Christopher Gurusamy’s Aananda examined the concept of joy

For Kalavaahini, Christopher Gurusamy presented ‘Aananda’, a solo production that examined joy, not as a fleeting emotion but as a state shaped through sustained engagement with movement, memory and discipline. Rooted in the margam format, while allowing space for personal reflection, the work drew from Hindu philosophy, classical literature, Carnatic music and contemporary thought to propose dance itself as a pathway to joy.

The opening piece, ‘Vanamai’, from ‘Shuddha Shakti Muzhakkam’ by Sri Shuddhananda Bharathi, functioned as an invocation to the feminine principle as creator and sustainer of the universe. Beginning from a contemplative stillness, the choreography gradually expanded in scale, suggesting the emergence of the three worlds and the compassionate presence of Devi. The energetic musical score was set in Ritigowla and Adi tala, providing rhythmic drive while retaining melodic repose. Christopher’s movement emphasised clean geometry and rhythmic articulation, allowing the philosophical breadth of the text to remain central.

Christopher’s movement emphasised clean geometry and rhythmic articulation.
| Photo Credit:
S.R. RAGHUNATHAN

The Nattakurinji varnam, ‘Sami naan undhan adimai’, was reimagined as a reflective core of the production. Rather than framing the piece purely within conventional themes of devotion and yearning, Christopher treated it as a dialogue with dance itself. The body was presented as the origin, language and site of transformation, shaped by years of training and introspection. Through customised sanchari passages, the varnam traced an internal journey, connecting an early sense of wonder with a mature understanding of dance as a means of sharing lived experience. However, while the overarching theme was outlined at the outset, the absence of brief contextual explanations for individual pieces — particularly this varnam, conceived as an autobiographical reflection — left some aspects of the personal narrative implicit. A clearer articulation of how each segment related to the central idea of Aananda might have helped bridge the gap between concept and reception.

A quieter emotional register followed with the padam ‘Ninnu juchi’. Known for its inward focus, the padam was approached with measured restraint, allowing for pauses, glances and minimal transitions to carry expressive weight. Subtle shifts in gaze and posture conveyed longing and hesitation, aligning with its introspective tone.

Christopher Guruswamy presented ‘Ananda’.
| Photo Credit:
S.R. RAGHUNATHAN

The performance concluded with a thillana in raga Kannada, with lyrics and music by mridangam artiste and composer K. Arunprakash. Spirited in rhythm yet reflective in intent, the thillana carried a message that balanced caution with optimism, urging care for the Earth as the universal mother who sustains all life. As a closing statement, it brought together energy, urgency and responsibility, framing ‘Aananda’ not merely as personal bliss but as a shared ethical awareness. The accompanying artistes were S. Aditya Narayanan on the vocals, Sudarsini Iyer on the nattuvangam, Karthikeyan Ramanathan on the mridangam, Anirudh Athreya on the kanjira and Sayee Rakshith on the violin.