The glory of Golla Kalapam

As part of the of the Multi-lingual National Drama festival held recently, Kuchipudi dancer Guru Dr Yashoda Thakore gave an authentic presentation of 'Golla Kalapam' at Ravinda Bharati, Hyderabad. It was a beautiful, simple representation of complex concepts of Indian spirituality

An artist of repute in the Kuchipudi style, Yashoda Thakore is equally proficient in the Kalavantula dance that she had learnt from the traditional artists of the community. She chose to present 'Golla Kalapam', a traditional piece, the script of which is attributed to Tarigonda Vengamamba of the 18th century.

However, as with the other scripts of the genre there are possible interpolations and additions. Though the basic storyline and concept is same, the Kuchipudi version of it varies distinctly. The story begins with the introduction of a Brahmin or Viprudu and the milkmaid- Gollabhama.

She appears to be naïve and boasts about the dairy products she sells. The buttermilk is blended with various ingredients to be the best. The amusing conversation between them reveals that she is well-travelled and highly knowledgeable.

The Vipra can only agree to her revelations. She repeatedly questions as to who he is and, in the process, reveals the spiritual dimensions. Yagna Pattu, Jnana Yagnam and the Pindotpatti are the three main constituents of this act.

During the performance, the last section on the growth of foetus particularly garnered spontaneous applause from the viewers owing to its relatability. Contemporary issues like caste hierarchy, untouchability and violence in rituals were perfectly addressed through clarifications and explanation. Gollabhama reiterates that all humankind is the same; it is only their knowledge that matters!

The highlight was the witty yet complicated dialogues in colloquial Telugu by Gollabhama in contrast to the archetypal dialect of Brahmins that was both entertaining and informative.

Typical gestures, which are a part of a brahmin's ritual and those depicting the process of the Yagna were accurate. Clearly, the artiste has done her research with a priest! Hari Mangalampalli as the Vipra provided adequate support through his reactions. Yashoda as Gollabhama excelled in all the four abhinayas.

Her spontaneity, dialogue-delivery and footwork showed her involvement, hard work and her innate abilities to bring forth a splendid performance. This particular format of Gollakalapam was taught and conducted by Annabattula Lakshmi Mangataryaru with Annabathula Leela Sai on the vocals both of whom are the torchbearers of the Kalavantula tradition, belonging to the Annabattula Buli Venkataratnamma style. The other members of the music ensemble were Sri Yendamuri Subbarao on Mridangam and Sri Murty on violin.

The performance followed what Annabattula Buli Venkataratnamma had presented decades ago carrying the same rustic flavor beautifully. Abhinaya National Theatre organised the event.

It was performed under a grant from the Sangeet Natak Akademi. The whole presentation would have been even more elevated had the articulation and sruti adherence by the singer and coordination in the rhythmic aspects been better.