From the Kuchipudi efficiency at Kala Mela in Chennai.
| Photograph Credit score: Velankanni Raj B
The second night of Kala Mela, introduced by the Kalakshetra Basis at Bharata Kalakshetra Auditorium, delivered to Chennai a vibrant showcase of Kuchipudi repertoire by Veena Murthy Vijay and her disciples from Shri Rajarajeswari Kalaniketan, Bengaluru. The efficiency drew the viewers into the layered traditions of the shape — balancing ritualistic roots with aesthetic finesse.
The night commenced with Purvaranga Vidhi, a preliminary ceremony that sanctifies the stage. True to Natyashastra’s prescriptions, the dancers consecrated the stage with water, incense and lamp, evoking a temple-like environment. Using genuine props and the solemnity of the ritual lent an aura of sanctity.
Ramayana Shabdam, introduced by the scholars, traced the story of Rama from his delivery to coronation.
| Photograph Credit score:
VELANKANNI RAJ B
This was adopted by Ramayana Shabdam(Rama Pattabhisheka Shabdam), a story tracing the arc of Rama’s life from delivery to coronation. Set in Ragamalika and Adi tala, the story unfolded episodically — Rama’s valour at Mithila, his exile, Sita’s abduction, Hanuman’s leap to Lanka, the good conflict and eventually the Pattabhishekam at Ayodhya. Whereas the choreography carried the stamp of custom, the ensemble ensured readability in storytelling with out letting the narrative slip into monotony.
From ‘Bhama Kalapam’, a Kuchipudi recital, carried out as a part of Kalakshetra’s Kala Mela competition.
| Photograph Credit score:
VELANKANNI RAJ B
The spotlight of the night was Sandhya Tandava, the place the dancer executed the vigorous solo with command over karanas. The choreography envisioned Shiva’s celestial twilight dance in Kailasa, the place he instructs Brahma to keep up the tala whilst he conquers the six internal weaknesses — need, anger, greed, delusion, vanity and jealousy. The readability of charis and rhythmic jatis gave this piece its luminous energy, embodying each technical precision and religious depth.
Sandhya Tandavawas the spotlight of the night.
| Photograph Credit score:
Velankanni Raj B
The temper softened with Bhama Kalapam, a jewel within the Kuchipudi repertoire. Veena depicted Madhavi, sparring gently with Satyabhama in a playful but poignant dialogue. The conversations stood out for his or her pure circulate — witty, satirical and tinged with tenderness. Because the drama unfolded, the allegory deepened: Satyabhama’s delight gave technique to craving, whereas Madhavi’s teasing banter underlined the futility of ego. The symbolic alternate of the nostril ring, representing give up of the self, was dealt with with delicate abhinaya. This episode reminded the viewers that Bhama Kalapam isn’t just about conjugal quarrel, however the soul’s longing to unite with the divine.
The repertoire continued with Shiva Tarangam, the place disciples displayed agility whereas balancing on the brass plates, weaving rhythm and narrative seamlessly. It depicted Ganga’s descent and Shiva’s subjugation of her delight, the dancers’ synchrony in jathis enhanced the enchantment.
The finale, Simhanandini (Chitranrutyam), supplied a spectacle and scholarship in equal measure. Set to the formidable 128-beat Simhanandanatala, the motif of a lion was drawn on stage by Veena , her footwork etching the sacred picture in rhythmic precision. Historically carried out in temples as an providing to goddess Katyayini, this quantity evoked echoes of the devadasi custom whereas concurrently situating itself within the fashionable proscenium.
What stood out was the cohesion of the troupe, uniform costuming, measured actions and an evident devotion to the idiom. .
Revealed – September 08, 2025 03:33 pm IST
