A Radiant Kuchipudi Debut Captivates the Audience

Hans India

a day ago

The 'Kuchipudi Rangapravesham' of Pranathi Pulijala took place last Sunday evening at the Bharatiya Vidya Bhavan Auditorium, Kothi.
'Kim Aham', the school of Indian classical dance founded by Acharya Avijit Das, is based in Bangalore. Here, students are introduced to Indian mythology and philosophy through dance, which is considered an innate emotion that brings a shared sense of joy and celebration to life.
Avijit, after beginning his training under Sanaka Biswas at 'Shantiniketan' at an early age, continued learning at the 'Kuchipudi Art Academy' under the guidance of Vedantham Ramu and Srimayi Vempati. Over the years, he has gone on to establish an international reputation. He is the recipient of the prestigious 'Bismillah Khan Yuva Puraskar' from the Central 'Sangeet Natak Akademi', Delhi. With his intense conviction in the modern interpretation of classical dance, he challenges the audience to rejuvenate their aesthetic sense—like a glimpse in the mirror—through a firebrand style full of thoughtfulness and depth, both in performance and teaching. Pranathi, the debutante of the evening, is a passionate 17-year-old with a keen dedication to 'Kuchipudi'. She is all set to join 'Indiana University' in the USA to major in 'Business Management'. For the past seven years, she has been groomed with rigorous fidelity to the classical style. A regular participant in her school's annual programs, she has also performed at various venues. Pranathi was the only young talent to receive the 'CCRT scholarship' for Kuchipudi that year from the state of Karnataka—an accomplishment that deserves appreciation.
The orchestra, entirely composed of outstation artists, was an auditory delight. The 'nattuvangam' was handled with bravura by Avijit Das himself. Omkar Amarnath provided vibrant vocals, Nagaraj delivered dynamic percussion on the 'mridangam', Raghu Simha played delicate cascades on the 'flute', and Niveditha Arun added melodious trills on the 'veena'.
Light and stage décor were handled with customary élan by Hyderabad's incomparable stagecraft maestro, Basavaraju. As the last notes of the traditional invocatory prayer 'Vani Paraku' wafted through the air, the lights dimmed and brightened to reveal Pranathi in a fetching pink 'aharya' as 'Ganesha Pancharatnam' commenced the recital. She was in command of the stage from the outset, with a 'savoir-faire' expected of a mature artiste. With precise steps matching the beats of the music, her grasp of 'laya' and 'tala' was evident. The 'nritta' was well-paced, energetic, and sketched out with flair. The depiction of Lord 'Vighneshwara'—holding a sweetmeat ('modaka') in hand and adorned with the crescent moon—was vivid. He is the protector of the world, fearsome to the unworthy, and saluted by all the 'Devas'. As 'Nidhiswara', the god of prosperity, and 'Gajeshwara', with an elephant head, he leads the 'Ganas' as 'Ganeshwara'. Appropriate postures were depicted through 'angika abhinaya', adding substance as the stanzas described him as 'Kripakara' (grace-giver) and 'Kshamakara' (forgiver). Joy and glory emanate from 'Mudakara' and 'Yashaskara'. Manifold praises abound for the one who destroys demons and delusions alike.
The 'Krishna Shabdam', based on the life of Lord Krishna, followed. The 'Gopika' extols Krishna in a devotional plea, referencing him as powerful as the ocean, handsome as a myriad 'Manmathas', and of enormous strength. The refrain calls for the Lord to come to her, and Pranathi was charming in that guise, putting heartfelt expression into the 'abhinaya' portion, much to the delight of the audience. Her countenance radiated the depth of yearning for the Lord. Interestingly, traces suggesting the 'shabdam' may originally have been in praise of a ruler are apparent, such as mentions of a king valorous to foes and generous to poets.
The 'Tarangam', 'Kalaya Yashode', offered scope for showcasing the dancer's dexterity and balancing abilities. The stories of 'Govardhana Giri' and 'Kaliya Mardhanam' were included. The artiste's face sparkled eloquently as the many facets of the Lord's mischievous and divine nature unfolded. The one who wears the 'Kaustubha' gem is also the expert stealer of butter! The 'Lakshmi Pravesha Daruvu' depicted Goddess 'Lakshmi', daughter of the Ocean and consort of the slayer of 'Mura'. The eight divine forms of 'Ashta Lakshmi' were portrayed in their glorious appearances. In a white and blue costume, Pranathi projected an elegantly beneficent mood.
The 'Kalyani Thillana', dedicated to the beautiful sound of Krishna's flute by 'Balamuralikrishna', was a connoisseur's piece. All elements—vocals, instrumentals, and dance—fused perfectly in unison, creating a spectacular crescendo that brought forth well-deserved applause. Most of the items were choreographed by Avijit Das, demonstrating his imaginatively creative vision. 'Nandini Ramani', 'Deepika Reddy', and 'V.V. Ramani' graced the occasion as special guests.