It was an evening of Kuchipudi charms at Kalabharati Visakhapatnam as Hong Kong-based artistes Anita Lee, Cynthia Lau, Kirby Wong, Monica Leung, Virginia Cheung and Eranki Srihari Baladitya danced their way to the hearts of dance aficionados making it a memorable experience. Groomed under the tutelage of Eranki Srihari Baladitya, who has settled in Hong Kong and has been propagating Kuchipudi there, the team displayed remarkable talent in portrayal of various characters in the idiom of Kuchipudi. Hosted by Visakha Art and Dance Association (VAADA) the performance stood out for its clarity of expression sans any superfluous mannerisms.
With apt gestural and facial expressions and good grip over intricate footwork, the team’s presentation of chosen pieces was graceful and eloquent all through. It, in short, was full of talent, enthusiasm and energy without any moment where it lacked precision. Despite being unfamiliar with India’s culture and its ethos, the artistes essayed every bit with vibrancy. It was a combination of good aptitude and industry that saw them come out in flying colours. In a structured build up of tempo, the team could carry the audience along with the mood of the piece being portrayed. It was this aspect that endeared the performance well to one and all. A noteworthy aspect of the performance was the absence of repetition in gestures and footwork.
The performance began with an invocatory Mahaganapathim paying obeisance to Lord Ganesha. In a group presentation, it stood out for its striking postures. Particularly for the lines Mahakavya natakadipriyam, mooshikavahana modakapriyam , the delineation of Lord Gahesha’s characteristics was awesome. The team took care of even minute details of the description in the lyric that stood well translated into gestural language in all its brilliance.
Another number that evoked good response was ‘Krishna Sabdam’. The way the nayaki entices her Lord by applying sandalwood on his hands and offering him betel leaves and ultimately portrays the greatness and the supremacy found lasting expression in a wide range of sancharis.
Sincere and innate excellence of expression marked the presentation of Koluvaitiva Rangasai . The ecstatic state of mind of a devotee in describing the grace and grandeur of the Lord and His divine attributes and the underlying emotions of devotional joy in a self-forgetful mood came through superbly.
In Brindavana Nilaye of Oothukadu Vekata Subbiyer, it was a dazzling expression of divine love. Filled with all the elements that any good dance aspires for showcasing one’s talent, this number stood well explored in its vast scope for expression and footwork. Intricate and well executed jatis further enhanced its aesthetic appeal.
Eranki Srihari Baladitya danced the number Lalite with verve. In a scintillating presentation, he ably captured the divine attributes of Goddess Lalita Devi in its spiritual and devotional fervour.
Y. Hanumantharao and Srihari Baladitya provided excellent nattuvangam, while Sangeetha Kala lent appealing vocal support. Phanikumar on mridangam, A Satyavishal on violin, Sudhakar on veena and Murali on flute provided good orchestral support.
