoenix from near-death episodes. Over the years, since its inception in 2014, the vidhayala has certainly been creating a social and cultural impact.
To introduce Priyamvadha’s father, the late ‘Kalaimamani’ Natarajan is a doyen who will be remembered as a natyacharya, director of the Bhagavata Mela theatre tradition. He brought in nuanced stylisations within the presentation format of Bhagavata Mela natakams, which was otherwise raw and unsophisticated. Natarajan’s other significant contribution included the revival of six other original lost plays of Venkatarama Shastri, the author of the Mellatur Bhagavata Mela plays. Those familiar with the Bhagavata Mela natakas, will always also remember him for his stage roles like Queen Leelavathy and Yashoda.
Art, healing, and transformation
“Don’t grieve if I am gone… celebrate my end with a Natya Sangeetha Aradhana… let my work and values live through every artist and every aspiring dancer”, were the last words of Natarajan to Priyamvadha.
Having been initiated into the Bhagavata’s tradition under Natarajan, Priyamvadha was involved in it for more than a decade. But when her father passed away, she had to step away from the Bhagavata Mela scene adhering to the demands of the traditions. Perhaps these are the areas where a contemporary urban rational mind would argue that traditions are outdated and irrelevant. But for a traditional practitioner, these are accepted as thiruvilaiyadal, a divine test of one’s conviction in traditions.
Bhakti being a very layered sentiment, its thought state ranges from restraint to divine love; the test in case of Priyamvadha was her devotion to the tradition and loyalty to higher ideals of which her father was a role model to her.
While a personal loss of a dear one itself could have been quite shattering in normal circumstances, having to step away from her role in the Bhagavata Mela tradition may have been demanding. But, showing an undaunted resolve, putting all her knowledge and practice to life’s circumstances, she gracefully anchored herself in the foundation established by her father, choosing a road less travelled. Quietly, she went about growing the seed sowed by her father — tending, caring and nurturing the children associated with the foundation. In the process, Priyamvadha has not only managed to lift her own spirit, but she has been touching many lives as well. Stories like that of her strengthen the oral tradition, making India a living culture showing continuity of ideas and values that respects sentiments, beliefs and customs.
The seeds that were sown in 2014, had increased to 60 when Priyamvadha lost her father to Covid. But from 2020 onwards until now, the number of students associated with the foundation have multiplied to 250. The seeds are also no more confined to Mellatur, but has spread to adjoining hamlets: all the way upto Avvai Kottam in Thiruvaiyaru and Thirumanur in Ariyalur. Even today, the foundation, true to its cause, does not charge fees from students. As promised, every
Navarathri Priyamvadha has been celebrating her father’s dying wish as an aradhana. With the students of the foundation being constantly invited to perform in various temples and temple institutions, Priyamvadha expressed how some aid will help sustain the noble cause.