An impressive Kuchipudi performance by Warangal-based Katragadda Himansee Choudary and D. Sai Krishna Sannidha marked the inaugural session of Visakha Music Academy’s four-day annual mid-year series of dance and music at Kalabharati, Visakhapatnam. These well trained young talents presented chosen pieces with remarkable grasp of its multiple aspects in artistic articulation.
Different moods
Himansee opened the event with a hefty number ‘Rukmini Prevesa Daruvu’. Known for her fluid ease both in transition to different moods of expression and agile footwork, Himansee’s imaginative vibrancy came in to full play in her exposition of Rukmini. The finer shades of satwik abhinaya that she displayed particularly for the lines ‘muddagattina vennalamma muddu baalamma..... vibhuni pedavula venuvamma vivasa vadhuvamma’, her expressive élan in a wide range of sancharis drew applause. That she has a wonderful timing in rhythmic precision was evident all thorough. This aspect lent a dimension of kinetic brilliance to her presentations. The duo presented a piece each, alternatively, for more than two hours to the delight of dance lovers.
‘Shambho, swayambho’ was another highlight in her performance.
This immortal composition of Swamy Dayanandha Saraswathi was explored well in the idiom of Kuchipudi.
The mythological episode where Nandi does not allow Ravana to the abode of Lord Siva was the text for the dance. On being denied entry, an infuriated Ravana sought to lift mount Kailash in a bid to get noticed by the Lord.
Appealing expression
Unable to succeed, he chose to tear up his belly and began playing Rudraveena making his intestines as its strings.
Unswerving passion of a staunch devotee and steel-nerved determination to have the darshan of the Lord found appealing expression in her presentation. ‘Govardhana Giridhari’ tarangam, was another number presented in an amazing manner bringing out its features of expressional depth and vivacious chorographical brilliance.
Sai Krishna Sannidha began her performance with ‘Pranavakaram’ a composition of Oothukkad Venkata Kavi, an invocatory in praise of Lord Ganesh.
Her performance was reflective of quality instruction imparted at Kuchipudi Kalakshetra of maestro Vempati China Satyam. She excelled in presentation of Kshetryya padam ‘Rara naa saami’.
The finer shades of her expression of a lovelorn Nayaki made it quite appealing. Balakanakamaya Chela, a composition of Thyagaraja and Nandagopala, a tarangam of sage Narayana Theertha in ragamalika, were other notables in her performance.
