Showcase of culture

Scene stealers A scene from ‘Andhra Prasasthi’.

Scene stealers A scene from ‘Andhra Prasasthi’.   | Photo Credit: Photo: C.V. Subrahmanyam

Lakshmi Prasad’s informative talk was supported by a well-executed ballet, ‘Andhra Prasasthi’.

Thanks to the support extended by founder president of the Lok Nayak Foundation, noted polymath Yarlagadda Lakshmi Prasad, the ballet Andhra Prasasthi, which was first staged recently at Hyderabad, was also presented at Kalabharathi last Saturday evening.

A discreetly heralded technique of enlightened presentation of the documentation of the genesis and evolution of the Telugu language with a popular appeal, it was produced by the A.P. Official Language Commission. A brainchild of its president, A.B.K. Prasad, it turned out to be not only a most befitting commemoration of the event of getting Telugu, the accredited status of a classical language but also an enticing showcase of its accrued splendour.

Early history

Thoughtfully, it started with an audio presentation of a prologue rendered by Prasad. It was constituted of prolegomena on the flourish of the trade and business relations established by the Andhra Satavahana emperors for about 500 years starting from 250 B.C. first, the beginning of the blossomy thrive of the peoples dialects as administrative media coinciding with the period of the onset of Buddhism, business voyages of Telugu people on the seas along with other sects, the emergence of small and big Andhra settlements and so on, then were lucidly explained in the process.

Down the ages

Tracing the genesis of Telugu Brahmi, Prasad elucidated how the Satavahana emperor Hala crowned the Telugu vocabulary with the literary status in his Gaadhasaptasathi. Thus, he held forth on various issues with the help of projections of photo-slides of inscriptions on stone through the ages.

Midway, the ballet team took over the job of documenting with song, dance and drama. The brilliantly heralded technique recreating a few events of the yore on the stage, made the ballet assume a sort of docudrama form.

The script by Dandibhotla, music by D.S.V. Sastry and the choreography by Kumari Koka Vijayalakshmi were very evocative, but totally neglected the raw dialectal, song, dance and dramatic art forms of spontaneous expression of the joyous and otherwise emotions of the aboriginals, tribals, girijans and the rural folk. As they were discerningly elucidated at length as the real sources of the genesis of the language by Prasad in his prologue, their neglect created a conspicuous void.

Dancers Salim, Snehalatha, Ravi, Radhika, Radhakrishna, Venkat, Kumar, Ramachandra, Ramana, Ramulu and Murty along with dance director Vijayalakshmi briskly did well sustaining the tempo all through. Vocals by music director DSV Sastry himself went melodiously scintillating.


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