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![In His Master’s Steps In His Master’s Steps](https://assets.thehansindia.com/hansindia-bucket/8170_Arjun.jpg)
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In His Master’s Steps, Kuchipudi Kalakshetra, Guru Hari Rama Murthy. Guru Hari Rama Murthy was born in the village of Kuchipudi, in a family of traditional Kuchipudi dancers.
Heading the Kuchipudi Kalakshetra in Visakhapatnam as its Principal, Guru Hari Rama Murthy is noted for grooming his students with rigorous training in the traditional Kuchipudi, retaining Guru Vempati Chinna Satyam’s distinguished baani.
![In His Master’s Steps](https://www.thehansindia.com/assets/In His Master’s Steps.jpg)
Hari Rama Murthy is in great awe of his guru, Late Vempati Chinna Satyam and is all praise for his contribution to the Kuchipudi dance form. Every word that he utters about his mentor reflects gratitude and reverence. Recollecting his initial journey, “Those days we had a lot of time at our disposal and no diversions, so we could concentrate fully on dance with total commitment.
Vempati mastergaru taught us dance free of cost. He also got me a scholarship. We used to get up early, cook our food and be at his classes by 9 am. It would go on till 5 pm. We received tough and rigorous training without any compromises or shortcuts. Now I try to instill the same discipline in my students and insist on hard work. Whatever time that is available, they have to fully make use of it, and hone their skills to perfection.” Hari Rama Murthy’s own choreography, “Mohini Bhasmasura” is a much acclaimed dance drama, with a close semblance to Vempati’s compositions.
![In His Master’s Steps](https://www.thehansindia.com/assets/Hari.jpg)
Playing principal roles in the dance dramas of Guru Vempati Chinna Satyam, he has earned a name for portraying a variety of characters with diverse traits. Especially, he excelled in placid roles like Dasaratha, Narada, Ananda, Kanva Maharshi, Balichakravarthy, brutal ones like Kamsa, Rukmi and valiant ones like Arjuna, Indra and Bhagiratha.
He has performed abroad and in India extensively. He presented ballets in the prestigious dance festivals like Konark, Khajuraho, Sangeet Natak Academy and in the Festivals of India in USSR, Germany, First World Music and Theatre Festival- Amsterdam, Kennedy Centre- USA, Germany, Australia, New Zealand, and Singapore. His dancer wife Satya Bhanu also takes part in his productions, contributing in a big way.
On performing abroad:
![In His Master’s Steps](https://www.thehansindia.com/assets/Kuchipudi Kalakshetra.jpg)
On the need to adapt:
“Forty- fifty years ago, Kuchipudi performances were confined to temples and during the Dasara festivities. Bhamakalapam used to go on for almost a week. But now people have no time to sit and watch lengthy shows, so everything is concise. Sometimes the organisers are hard pressed for time and allot us only 15 minutes. This art is so vast, how can you establish and prove in mere 15 minutes? In this “speed world” no one has the time or patience.” “Take for example, live orchestra. When we dance to a live orchestra, we dance from our hearts, whereas, with the recorded music it is just ‘switch on and switch off.’ But it is imperative to change with the times and adapt ourselves accordingly; making the best use of technology that is available today.”
On innovation :
“Yes, novelty is necessary, but in the process, tradition should not suffer. Vempati Mastergaru took up a social theme many years ago in ‘Chandalika’, but the presentation was purely classical in approach and execution. The only difference being, the lyrics were in a simple language, unlike the highly literary compositions in the traditional ballets. He has not changed anything except the theme.”
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