Indian classical dance and mythology seems an indivisible combination. Given the inherent dramatic nature of Kuchipudi style, it further abounds in its emotive appeal. The Sri Rama Pattabhishekam – coronation of Lord Rama – ballet is no exception. Staged by the artistes of Kuchipudi Kala Kendram of noted exponent of Kuchipudi Bala Kondalarao, it impressed dance aficionados in no small measure at Kalabharati, Visakhapatnam.
Opening with lyrics singing paeans to the glories Raghu dynasty and Lord Rama Ramyamainadi Ramaayanamu Rasamayamainadi Rama Namamu , the ballet in a 10-scene narrative captured chosen episodes from the epic in an appealing way. The crux of the theme takes its launch after the fall of Ravanasura in the fierce battle with Lord Rama, when the Lord sets out for return to Ayodhya. Prior to it, in an extensive lyrical presentation, it summed up the significant events in the epic such as Rama’s birth, his exile, abduction of Sita and consequent events leading to terrible battle and finally the fall of Lanka.
On his return, Lord Rama along with Sita, Lakshmana and the entire contingent of Vanaras with Hanuman at its head, reaches the ashram of sage Bharadwaja. Then the Lord summons Hanuma and tells him to go to Nandigramam where Bharat was waiting for the return of Rama and inform him of their return to Ayodhya. Also the Lord tells Hanuman to call upon Guha the boatman who had ferried the Lord across the river Sarayu on his way to exile. Hanuman acts accordingly and Lord Rama reaches Ayodhya amid great celebrations and finally the coronation takes place on a splendid scale. The abiding appeal of the epic abounded in its emotive claim in a robust combination of lyrical charms and grace of gestural articulation.
Each of the scenes stood well delineated both in terms of footwork and expression. Particularly the group movements were well-co-ordinated reflecting quality instruction imparted to the artistes. The scene of boat man Guha was, in a way, remarkable for its exquisite presentation. As Lord Rama recalls about Guha, the scene was loaded with a sort of nostalgia. It was, in a way, a set piece, yet it pepped up the narrative in good measure. In a blend of folk charms of boatmen community and royal gait and grace of Lord Rama, the scene simply held the viewers captive. Amuktha Malyada’s portrayal of Lord Rama needs a mention for its taut presentation. An ace danseuse as she is, Malyada excelled in delineation of diverse of shades of emotions in quick succession. Her stage presence, that was elegance personified, further accentuated its vibrancy.
A team of more than 20 dancers took part in the performance. Each of the team lived up to their potential in an elaborative narrative that sought to portray diverse yet quintessential episodes from the epic. Without any slackening moment in narrative spanning about a couple of hours, the team sustained its tempo throughout.
Bala Kondalarao choreographed it and Dwaram Thyagaraj scored music, while Susarla Lalitha Gopal scripted it. Visakha Music and Dance Academy hosted it as part of its founder’s day celebration.
