KUCHIPUDI

  :Development and Importance :
      Kuchipudi is one such unique form of Art which is the tasteful blend of grace and vigour, elevation and sensuality, of control and abandon. With its roots buried in the soil of Andhra Pradesh in India, Kuchipudi was born in a remote Village from which it derived its name. In the early days, the Kuchipudi style of dance was in the form of dance dramas, the main purpose being to inculcate divine ecstasy which invokes immortal bliss and brings one closer to the path of salvation .It is strictly classical in nature incorporating Lasya, Thandava and Abinaya in the interpretation of Slokas. It incorporates Samyutha and Asamyutha Hasthas, Karana, Chari, Angahara, Mandala, Nrutha Hasthas etc. All mentioned in the NatyaSasthra. Kuchipudi dance is the only dance form where all the four Abhinayas (Angika, Vachika, Aaharya and Satvica) are given equal importance. The use of Vachikabhinayam is a special feature in the Kuchipudi dance style. The Dancer not only merely dances but also acts with gestures as well as words. It takes atleast ten years for an ordinary dancer to master this art and be able to express Bhava through eyes and Rhythm through foot work. There were two parallel schools of dance, Nattuva Mela and Natya Mela. Nattuva Mela developed into Bharathanatyam (performing solo items) and Natya Mela into the Kuchipudi dance in dance drama style. Nattuva mela is basically solo dance performed by women and the nattuvangam is generally done by men. The repertoire of this style of dance consists of both erotic and devotional items, Sringara and Bhakti. This is the form of dance that both the temple dancers and the court dancers used to perform, with God or king as the hero, as the case may be. The second style of dance is Natya mela which is generally performed by both men and women. Their repertoire consists of dance dramas with themes, not necessarily religious, to entertain the audience. This later form of dance is believed to be the forerunner of the present day Kuchipudi dance.

    Women kept out :

Sidhendra Yogi, an exceptionally gifted scholar and artiste, who lived in the 16th century gave a definite format and purified this ancient art. Sidhendra abstained from training women fearing that they might exaggerate the sentiments expressed and dispel it of its spiritual tone. Kuchipudi became an all male domain. The female roles were also impersonated by men. All the families residing in Kuchipudi were devoted to either in teaching on performing this austere dance style. Dance was their one and only source of living. Kuchipudi remained confined to the narrow limits of an obscure village with little exposure.

  Contreversies :
Unfortunately in the last forty odd years the revival of Kuchipudi has raised a lot of dust. Controversies have been ragging over its classical character. Also some misguided dancers have convinced the public that drawing the pictures with colour powders with foot is part of the Kuchipudi repertoire. This is not only damaging the spirit of the dance form, but is also irrelevant in the extreme.

Performing 'TARANGAM' :

   The major attraction in Kuchipudi dance style is performing Tarangam. The source literature is Narayana Teertha's Srikrishna Leela Tarangini. Dancing with the feet settled on the rims of a brass plate was introduced to make the style more attractive and outshine when in comparison with its kindred styles. This is not a gimmick, nor is it an effort to bring in irrelevant acrobatics. Such sequences reveal the artiste's mastery over rhythmic complexities. Solo items were choreographed; compositions of eminent poets were taken and set to choreography. These changes lent a glimmer to the art and Kuchipudi. Bhama Kalapam and Golla Kalapam are the two major Kalapams that are practiced by the Kuchipudi dancers.