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Synopsis
of ballet on Tukaram - Surendra Wadgaonkar |
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KINKINI VRINDA NRITYA PITHA Presents
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The ballet "Amhi Vaikunthvasi alo
yach karnasi" based on Tukaram
at Maharashtra Mandal 0n Sunday the 8th January 1967 at
9-30 p. m
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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
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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.
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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. |
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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. |
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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.
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Act II
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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."
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Act III
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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.
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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.
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