Meenakshi Chitharanjan pays ode to Dikshitar through a well-choreographed production

Two-and-a-half centuries after his birth, Muthuswami Dikshitar continues to occupy a unique place in Carnatic music. His compositions, noted for their perfect alignment of raga, sahitya, and spirituality, are not merely musical creations but philosophical treatises. Each kriti, steeped in Sanskrit poetry and infused with aesthetic precision, reflects his deep understanding of Advaita Vedanta. That artistes continue to find new meaning in his works even after 250 years is a testament to his enduring relevance.

It was this spirit that the Janaki C.S. Ramachandran Trust sought to celebrate through ‘Guruguho Jayati’, a thematic dance production presented recently at The Music Academy, Chennai.

Meenakshi Chitharanjan performing ‘Guruguho Jayati’ with Ashwath Narayanan on the vocals.
| Photo Credit:
VELANKANNI RAJ B

Choreographed and presented by Meenakshi Chitharanjan and her disciples, the performance was based on Shanmatham, the six systems of worship — Saiva, Vaishnava, Sakta, Soura, Kaumara and Ganapatya — as codified by Adi Shankaracharya, using Dikshitar’s compositions as anchors. Carnatic vocalist Ashwath Narayanan led the music ensemble, while scholar Dr. Sudha Seshayyan compered the presentation.

The performance opened with ‘Vallabha nayakasya’ in Begada, and Ashwath’s resonant timbre and unhurried gait created the atmosphere of a traditional temple invocation. Before each segment, Dr. Sudha Seshayyan succinctly placed the compositions in their philosophical and poetic context. Her commentary combined scholarship with lucidity, allowing even non-specialists to appreciate Dikshitar’s intricate wordplay and theological symbolism.

Meenakshi Chitharanjan presented a nuanced interpretation of the Panchabootas.
| Photo Credit:
VELANKANNI RAJ B

Before ‘Sri nathadi guruguho jayati’, Dikshitar’s first composition, Sudha explained how the phrase “māyāmālavagauḷādi deśa” concealed both a raga reference and an allusion to how Subrahmanya is worshipped by the kings of Maya, Malava and Gaula. Meenakshi executed this piece with aplomb, presenting a nuanced interpretation of the panchabhootas or five elements. She focused on how the song hails the deity as the inner self that guides the aspirant towards liberation.

Meenakshi Chitharanjan.
| Photo Credit:
VELANKANNI RAJ B

In ‘Suryamurthe’ (raga Saurashtra), performed by the students of Kaladiksha, the choreography unfolded into spatial patterns. The dancers formed as the Sun-god’s seven-horse chariot. The phrase ‘Sarasa Mitra’, describing the Sun as a friend of the lotus, was interpreted through a group formation where the lotus bloomed in response to sunlight.

In the Saiva segment, Chidambareswaram, Meenakshi’s portrayal of Shiva’s acts such as wearing the tiger skin and performing the Ananda Tandava stood out. The line ‘Vasuki pramukha upasitam’ was taken up for exploration. Set in raga Dhunibhinnashadjam, the piece was sung with clarity and bhava by Ashwath Narayanan. Mudicondan Ramesh’s veena in the lower octave added gravitas to the story of Vasuki and the churning of the ocean, while Pandanallur Pandian’s crisp sollukattu lent energy.

Meenakshi Chitharanjan’s ‘Sri lakshmi Varaha’ stood out for its narrative coherence.
| Photo Credit:
VELANKANNI RAJ B

The Vaishnava piece ‘Sri lakshmi varaham’ stood out for its narrative coherence. Meenakshi portrayed Vishnu’s rescue of the Earth, drawing from Vedanta Desika’s Dasavatara stotram for context.

Throughout the evening, jatis and swara passages were integrated between the compositions, sometimes as invocatory preludes and sometimes as concluding embellishments. These rhythmic interludes showcased the geometric beauty and structural precision of the Pandanallur bani, known for its economy of movement and architectural symmetry. Choreographing Dikshitar’s kritis, with their layered philosophical allusions and Sanskrit density, is no easy task. Meenakshi retained their spiritual core while remaining true to the stylistic grammar of her artistic lineage.

The Devi kriti ‘Anandamruthakarshini’ in Amritavarshini followed, introduced by Dr. Sudha Seshayyan with the anecdote of Dikshitar invoking rain at Ettayapuram. The choreography mirrored this act of benediction — the dancers’ flowing movements and cascading formations resonated the phrase salilam varshaya varshaya. The performance concluded with lines from ‘Meenakshi memudam’, which is said to be the final kriti jointly rendered by Dikshitar and his disciples as he peacefully departed the mortal world.

Pandanallur Pandian’s nattuvangam lent precision, while Sakthivel Muruganandam’s mridangam added depth and texture. B. Ananthakrishnan’s violin and Mudicondan Ramesh’s veena reflected the melodic flow with warmth, and Sujith Naik’s flute brought a touch of lightness. Together, they created a soundscape that supported the dance’s emotional layers.

In celebrating Dikshitar through the lens of Adi Sankara’s Shanmatham, the artistes reaffirmed the composer’s continuing resonance. His music remains a bridge between philosophy and art, intellect and devotion. ‘Guruguho Jayati’ was not merely a commemorative performance but a reaffirmation of a tradition that remains as inclusive today as it was 250 years ago.

Published – November 12, 2025 01:46 pm IST