Prateeksha excelled in nritta and bhava

Prateeksha Kashi

Prateeksha Kashi  

Young, talented Kuchipudi dancer Prateeksha Kashi, daughter and disciple of well-known Kuchipudi dancer Vyjayanthi Kashi, knocks you down and you know not why; is it because she owns the stage or because she has an efficient way of presenting brisk nritta and involved mime or is it her absolute confidence? Her short dance programme for the festival organised by the Kuchipudi Art Academy in association with the Department of Tourism and Culture, Government of Telengana, was enough to gauge her considerable skill.

She commenced with a salutation to goddess Balatripurasundari of Kuchipudi village (Abhogi, eka, Guru Vedantam Parvateesam) and went on to present a traditional piece from the Krishnaleela Tarangini, ‘Neelamegha Sareera’ (Mohana, Adi) that included the mandatory dance on the brass plate.

On Kanyakumari

The concluding piece was on goddess Kanyakumari, ‘The Eternal Kanya’ (ragamalika, talamalika, script- B.N.Murthy, music-Chandana Bala, concept and choreography- Vyjayanthi Kashi). It told the story of Devi taking the form of an adolescent girl in the southernmost tip of India. Shiva from Suchindram was to marry her, but because of a trick played on him by Narada, he does not arrive at the appointed time. It is said that the kanya’s anger at Shiva’s abandonment was harnessed to kill Banasura, the true purpose of Devi’s incarnation.

Prateeksha emoted with great involvement — as the bride and then as an angry damsel who hears a voice telling her of her true identity and the purpose for which she had been sent to earth.

In the subsequent fight with the asura, Devi throws a rope around his neck and pulls it, thus killing him.

The effort required to pull the asura was shown through the tightened muscles of the dancer's arm and the almost-real twitching of her facial muscles; that moment proved that Prateeksha is a class apart.

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Printable version | Feb 26, 2020 1:29:23 PM |

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