Amulya Boddapati's mesmerising Bharatanatyam Arangetram performance
Praveena has also learnt 'karanas' from the renowned Dr Padma Subramanyam after starting out with 'Bharatanatyam' under Rukmaji Rao, Mridula Anand, and Madhavi Marellapudi. After a long career in software, she has devoted herself full-time to her passion—classical dance.
Amulya is pursuing science in Grade 12. Academically, she has won numerous gold medals and completed an internship at AIG. She plays various musical instruments and is a keen debater. Amulya is an avid reader, interested in proofreading, marketing, and logistics in her spare time, eager to explore new fields with curiosity, dedication, and creativity.
The young artiste looked charming in her beautiful 'aharya' of maroon, orange, and gold and stood out even on the vast stage. Repeated salutations were deftly offered to the Lord in the opening Ganesha 'keerthanam — Ekadantam Vinayakam.' The elephant-headed Lord is large of vision and mien, revered by all. He is the radiant child of Parvati, resides in devotees' hearts, and fulfills all their desires.
The 'Trimaata Kauthuvam' was a vibrant composition in praise of the divine feminine trinity of Saraswati, Lakshmi, and Parvati. The attributes of each Goddess were distinctly and clearly brought out by the dancer. The 'angika abhinaya' was well presented in conveying their respective appearances with elan. Saraswati is the divine embodiment of knowledge, holding a book and a rosary along with a veena. Lakshmi appears in eightfold guise, bestowing the 'aishwaryams' of wealth, food, courage, progeny, knowledge, victory, patience, and power. Parvati is paid homage as the loving mother of Ganesha and Skanda, who in her fierce form eradicates evil.
The challenging 'varnam' 'Swami Naan' combined technical mastery with expressive depth. Nritta, natya, and abhinaya were all depicted with a precision of delineation rare to find in such a young artiste. The complex jathis were executed with admirable composure, and the 'trikala jathi' in three speeds—slow, medium, and fast—was a climactic highlight. Lord Shiva, in the refrain, is urged to grace his servant whose whole life has been devoted to the God's chants and prayers without delay. The 'muktayi swaram' describes him as red-haired, adorned with the moon and Ganges, dancing with radiant smile and exceeding grace in the golden chamber of Chidambaram. Amulya's 'sancharis' deepened the emotional landscape of the piece. These described Markandeya's life and a scene from 'Nandanar Charitam' with vigorous detail. The 'charana swaras' express the magnetic power of the Lord's celestial dance.
A few delightfully done verses from 'Padmanabha Stotram' preceded 'Sri Ramana Vibho' in 'Arabhi'. Devotion and awe were soulfully conveyed as Padmanabha is eulogized by Swati Tirunal as the consort of Sridevi—a playful Krishna who slays demons, subdues serpents, and dances with the 'gopis', charming them with his flute. Worshipped by all the Gods, radiant with the 'vanamala' garland, his majesty embodies countless glories. The delight of sages, the divine jewel of the Yadu clan, he bears the conch and discus on his arms. He is the personification of bliss and compassion. In the 'charanam', the striking image of Krishna dancing on the snake's hood was vividly brought to life.
The light-hearted 'javali' in 'Khamas' was rich in 'shringara rasa'. The exploration of the dynamics of romance through the nayaka-nayika bhava was eloquently rendered by Amulya. The sparks of emotions combined with softer nuances created a melting portrayal of sweet invitation, desirous of delight. Gentle lilt and emotive subtlety predominated. As the heroine is tormented by Cupid's arrows, she is overcome with eagerness to meet her Lord. Longing and reproach mingle in love's intensity as he is entreated to approach without hesitation to embrace the nayika and ease her aching heart!
The 'thillana' in 'Kuntalavarali' concluded the repertoire with a lively exposition of intricate footwork in a brisk tempo. It was a fitting finale to an exuberant performance, done with agility and stamina. The 'mangalam', a 'Tyagaraja sankeertana', ended the recital.
The lighting was handled with aplomb by Basavaraju to maximum effect, and Hari Mangalampalli anchored with competent crispness. The spirited orchestra added value to the performance: Praveena on the nattuvangam, Chandar Rao on vocals, Chandrakanth on mridangam, Sai Kolanka on violin, Venkateswarulu on flute, and Sridhar Acharyulu on rhythms—all acquitted themselves with excellence.
Prof. Anuradha J. Tadakamalla (Department of Dance, University of Hyderabad) graced the occasion as chief guest.
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