From child to divinity: How Dasara padas portrayed Krishna’s many forms
The article explores how the Haridasa movement used devotional songs, or devaranamas, to portray the various forms of Krishna. It highlights the contributions of saint-scholars like Vyasaraya and Purandaradasa in making complex philosophy accessible through Kannada literature.
Why it matters
It provides cultural context for the historical and spiritual significance of the Haridasa tradition in South Indian arts.
‘Krishna nee begane baro...’ Few devotional songs evoke a sense of warmth and tenderness quite like this timeless Dasara pada by Vyasaraya. Set in Yamuna Kalyani, this devaranama is often presented in the latter half of music concerts. It is also a favourite among Bharatanatyam dancers. For dancers, the song opens up an entire world of creative possibilities, taking them through Krishna’s playful childhood to the moment when he reveals the universe within his little mouth to his astonished mother Yashoda.
Krishna appears in different forms and moods in the devaranamas of the Haridasas. He is the mischievous child who steals butter, the charming Gopala of Brindavan, the divine protector and the supreme being to whom the devotees turn to with love and complete surrender.
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