Rohini Vaishnavi
Transported into the 14th century, nearly a thousand audience members found themselves immersed in an enchanting spectacle, packed within a hall designed for six hundred. The atmosphere was electric as the mystical Shaiv Yogini, Lalleshwari, came alive on stage, casting a spell over the spectators. The performance commenced with the hauntingly melodious vakh (verse), “Ami Pan Sadras…,” rendered in the soulful voice of Pallavi Koul. This verse poignantly expressed the Yogini’s profound longing to find her true abode, a culmination she ultimately achieved in the climax of the hour-long musical, as she merged with Shiva and Shakti through mesmerizing theatrics and evocative music by Rajesh Khar.
The stage was a visual masterpiece. A backdrop of brightly lit golden Chinar leaves framed the Yogini, clad in a flowing white robe, her hands raised in invocation of Shiva and Shakti. A mystical cloud enveloped her, creating an ethereal haze, while her vakhs echoed through the hall, resonating with divine energy. Then, as the haze cleared, she had vanished into the Brahman. A reverent silence followed, broken only by the reverberations of “Om Namah Shivaya” as the stage was bathed in radiant light. The sutradhar, played by the charismatic Arvin Tickoo, appeared in a white robe, a snowy-white beard cascading down his chest, his head adorned with a traditional Kashmiri Pandit dastar. He eloquently narrated the spiritual journey of Mother Lalla-her path of Kundalini Yoga, which ultimately liberated her from the material world, allowing her to dissolve into divine light in the village of Bijbehara, Kashmir.
The opera was a magnificent portrayal of Lalleshwari’s life-from her birth in Pandrethan, a serene Kashmiri village, to her father Chandraju Bhat introducing her to her Guru, Pandit Sidha Mol, and finally to her spiritual ascension. Through the mellifluous verses of Lalla that chronicled her spiritual quest since childhood, veteran actor Suman Pandita brought the character to life with remarkable depth and poignancy.
Even as a child, Lalleshwari was aware of the fleeting nature of material existence. The musical beautifully captured her verses about being ensnared in the eleven senses and yearning for liberation-to reach a state beyond pain and attachment. Her wedding to Son Pandit and the turmoil of a painful marriage were heartbreakingly real, conveyed through the actor’s evocative expressions as she sang of the relevance of forbearance and how it pays of in the end. Her verse, “Kus maritemaran kas…. is about the irrelevance of the worldly pain upon the union with the supreme.
The immersive “mise-en-scène” transported the audience into her world-the rustic village scene, the gentle waterfall from which she filled her pitcher, the melodious chirping of birds, and the shimmering golden Chinar leaves, all creating a spellbinding spectacle. The anguish of her oppressive home life was palpable. Her mother-in-law’s cruelty-placing a stone beneath her rice to make it appear a large serving while misleading her own son-only strengthened Lalla’s resolve to break free and seek her true spiritual home.
Every note sung by Pallavi Koul encapsulated Lalla’s agony and enlightenment. One poignant moment depicted her sitting down to eat, only to be jolted by her mother-in-law’s harsh command to finish washing utensils first. Tears welled in her eyes, yet she obediently rose, suppressing her sorrow. Her struggle as a woman who defied conventional norms was starkly evident.
The verses in Kashmiri vividly depicted her journey of overcoming desires such as lust, anger, greed, and attachment through Kundalini Yoga. A striking moment in the performance was when her husband shattered the pitcher she had painstakingly filled with water, yet the water miraculously remained suspended in her hands. As she poured it into multiple vessels, her hands remained brimming. The commentator’s voice narrated how this miraculous water transformed into a sacred lake, later known as “Lalla Tral.” The ethereal sound of water cascading onto the stage sent shivers down the audience’s spine, leaving them in awe of the divine manifestation.
The opera’s mise-en-scène-a seamless blend of set design, props, costumes, lighting, and the actors’ movements-was nothing short of spellbinding. The audience sat transfixed until the final moment. And then, as the last note faded, the entire hall erupted in a standing ovation. Some had been seated on the floor, others had stood throughout, and those in chairs now rose in unison to honor the spectacle they had just witnessed.
Scripted by the renowned literary figure Balkrishan Sanyasi, the opera was deeply rooted in Kashmir’s spiritual and philosophical traditions. In his speech, Sanyasi described Lalleshwari as an Advaitvadini, a proponent of the Trika philosophy within Kashmir Shaivism. This non-dualistic school of thought emphasizes the interconnectedness of Shiva, Shakti, and the individual soul (Anu), seeing the universe as a manifestation of Shiva’s consciousness. He quoted Utpaladeva’s Shiv Sutra: “When I realized that everything around me was a manifestation of the Supreme, I became oblivious of my physical form.” This profound realization, he noted, was mirrored in Lalleshwari’s vakhs, often misinterpreted as her wandering naked. In truth, they symbolized her transcendence beyond bodily consciousness.
For Kashmiris, Lalleshwari’s vakhs are woven into the very fabric of their existence. Passed down through generations, her verses remain a cornerstone of Kashmiri wisdom. Any septuagenarian or octogenarian Kashmiri can recite them by heart, not merely as poetry but as a philosophy embraced in daily life. The deep emotional connection with this mystic Shaiv Yogini remains unshaken.
Vomedh, a socio-cultural organization based in Jammu, is dedicated to preserving Kashmiri heritage. Led by the visionary Rohit Bhat, this opera was yet another testament to his commitment to keeping cultural traditions alive despite the displacement of Kashmiri Hindus. His directorial design of the opera and his month-long outreach efforts ignited a resurgence of devotion to Lalla, drawing massive crowds eager to witness the spectacle. The overwhelming response was a testament to the enduring love and reverence for Lalleshwari, proving that even centuries later, her spirit continues to illuminate the hearts of many.
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