Leela - A Kuchipudi production full of divine ecstasy

Hans India

11-07-2025

The recent Kuchipudi production 'The Leela' by Akshadha School of Performing Arts at Rangbhoomi, Madhapur, was a treat to watch. Featuring solo and group performances by Nihanthri Reddy and her students, it was a soulful journey into divine madness—the mystical ecstasy experienced by the true devotee in search of the 'Paramatma'.
This sacred longing often appears as madness to the outside world. But as Sant Tukaram profoundly said, the ideal devotee is one who appears mad in the eyes of society—for it is only in such uninhibited devotion that one truly surrenders.
In this recital, Nihanthri explored the Bhakti period and its rich legacy of poets who poured their souls into verses of divine love and surrender. She chose the 'sarga' format, similar to Jayadeva's magnum opus 'Gita Govinda'. Five themes, forming the spiritual and aesthetic spine of this work, were selected. Krishna's multifaceted nature was reflected through deeply devotional portrayals of these songs, envisioned through dance and music.
It was explained that these compositions are not mere lyrics, but cries from the soul—echoes of mysticism that bind the devotee to the divine. Therefore, the emotions and feelings depicted were compared to a world of sacred frenzy where the audience was invited to feel—smile, cry, laugh, and chant the divine names—to truly partake in a living devotion, not just witness a performance.
The students wore yellow-orange silk 'aharya' with multicolored borders. Nihanthri herself stood out austerely, having pared down all accessories to a minimum—just a plain dark dress with minimal but exquisitely sparkling jewelry and no ornate headdress. This gave an almost balletic look and enabled the audience to discern every gesture of 'angika abhinaya' with lucid clarity, allowing the movements to be followed throughout their amplitude from start to finish. The flowing grace of Kuchipudi in every minute detail was crystal clear.
The solo piece by Nihanthri, 'Swagatham Krishna', though a much-performed item, conveyed a depth of feeling through its 'sancharis' that was truly eloquent. The 'nritta' was exceptionally energetic and vigorous in the 'jathis' presented. 'Abhinaya' flowed well in tune with the 'natya', creating a well-rounded exposition.
'Nada Murali', performed by Nihanthri along with her students, reflected the rigorous training of their young guru. The students' precision in every step stood out. The 'abhang' 'Bhakta Jana Vatsala' by Sant Namdev praised Vithala as the compassionate protector of the world. In a unique phrase, he is hailed in the feminine form as the divine mother whose grace is as vast as the ocean.
Here echo the words of the Vaishnava commentator Vidya Bhushan, who described Krishna as 'Madhusudhana'—he who not only vanquishes demons but also removes such tendencies from devotees' minds to clear the path for their spiritual growth. Krishna is thus both destroyer and liberator—the freer of the soul from its internal enemies.
Nihanthri was as brisk as the crisply melodious stanzas, her energy peaking as she darted across the stage with rapid twists and turns, almost too quick to track. The very air became vibrant with the devotional atmosphere of the song and dance. The material and spiritual merged as the boundary between them dissolved in the sanctified space created.
'Namdev Keerthana Kari' by Janabai reflected this merging. It was ably portrayed by the students, who danced in exacting symmetry and high-caliber synchronization. The 'sankeertana' delved into the Lord's absorption in his devotees' singing—so rapt that his yellow silk 'Pitambara' slips, a striking image. The Lord himself partakes in the ecstasy thus generated. Heaven becomes the living experience of chanting, singing, and breathing His name.
The highlight was the mellifluous 'Mazhe Mahera Pandhari', which kept the audience swaying to its tune. With wide-open lotus eyes, the Lord is constantly scanning the horizon for the souls calling out to Him. Panduranga is the loving father, and Rukmini, the affectionate mother. They wait with the tender eagerness of parents for the return of their daughter to the maternal home—a place of comfort, love, and belonging.
The choreography was particularly creative as the students, with Nihanthri, formed intersecting arcs and circles—patterns that caught the eye with dazzling displays of skill. The 'Nagara Sankeertana', where all the students and Nihanthri sat in a row to joyously sing the Lord's name, was magnified by the audience clapping in tune—creating a union of voice, melody, rhythm, and emotion. It was a sweet, heartfelt outpouring—an offering from the heart—where all sense of time and place was lost, and surrender to the music became total.