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Synopsis of ballet on Tukaram - Surendra Wadgaonkar

KINKINI VRINDA NRITYA PITHA Presents

The ballet "Amhi Vaikunthvasi alo yach karnasi" based on Tukaram
at Maharashtra Mandal 0n Sunday the 8th January 1967 at 9-30 p. m
Kinkini Vrinda Nritya Pitha
Story: Prof. L. G. Jog
Lyrics : Shri G. D. Madgulkar
Choreography .-Shri. Surendra Wadgaonkar
Sau. Chitrarekha Wadgaonkar
Vrinda Artists :
Sri. Surendra Wadgaonkar
Sri. Kalekar
Sri. Ghatge
Sri. Deshmukh
Vandana Karandikar
Madhuri Purandare
Rohini Jagtap
Rohini Oak (Hattangadi)
Kala Dixit
Jyoti Kulkarni
Jyoti Gondhalekar
Sheela Patwardhan
Sandhya Sangvikar
Jyotsna Desai
Sohana Poonawalla
Shehnaz Poonawalla
Surekha Patel
Sunita Wakde
Usha Gadgeel
Music Direction: Sangeetalankar Babanrao Kulkarni
ORCHESTRA
Sri. Anawalikar - Harmonium
Sri. Ketkar -Violin
Sri. Amonkar -Tabla
Sri. Kelkar -Clarionate
Srii Vedpathak -Pakhavaj
Sri. Ghatge -Dholaki
Sri. Khidrapurkar -Tabla
Sri. Sompvrkar -Basari
VOCAL MUSIC
Sau. Kunda Tatake
Sri. Prabhakar Karandikar
Commentary
Prof. Sangoram
Sag. Chitrarekha Wadgaonkar
Light Effects
Sri. Pethakar

You have, upto now, been used to view the life of Tukaram through the coloured media of the stage and the silver screen. To day, however we propose to present the noble image of this great personality through the plastic medium of dancing.

 
Our approach to the theme is radically different. We have no mind to place before you a readymade saint who has achieved perfection. Instead, We will trace the various spiritual stages through which a simple-hearted and god-fearing human being had to pass through to attained sainthood. The miracles and fantastic legends that usually cluster round the name of Tukaram will receive no consideration from us. We are rather interested in furnishing the realistic study of a simple unassuming being who, through trials and tribulations .reached the dizzy heights of greatness.
 
We humbly beg, to bring to your notice that we have developed a special technique of dancing, essentially Marathi at heart but embellished with the subtle gesticulations and acting that go with Katha-Kali. We have of course, availed ourselves of the bhajans, keertan, lezeem and folk-dances familiar to every Maharashtrian.
 
The significance of the theme, the plastic medium of dancing, and the charm of varied music have joined into a triple alliance to enable us to present the image of a noble saint in its true perspective.
Act I:-
It is the tenth of the light half of Ashwin. The house of Tukaram wears a gay, festive air. Its early morning. The maids in Tukarm's house are busy cleaning the place and sprinkling it with water. Some are busy milking the cows; others are fetching water from wells. Some are absorbed in weaving garlands. An air of joy, gaiety and festivity illumines the whole atmosphere.

Presently Tukaram enters. He is in an amorous mood and is seen engaged in a lively talk with his first wife. With her permission he leaves to join in the 'border crossing ceremony' known as ' Shilangan '

Tukaram returns from' Shilangan ' while his two wives are happily engaged in a dance, descriptive of Dasara. They welcome him with loving affection and wave the sacred lamp around his head. So you see here Tukaram, a happy husband concerned with flattering the vanity of his wives.

The wheel of Time keeps on revolving. Seasons come and go. But where is the monsoon????

The dark cloud of famine and starvation overhangs Dehu. You see thirsty women engaged in wailing and loud lament,
tions, praying piteously for the rains.

You now see Tukaram plagued with a thousand worries and agonies. There is no food to eat, nota drop of water to drink. Business has gone to rack and ruin and the creditors dog the steps.

And then enters the slurp-tongued Awali. She storms at her husband and raves vehemently for letting the children starve. How shall she face the creditors? Poor Tukaram is utterly helpless. And then comes a maid to break the news of Lakshmi's tragic death. A wave of dark despair sweeps across the heart of Tukaram. Life, to him, seems an empty shell, a cruel jest.. Sick of life and things, he decides to go to Bhamagiri, where he would spend his days in quiet contemplalation. The piteous wailing and imploring of Awali is of no avail and Tukaram, a perfect picture of misery and disillusionment, starts for Bhamagiri.

Act II :-
We are in Dehu again with Mambaji, the abbot of the place busy in some dark conspiracy. The irate abbot is obvisouly expecting a visitor.Presently enters Shyama, a courtesan. They put their heads together to hatch a plan. The idea is to effect the conquest of Tukaram by trying on him every feminine wile and voluptuous trick.

Tukaram is in the quiet world of Bhamagiri lost in spiritual contemplation. Now his wife Awali enters. She makes him take his meals and urges him to return home with her.Tukaram refuses her tequest and tells her to make the forest her home. Utterly disspirited Awall leaves to return home.

Shyama, the courtesan enters. She tries hard to tempt Tukaram by her looks, glances, music and dancing. But. nothing doing , Tukaram, cold and balanced as ever, says, " Shyama, you are like a mother to me. You are my mother." Utterly crestfallen Shyama falls at his feet.,

Tukaram when absorbed in contemplation drops into a slumber. During the sleep he has the vision, of Vitthal Rukmini. They speak to him and say :
"Tuka can't you see that the responsibility of social uplift devolves on your shoulders ? Do carry to completion the unfinished work of Namdev.Hereafter the whole world is your house, your family."

Blessed with this heavenly vision, the greatful Tukaram exclaims "Oh God! I try to write and compose abhangas it is Thou who art the inspiration behind it. You, my God has been making me do all I do. I am, my Lord, mouthpiece."

Act III :-
Tukaram is in the courtyard of house obviously under the hypnotic spell of writing. Saraswati, muse of inspiration is present and seems to have chosen him as her special mouthpiece, as he is busy composing the famous abhang .Night and day do we..."

There enters Rameshwar Bhat yellow with jealousy. He gets the village people together and tells them that merchant like Tukaram has no right to compose poetry. There is no religious sanction behind it. So decision is taken to take all his abhangas to Indrayani to be destroyed there in the water. Tukaram prays to God soliciting His Help in averting this destruction.

Tukaram and his wife Awali, seized with deep depress are seen as undergoing a fast.

Presently a few pilgrim-women arrive and try to console them. They say,
"Why do you worry? Your poetry is imperishable. They may destroy your note-books; they cannot destroy your imaginative faculty. Your abhangas have already got rooted into the social soil; they know no death. "

But Tukaram remains unimpressed by this consolatory effort.

Suddenly the atmosphere is alive with bustle and song. The river Indrayani appears in human form. She has come with the note-books containing Tukaram's abhangas.

She says" Sir, I feel greatly honoured that your poems were offered to me. Hear they are. Please do accept them. "

Tukaram's joy knows no bounds. With grateful thanks he takes back the priceless treasure.

Act IV:-
Rameshwar Bhat in painful, insufferable agonies. He rolls on the ground in frightful agony. He falls at the feet of Tukaram asking to be favoured with forgiveness and pardon. The noble-hearted Tukaram forgives him and receives him into the' pilgrim cult.'

Tukaram is seen as engaged in keertan. He explains to the assembled crowd the singularity of the pilgrim cult and impresses on them, that the' warkari cult' is open to one and all, without exception, slowly and gradually Tukaram slips into a quiet spiritual reverie.

The reverie is disturbed by the arrival of Awali. She comes with the jolly news that a princely gift of gold ornaments has come from Shree Shivaji Maharaj. Tukaram remains unaffected and remarks that things such as gold and silver are but as ' muck' to him. He invites his spouse to join him in the final act of self-surrender to God.