Born out of the wit of a visionary Vaishnava poet, Siddhendra Yogi, as a sub-form of Yakshgaana tradition of south-eastern coast, Kuchipudi, is the official dance form of Andhra Pradesh. The flavour of aestheticism in this dance drama has evolved out of its roots in the natya shastra. Like other classical dance forms of India, Kuchipudi stands on the base of mythology, history of performances in temples whose popularity was diffused by travelling bards.
The initial forms of the dance form called Vaishnava Bhagavatulus date back to the 12th century and are accredited to a Sanskrit scholar, Jayadeva. Modern adaptations of the former owe their existence to a saint and a great devotee of Lord Krishna, Tirtha Narayanayati. The nomenclature of the dance form is bound with fetters of mythological tales. It is believed that in the 17th century, a visionary poet Siddhendra Yogi, disciple of Tirtha Narayanayati ‘conceived’ the idea, rather a command from Lord Krishna through a dream, for structuring a dance-drama based on the myth of paarijaata flower for Sathyabhaama. It was then when Bhaamaakalaapam was choreographed and its supremacy of excellence in the entire repertoire of the dance remains insusceptible to time. The performers for this dance drama were imported from the present day village in Andhra Pradesh called Kuchipudi.
Kuchipudi flourished in the late mediaeval period by support from Mughal emperors but in the colonial times, banned temple dancing wounded its popularity along with the other classical dance forms. Post- colonial revival was taken care by personalities like Vedantam Lakshminarayana Sastri, Vempati Venkatanarayana Sastri and Chinta Venkataramayya. Amidst the melodies of Carnatic music with cymbals and violin o harmonium playing synchronising with a live vocalist, repertoire begins with an invocation (usually Ganesh Vandana), followed by nritta (abstract dance), shabdam, natya (dramatic twist in the narrative of dance), nrityaabhinaya (visual poetry) and concludes with a tarangam or excerpts sung from mythological texts devoted to Lord Krishna. Male performers are dressed in a dhoti and females in a sari with regional hairdo and jewellery honouring Vedic symbolisms.
Many reforms are a landmark in this cultural journey, earlier only Brahmin boys performed the dance modern day Kuchipudi has no such obligation of gender and caste and acrobatic techniques have become a distinctive feature of its repertoire. The foot trace of the evolution of this dance form includes transience, but it is a fact to be adored that Kuchipudi remains true to its cultural roots. In the current India, with increasing cultural negligence, it is a parable on holding one’s soil.
Veena Mani
Veena Mani has been a Kuchipudi dancer for two and a half decades now. She started this journey as a 6-year-old, and today, she is one of the leading Kuchipudi dancers and also a teacher. For Veena, just dancing and performing are not enough. She’s still on the journey of unravelling the layers of Kuchipudi and understanding the nuances of this art form. In this phenomenal performance, we can see Veena Mani doing the Tarangam (rhythmic sequences while dancing on the rim of a brass plate, simultaneously balancing a pot of water on her head). She is one of the few Kuchipudi dancers trying to revitalise and bring to the world this dying unique piece of Kuchipudi’s stock.
Dilip Diwakar
Owing to his grandmother’s interest in watching the old classical movies, Dilip Diwakar got introduced to the classical art forms of India from his childhood. The legendary classical dancers like Padmini, Vyjayanthimala, Kumari Kamala enamoured him. However, financial problems didn’t allow him to take dance classes. It was only when Dilip, as a 16-year-old, showed his parents the exuberant talent for classics in him, that they searched for a Guru. A learning teen amidst the learning toddlers wasn’t easy on his part, but despite all, Dilip Diwakar stands as a graceful Kuchipudi artist today. Dance is an unquenchable journey for him.
Manaswini Avvari
A music and drama and dialogue enthusiast, Manaswini Avvari found the perfect harmony in Kuchipudi. Manaswini Avvari started learning dance at the age of 8. She grew up with this art form, and held it close to herself, as it was her best and safest means of communication. As an adolescent teen, she found solace in Kuchipudi as it helped her release all that was bottled up inside her. The origin of Kuchipudi, and the socio-political aspects of Kuchipudi, enthuse her and bring her closer to the ancestral roots of her country. The exceptional Kuchipudi dancer, Manaswini, shows her alacrity and grace in this dance cover.
Aruna Rekha Varanasy
A senior Kuchipudi Dancer, Aruna Rekha Varanasy, expresses her extreme gratitude to her mother for introducing her to this beautiful dance form. At the age of 9, Rekha didn’t find the dance appealing. However, with passing years, Kuchipudi took emotional and spiritual control over her. Her passion for Kuchipudi knows no bounds. A teacher, and a full-time Kuchipudi Dancer, Rekha has an enormity to the way she puts her soul to this revered dance form.
Yamini Reddy
One of the leading Kuchipudi dancers of today’s generation is the ever-glowing Yamini Reddy. She is the elder daughter & disciple of legendary Kuchipudi exponents Padma Bhushan Dr(s) Raja Radha Reddy and Kaushalya Reddy. Her grace and brimming control of the dance form has enamoured audiences both in India and abroad. Yamini Reddy is one of the first dancers ever to perform at the prestigious Wigmore Hall in London in 2011. Currently, she teaches Kuchipudi to students of all ages at her institute in Hyderabad, known as Natya Tarangini.
