Three dancers highlight the universality in the teachings Ramakrishna, Sarada Devi and Vivekananda

The stage was bare, save for the three dancers seated in silence. Before a note of music was played, Uttiya Barua and Radhika Vairavelavan bowed as Ramakrishna and Sarada Devi, while P. Sundaresan stood before them in quiet worship. This moment set the tone for the evening’s performance.

From this opening, the narrative unfolded into Ramakrishna’s early spiritual journey. Uttiya Barua’s abhinaya portrayed his devotion to goddess Kali, his longing, and his moments of transcendence. In a striking soundscape, chants of ‘Allah’ and ‘Hallelujah’ intertwined with Sanskrit hymns, symbolising Ramakrishna’s belief that the divine could be approached through all faiths.

Sarada Devi’s presence was woven delicately into the narrative. Radhika through subtle expressions and restrained movements, brought to the fore her quiet acceptance of life’s challenges and her spiritual strength.

Uttiya Barua, Radhika Vairavelavan and P. Sundaresan performing at Narada Gana Sabha
| Photo Credit:
B. Jothi Ramalingam

The performance then moved to the life of Narendranath Dutta, born to Vishwanath Dutta, who would later become Swami Vivekananda. Sundaresan captured the young man’s doubts, questions, and searching spirit. The narration highlighted his encounters with Ramakrishna and how the guru’s guidance transformed his path.

A particularly thoughtful interlude came with the story of Nachiketa from the Katha Upanishad, the boy who questioned Yama, the Lord of Death, about the meaning of existence. Woven into Vivekananda’s journey, the episode reflected his unyielding pursuit of truth and deeper understanding. The narrative then carried the audience to Chicago, 1893, where Vivekananda’s voice rose in his historic address at the World Parliament of Religions: “Sisters and brothers of America…” Through precisely layered sancharis, the choreography followed his transformation from a questioning disciple into a spiritual leader, who carried India’s philosophy to the world stage. The segments also featured Vivekananda’s teachings, culminating with his timeless exhortation: “Arise, awake, stop not till the goal is reached.” This phrase became the performance’s anchor, visually reflected in expansive, synchronised movements.

Three dancers trace a the journey of Ramakrishna, Sarada Devi and Vivekananda
| Photo Credit:
B. Jothi Ramalingam

The orchestra for the evening featured Sourav Das on vocals, L. Narendra Kumar on nattuvangam, M. S. Sukhi on the mridangam, T. V. Sukanya on the violin, Aju Ambatt on the flute, with voiceovers by Sankar Ganesh and Anna Purani.

By keeping the stage and costume simple, the production drew attention to the stories.