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 Dynamic Kuchipudi by Vaidehi Kulkarni - Sivakumar Perumal Pandithar e-mail: spandithar@yahoo.com July 28, 2024 On the auspicious day of Ashadha Pratipada, the first day of the month of Ashadha, Kuchipudi dancer Vaidehi Kulkarni regaled the rasikas to a beautiful start to the special day. This was the 216th performance of the Bharatiya Vidya Bhavan and Infosys Foundation Cultural Outreach Programme which was held on 6th July 2024 at Sardar Mahadev Balwant Natu Sabhagriha, Pune. Vaidehi has trained under Dr. Vempati Chinna Satyam, Manju Bhargavee and Vempati Ravi Shankar. Her performance was a joyous energy with intricate steps seamlessly performed which was the hallmark of the evening. Commencing the recital with a beautifully performed prayer item Ganesh Sloka, the artiste created striking images of the lord, and her dance flow was sublime. As the evening progressed there was a high degree of perfection in every item performed by her. Vaidehi performed on the choreographies of her eminent Gurus.  Vaidehi next presented one of the most famous items in the Kuchipudi repertoire, of Satyabhama Pravesha Daruvu. Set to the literature of legendary Siddhendra Yogi, it was choreographed by Dr. Vempati Chinna Satyam. The strong character of Satyabhama was enacted aptly by the dancer, a pride in her stride and self-belief as being the most loved by the lord amongst many. The sahitya was enacted with much aplomb while the jatis were a treat to watch. The charis and adavus perfectly fell into place as her feet danced to the rhythmic patterns with great precision. Her abhinaya in this item, especially her ability to command her facial expressions was notable. The rasikas enjoyed this item with a thunderous applause for the dancer's creative best. Manduka Shabdam was a choreography of Dr. Vempati Chinna Satyam set to Ragamalika, misra chapu scripted by Melattur Kasinatha. Also known as the Gajendra Moksham. Vaidehi entered the stage with a scintillating flow of her dance. Her nritya, nritta and natya elements came to the fore. Her dance and the performance on jathis were brilliant. The many emotions of the various characters like the lord playing with his wife in a joyous mood, the pain of Gajendra whose feet is in the grip of the crocodile, the anger and emotion when Indra curses Gajendra shaking with anger with the broad eyes and a face depicting it in sync, were the highlights. In the Keertanam, the Bhakta is pained that lord Rama is ignoring him, his prayers and requests Sita mata to help him. This item is choreographed by Guru Manju Bhargavee. Vaidehi showed so much pain through her eyes, facial expression, her body feeling so low as the saddened Bhakta. In another degree of pain, her eyes would be full of tears. This item showcased fine nuances. Her moves were so gentle as a lost Bhakta that there were instances when she moved around but not a single bell of her ghungroos made a sound. Vaidehi next performed Tarangam, Govardhan Giridhara, a choreography of Dr. Vempati Chinna Satyam. This item is about Lord Krishna. Vaidehi continued to keep her elements of nritya, nritta and natya intact. The dialogue between Yashodha who is milking the cow and Krishna, spoke through the eyes of the dancer, as also the details, when Gopikas remove their nose ring, earrings, splash water on their faces. One moment during the performance of this item showcased the connect that the dancer had created with the rasikas. When the dancer was about to raise the Govardhana Parvat, she placed her hands at the bottom of the great mountain, and a photographer close to the stage moved back hastily to avoid being picked up along with the mountain! Performing on the edge of the brass plate, Vaidehi matched the nattavunar with a great performance.  In the javali Parulana Maata, the Nayika has a dialogue with the Nayaka requesting him to not listen to whatever rumours others are spreading about her. The dancer's firm grip on portrayal of the characters and her expressions were remarkable. How gently the Nayika questions the Nayaka about his whereabouts, his interest in other women, her bhavas of anger, sadness were well showcased by Vaidehi. Tillana was the concluding item, dynamically performed as every item of the evening. Choreographed by Guru Vempati Ravi Shankar, the brisk and brilliant performance was a treat as the dancer turned into beautiful sculpturesque poses at minute pauses. She came, she danced, she conquered. Thank you, Vaidehi, for such a wonder recital of classical Kuchipudi, bringing forth the brilliant choreographies of your luminary Gurus.  Sivakumar Perumal Pandithar is a writer based in Pune. |
