The Gen-Y of Kuchipudi

It was a Sunday evening at Shilparamam; the air was charged with the vibrancy of the Kuchipudi Yakshaganam - Prahlada Charithra. With sheer dramatic brilliance, the Yakshaganam is one of the most acclaimed performing arts of South India that can be described as a dance opera with a well-defined plot involving several characters that perform to a libretto. Kuchipudi Yakshaganam is clearly distinguished by its structure and the unique musical presentational format.

Though “Prahlada Charithra” is a familiar story, people wait eagerly to watch it once more. Our classics have that power, to attract people again and again. To remind one of Dharma and its immense power over evil. As Lord Vishnu through his ten incarnations, annihilated evil and protected the righteous to restore cosmic order- here, in this story, Narasimha, the fourth incarnation of Vishnu comes into the picture.

Under the aegis of the legendary Pasumarthy Ratthiah Sharma Garu, the Kuchipudi Bhagavathulu narrated this episode from Bhagavatam, led by Vedantam Venkata Chalapati in the main role of Hiranyakashipu. The dazzling dance drama was well received and all the dancers hailed from the traditional Kuchipudi families and showed much promise and dedication to their hereditary art .

Chintha Ravi Balakrishna of Kuchipudi village, a noted scholar and dancer, opened the ballet in the role of Suthradhara. His dignified presence added to the value of the presentation. The traditional Poorva Rangam was performed to the associated rituals.

Vedantam Venkata Chalapati, is noted for his precision to footwork, his agility and his ability to emote expressions.He was overpowering as the demon king and regaled the audience with his histrionics in the role of Hiranyakashipu.

Tadepalli Satyanarayana Sarma was the fierce Narasimha, a role that suited his imposing physique which he performed with the ferocity that is required of the lion deity. Pasumarthy Mrityunjaya Sarma acted as the submissive Leelavathi, keeping the tradition of Sthree Vesham portrayed by male dancers of Kuchipudi.

He was convincing as a mother pleading for her innocent child, imploring the king to spare little Prahlada’s life. Little Vedantam Hasitha was full of confidence and her dialogue delivery was flawless for her age.

Yeleswarapu Venkateswarlu has efficiently donned three roles, while Jitendra was convincing as a demon. Tejasvi and Anjali danced to the best of their ability. The vibrating music, so vital for the Yakshaganam was provided by a team of excellent musicians: Nattuvangam by Dr Chinta Ravi Balakrishna, Vocal by Ganakokila Kumara Suryanarayana, P Haranadh Sastry on the Mridangam, Palaparthi Anjaneyulu on the violin, S Kumar Babu on the flute, while Surabhi Jitendra did the make up.

The entire team of Natya Sangraha richly deserves compliments for organising such outstanding performances from time to time, enriching the cultural scenario and reinforcing the fact that tradition will continue in its purest and richest form thanks to the younger brigade.

The Kuchipudi Yashaganam was a part of the festival of dance organised by Natya Sangraha. The programme also included an Odissi performance by five young male dancers from the well known institute of Orissa called Rudrakshya Foundation.

Starting with an invocation where they incorporated the yogic Surya Namaskar into dance, they moved on to a Pallavi in Dev Gandhari impressing all with rounded, fluid movements and sculpturesque poses, bringing out the graceful and lyrical nature of Odissi.

Guru Kelucharan Mahapatro’s brilliant choreography to a song from Jayadeva’s Geeta Govinda was chosen as an abhinaya item, but it was wanting in a more mature treatment. Overall it was a scintillating performance.