Uma Murali dance efficiency at Narada Gana Sabha.
| Photograph Credit score: RAVINDRAN R
Celebrating 50 years of her dancing profession, Uma Murali, Kuchipudi and Bharatanatyam dancer, organised a day-long occasion just lately in Chennai.
The morning conference targeted on varied facets of Kuchipudi, with well-known dancers sharing their information and insights.
Uma Murali’s ‘Sri Krishna Parijatham’, dance efficiency at Narada Gana Sabha.
| Photograph Credit score:
RAVINDRAN R
Sure songs or thematic tales in Kuchipudi have captured the viewers’s creativeness to such an extent that they’ve come to be recognized with a specific artiste or establishment. One such story is ‘Sri Krishna Parijatham’, which is related Vempati Chinna Satyam, who introduced it on stage a long time in the past. Many of the main dancers of this type, have sooner or later or different of their profession, carried out the principle roles on this iconic manufacturing. Uma, selected to revisit this manufacturing in collaboration with college students of Kuchipudi Arts Academy (based by Vempati Chinna Satyam), to mark this particular second in her journey.
Easy and easy
The storyline of this manufacturing is straightforward and easy, however it’s the drama and feelings which resonate with the rasikas every time it’s carried out. Sage Narada, identified for his mischievous intent and actions, provides a particular flower parijatham to Krishna, asking him to present to his favorite spouse. When he provides it to Rukmini, ship Satyabhama right into a rage. To console her, Krishna provides a parijatham tree whose flowers fall in Rukmini’s courtyard. The ego conflict between the 2 wives, Krishna’s efforts to pacify them, and eventually, the ladies realising the essence of whole devotion and give up are what the dance manufacturing is all about.
Sleek presentation
Swapna as Narada set the temper for the efficiency. Vempatti Lakshmi Kameshwari as Rukmini introduced out the attractive shades of the character by way of her swish actions and stances and variations in expressions. The sequence ‘Neela megha sharira’ was significantly spectacular, the place the dance appears to be like admiringly at her personal reflection within the mirror. Equally endearing have been the expressions of Varshitha, enjoying the function of Krishna. The 2 dancers collectively carried out the Tharangam (dancing on brass plates), a preferred piece of the Kuchipudi repertoire, in good coordination.
‘Bhamane satyabhamane’, the favored Pravesha Daru composition, was the introductory music for Uma’s entry as Satyabhama. Her portrayal of conceitedness, anger, coyness, love, jealousy, sorrow and regret confirmed her huge expertise as an artiste.
The manufacturing establishes a join with the viewers for its participating story and relatable feelings. Even with out lavish units or props, the 4 dancers saved the curiosity alive.
The orchestra
The musical ensemble contributed in giant measure to the affect of the presentation. Weilding the cymbals and having whole management over each facet of the musical association was Aditya Anukula. Paying homage to the celebrated singer Ghantasala, the bhava-laden singing was by Nalla Chakravatula Koushik Kalyan introduced out the temper of every sequence. Pavani Mutnuri’s singing complemented his voice. Sreedhar Acharya on the mridangam, C.V. Sudhakar on the flute, Krishna Subrahmanyam on the violin and C.N. Praneeth on the veena supplied glorious assist.