08-07-2025
A radiant celebration of classical grace
Saturday was a gala occasion at Ravindra Bharathi as Ananya Parsa's debut Kuchipudi Rangapravesham took place with élan. She learns from Guru Smt. Khuberini, who was in turn a student of Padma Shri Dr. Sobha Naidu.
Sri Venkateshwara Kuchipudi Academy has been established by her in North Carolina, U.S.A., where dance is imparted with sincerity to the students. Having staged many choreographies of her Guru and her own to applause in the U.S., Smt. Khuberini has never compromised on the integrity and beauty of her repertoire. She is a firm believer that pursuing arts does not interfere with academics but, in fact, sharpens learning skills.
Ananya has been a disciple for eight years, devotedly cultivating her passion for Kuchipudi. She has embarked on her journey into classical dance with dreams in her heart, a glow on her face, and a twinkle in her eyes. She holds a competitive gold medal from ICMDA and aspires to pursue her career in engineering, architecture, and interior design.
Festoons of floral décor were arranged, making the stage vibrant with color, and the lighting was handled masterfully by Basavaraju, who created a spectrum of effects. He focused in various angles to suit the mood, often bringing out the same hues as the aharya used and then altering them subtly to bring a rainbow variety to surfeit the vision!
Ananya came onto the stage in a gold-colored costume, resembling an aureate statuette. Her trim shape enabled an elegant recital full of grace allied to energy and vigour. It must be understood that keeping in form is an essential part of dance training in order to perfect stamina, which sustains a long performance—something Ananya possessed in abundance!
Ganapathi Talam in Nata is a composition often used in prayer and meditation. Ananya elaborated the lyrics through dance, praising Lord Ganesha's form and attributes while invoking his blessings for success.
Rukmini Pravesha Daruvu is not performed as often as Satyabhama's in the same introductory theme vein. It is much more gentle and softly melodious in comparison. Kalyani raga perfectly matched the mood, as Ananya—in this sequence from Rukmini Kalyanam ballet choreographed by Padma Bhushan Dr. Vempati Chinna Satyam—was in character as the idealised consort of Krishna. Her serene and innocent countenance was well depicted. Angika abhinaya and vachika abhinaya excelled.
As pure as nectar, Rukmini wishes to be as self-effacing and inseparable as the flute on Lord Krishna's lips. Beloved of her Lord, she is as calmly pretty as moonlight. The humility of Rukmini is the opposite of the pride of Satyabhama. Every gesture was in tune, as this item was the highlight of the recital for its polish and refinement. The flow of the dance enchanted the audience.
'Koluvai Unnade' is a prabandham composed by Shahaji Maharaj, the Maratha ruler of Tanjore. In paced stanzas, it describes Shiva as radiating divinity in every pore—hands ornamented, feet with ankle bells, adorning snake armlets and shining gems, with a trident resting by his side. Thus, his presence is made magnificent to all viewers. He is the God of all Gods, chants the refrain. The delicately poised Nataraja stance demonstrated the precision in balance required by the young dancer.
As light beams in crimson shades bathed the stage, Durga Tharangam was suitably vivid in verses extolling the devotional and poetic imagery steeped in the reverent bhakti of Narayana Teertha, classically exalting Goddess Durga as the embodiment of divine bliss and compassion. She is worshipped by sages, praised in the Vedas, and adored by celestial beings. The demanding jathis, done with skill on the brass plate, were the climax, eliciting ringing applause.
Krishna was delightfully welcomed in 'Swagatham Krishna', brimming with nritta to match abhinaya and natya as the exploits of Krishna were depicted. The lifting of Govardhana and the Kaliya dance were included. As he engages and slays the wrestlers Chanura and Mushtika along withBalarama before destroying Kamsa, the impact was well appreciated by the audience. The movements in circular, swirling contours of this art form, differentiating it from others, were enunciated with clarity.
The thillana rounded off the Rangapravesham traditionally, with pure dance movements and minimal sahityam. Lord Padmanabha is the deity eulogised in the Dhanashree Thillana of Swati Tirunal, which is an eternally popular part of the repertoire, as it showcases brisk movements to fast rhythmic patterns. Chiselled poses with virtuosity, allied with the finesse of the purest technique, conveyed the ecstasy of the human spirit when filled with divine bliss.
Nattuvangam was by Kubherini and Srikanth, mridangam by Sridharacharya, flute by Venkateshwarlu, violin by Chander Rao, and the resonant vocals by Mrudu Ravali. Sudarshan was responsible for the excellent makeup. Sandhya Raju presided as Chief Guest.
