When a scholar is able to depict on stage her doctoral research, recreating through dance the highlights of her book, the presentation achieves a unique dimension. 'Jeeva Nayika,' a presentation following the release of the book ‘The Nayikas of Annamacharya’ by senior Kuchipudi dancer Anupama Kylash at Ragasudha Hall was one such.
Two aspects stood out: firstly, the masterly imagery, and secondly, the intensity of Sringara rasa in Annamacharya’s lyrics.
Priyadarsini Govind, director of Kalakshetra, launched the book and senior dance exponent Nandini Ramani received the first copy. The book with sections on the possibilities of Annamacharya’s pieces for dance interpretation was viewed as a valuable contribution to dancers. Scholar V.A.K. Ranga Rao presented a critique of the book.
The book mainly has 52 songs of Annamacharya analysed. The Nayika Bhavas described with each song are accompanied by a transliteration, transcreation, and description of adaptability to abhinaya.
At the presentation, one wondered at how painstakingly Anupama, who has learnt Kuchipudi from Uma Rao and Vilasini Natyam from Swapna Sundari, explored the layers of Sringara as depicted in Annamacharya’s compositions. But the recorded music
was too loud to blend with the sublime thoughts expressed by the artist.
Anupama, wearing a well-put-together Kalamkari-inspired costume, presented a few compositions of Annamacharya interspersing them with verses from the Shringara Manjari, which revolves around Alamelumanga waiting for Lord Venkateswara, her viraha, and finally his arrival, and their union.
Of the compositions presented, ‘Kondalo Kovila’, a song portraying an Abhisaarika nayika was most interesting. It depicted how with mixed emotions of anxiety, passion, and a sense of breaking away, the nayika is torn between her responsibilities as a married woman and her feelings for her lover. The piece ends spiritually: nothing can contain one's longing for the
Lord when “Kandalo govila guya” (when the cuckoo coos on the hilltop). This phrase is symbolic of the thought “the Lord of the Hills beckons me.” Interestingly, the dark-hued cuckoo is a direct reference to the shyamala varna Lord Venkateswara.
In ‘Kanna varide’, the dancer portrayed a nayika who has no trepidation over coveting someone else's husband. She denies all responsibility for the hold she has over the nayaka, who is a married man. In javali style, this piece ended with a nritta element.
Anupama juxtaposed Kuchipudi and Vilasini Natyam throughout. In ‘Chaalu Jaalu’, the dancer performed ‘seated abhinaya’. The nayika bemoans, “What is the
use of this life without him.” Similarly, in the piece ‘Valapula’, the nayika says, “the army of love attacks
us.” Annamayya visualises the moon, streams of cool moonlight, the soothing breeze, perfumed waters, and sandal dust as attendants who proclaim Manmatha's arrival. However, these moonbeams turn scorching during separation. The presentation began with “Etuvanti Mohamo,” a song extolling Lakshmi as Venkateswara’s consort.
