Anupama Kylash was learning from Kuchipudi scholar teacher Dr. Uma Roy for almost a decade and a half, after which she moved to Vilasini Natyam which has been resurrected, rejuvenated and recast by dancer and scholar Swapnasundari. A doctorate degree holder in dance, she has learnt from Swapnasundari all three aspects of Vilasini Natyam. Starting with the temple tradition which include rituals connected with worship in temples in accordance with the ‘Aagamas’, the court tradition which cover nritta and nritya presentations like swara pallavis, salaam daruvus, varnams, keertanas, padams and javalis unique to the Andhra Kalavantalus called ‘Meyzuvani’, which is a chamber presentation of the abhinaya. The dancer elaborates on a song in the sitting posture and theatrical presentations which generally represented Parijatams based on the story of Lord Krishna and Satyabhama for nine consecutive nights in nine Janardana temples in Andhra. At the Vysakhi festival, Anupama danced pieces from Vilasini Natyam to connoisseurs’ delight.
Excerpts from a chat:
Tell us how your interest in dance developed?
I was always interested in dance and learnt Kuchipudi from Uma Roy for 15 years. NT Rama Rao had set up degree course in dance in the Andhra University. My guru suggested to my mother that I should take it up, because I was so curious to know all about it. So I did both my graduation and masters in dance from the Andhra University. Now, of course, the course has been discontinued because of lack of students.
The inspiration to write a a book on the kritis of poet-saint Annamacharya.
My grandfather V.G.Krishnamurthy was proficient in Hindustani music and attended night long musical soirees. From him and my mother, who was also a singer, I developed my musical taste. Since I was brought up in South India, I wanted to learn Carnatic music. I was fond of songs of Meera Bai. Everything put together formed my inclination for writing a book on Annamacharya.
What aroused your interest in Vilasini Natyam?
Sheer dexterity of the hastas and abhinaya attracted me to learn Vilasini Natyam. All along, I have been interested in abhinaya and here was a chance for me to do it. I like the simplicity of the steps. rThe central piece of Vilasini Natyam’s court dance is varnam. The Devadasis sang the swaras and did the abhinaya. Devadasis do not do sancharis in abhinaya. Rather, they create motifs and imageries and keep evolving the created imageries. It is a unique kind of abhinaya.
How did Swapnasundrai chance upon Vilasini Natyam?
Akka (Swapnasundari) went to perform at Elluru. She had the pride of being ‘the’ Kuchipudi dancer. After her performance, the organisers requested her to stay on for the performance of an actual Devadasi, who would do abhinaya. There was an old lady who was in the most ordinary clothes. Neither did she have looks to commend herself. She sat on the stage and emoted and sang. Akka said she had never seen that kind of abhinaya before.
She said, ‘in one minute the whole strutting of mine came crashing on the floor. I lost my pride when I saw her’. Akka kept requesting her to be her teacher for almost a year or two, and finally she agreed. She was Madura Lakshmi Narayana of Manepalli village. With the help of her guru she was able to learn all the nuances of Vilasini Natyam from at least 15 or 16 Devadasis, who are no more.
