Traditional repertoire

November 16, 2012 12:00 am | Updated 04:52 am IST

Dance An impressive Kuchipudi performance by Mihira.

Ease and proficiency in mime and mudras constituting body language a dance needs, generally win half the battle. If the number is coupled with jati presentation, the show gains authenticity. Vempati’s school is strong in these elements what Mihira acquired through her teacher Deepika Reddy, who in turn belongs to Vempati Chinna Satyam School. Besides, Mihira acquired thematic presentation knowledge, accompanying her teacher in many ballets — an experience that lasted for more than a decade. These traits were found in shaping her Kuchipudi recital she presented last week at Saptaparni under the Continuum series. The repertoire set for Mihira was indeed traditional for Kuchipudi medium, she could easily sail though each of these numbers that opened with Vinayaka Sthuti

Ganadhipam , a number describing Ganapati in full form appreciating all His bodily elegance and grandeur of his ornaments, and benevolent outlook, came into descriptive appeal Mihira going thorough the details of the number, written by Mangalampalli Balamuralikrishna and choreographed by Deepika.

Kuchipudi is well known for dance dramas like ‘Ushaparinayam’ an ancient work and also for its daruvu structures, the taste of which was given by Mihira by presenting the Pravesa Daruvu which is what the main character of the drama Usha is, introduces herself saying she is Banasura’s daughter and also her mental and physical attributes. This is set in Kedaragowla raga.

No Kuchipudi show goes sans Narayna Teertha’s tarangam. Mihira was given the Govardhana giri sequence, where Krishna lifts the hill on his little finger under which the cattle and cowherds get protected from a fiery storm. It also incorporated ‘Gopika Vastrapaharanam’. The most engrossing part of the tarangams has always been the dance standing on the rims of brass plate and then going through intricately woven jati spells and moving back and forth to the rhythmic structures set in Adi talam. It was a well executed number by Mihira with full concentration on song for abhinaya and jatis in her dance on plate.

Deepika’s Nattuvangam to mridangam support was in unison. D.S.V. Sastry, scion of Kuchipudi family, lent vocal support, while Saikumar on violin and Murali on flute lent support.


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