A mesmerising Kuchipudi recital
A recently held classical dance recital at Ravindra Bharathi showcased the richness of Kuchipudi through an exquisite blend of tradition and innovation. The evening featured flawless abhinaya and intricate nritta, capturing the essence of this classical art form. Audiences were enthralled by the grace, precision, and expressive storytelling on display throughout the performance
Recently, an enjoyable classical dance program was presented. This was the Kuchipudi Rangapravesham of Ananya Polsani, a student of senior Guru Voleti Rangamani, founder of Abhinaya Darpana Arts Academy. Voleti Rangamani has been dedicated to the propagation of Kuchipudi and Temple ritual dances for over five decades. Trained under her father, Guru C.R. Acharyulu, she has nurtured hundreds of students worldwide. Her specialty lies in the rare and unique knowledge of the Simhanandini dance form. Innumerable workshops and global demonstrations conducted by her have brought this specialized dance form international recognition. Her illustrious journey has earned her innumerable accolades.
Her student, Ananya, carrying forward this rich legacy from her Guru, has been in rigorous training for over a decade. She has performed on significant cultural platforms to much appreciation and recognition. In addition to dance, she is an accomplished painter, and her work has been presented to the Speaker of the Lok Sabha, Sumitra Mahajan. Pursuing her LLB (Hons) at the University of Liverpool, UK, she serves as President of “The Telugu Society,” reflecting her commitment to both academics and cultural promotion.
The evening featured an exquisite repertoire of Kuchipudi compositions, showcasing both tradition and innovation. Eminent personalities, Padmabhushans Drs. Raja and Radha Reddy, Padmabhushan Dr. Varaprasad Reddy, and Padmashri Dr. Shobha Raju attended to give their blessings to the young dancer. The orchestra was conducted with a flourish by Guru Voleti Rangamani herself on the nattuvangam, vocals were impeccably rendered by D.S.V. Sastry, vibrant Mridangam by Rajagopalacharya, melodious violin by Dinakar, mellifluous flute by Venkatesh, and dynamic percussion by Jayakumaracharya.
The lighting was rich in inventive skill, perfectly coordinated by Basavaraju, and the makeup was of the highest calibre by Sudarshan, whose genius in this regard is well known. The digital screen effects by Gunjan Ashtaputre added visual richness, and the resonant anchoring by Murali Krishna was as comprehensive and eloquent as ever. A glossy silk attire of parrot green with red-toned borders set off the dancer beautifully as the lights focused on her appearance in the first item, an invocation to Lord Ganesha, remover of obstacles. His form resembles Omkara, and his radiant face is ever smiling. The Master of the Ganas grants boons, wears shining gem-set jewels, and is the cause of the Universe. His feet move in step to the tuneful beats of various instruments. The faultless, awe-inspiring deity with lotus face showers mercy, granting wishes to worshippers.
In Arabhi by Oothukadu, the keerthana “Pranavakaram” was performed faultlessly, with finesse enunciating the lyrical descriptions in angika abhinaya. The Daru Varnam “Mathe Malayadwaja” of Bhagavatar in Khamas, generally performed in Bharatanatyam, was pleasantly interpreted in Kuchipudi. The pallavi or refrain extolled the divine Mother as the daughter of the Pandyan King Malayadwaja. The anupallavi described her as the lady with a glowing green face, possessing the beauty of the moon. The further charanams were ornate, detailing a splendid picture of her expertise in arts, affection for music and rhythm, and her role as the exterminator of Mahishasura. Ananya was both majestic and full of the flowing grace characteristic of Kuchipudi in this item.
Excerpts from Bhamakalapam of Siddhendra Yogi, the raison d’être of Kuchipudi, presented by Ananya in a charmingly winsome mood, showcased the pride and beauty of Satyabhama, the most prominent among Krishna’s many wives. Her every gesture was true to the role, and the brief cameos created a desire to witness the complete version, where Ananya’s talent could be seen at full stretch.
The Javali of N.C. Murthy, “Chavuluru Javaraalanu” in Kharaharipriya, was soaked in rasa-filled abhinaya of subtlety, showcasing Ananya’s expressive talent to perfection as the nayika delicately evoked her attributes. Balamurali’s lilting Brindavani Thillana was packed with exciting pure nritta, unusually but engagingly embroidered with a concluding plate dance sequence that tested the dancer’s balance, which she executed with fluent poise. The change of aharya to colors of ochre and russet gold imparted a lustrous glow to the artiste in these segments.
The highlight of the recital was the presentation of two temple dance pieces, Mayura Kautvam and Simhanandini. The pioneering revival of these ancient forms by C.R. Acharyulu was greatly aided by the patronage of the Raja of Vuyyur, Sri Meka Rangaiah Appa Rao, Minister and Vice-Chancellor of Andhra University. Here, the sahityam ended with jathis done on cloth, where rangoli powders created the image of a peacock and a lion, respectively, through precise, strategically placed intricate footwork. The cloth was then displayed by lifting it up in its frame so the audience could behold the marvel.
The Mayura Kautvam praised Lord Subramanya and his consorts, as the peacock (Mayura) is his vehicle, while the Simhanandini composition included stirring verses in praise of Goddess Durga, who bestrides the Simha Vahana, or lion vehicle. The audience was spellbound throughout, paying rapt attention—a tribute to the young artiste—and gave generous applause at the conclusion.