A. RAMALINGA SASTRY
Sita Sonty from the U.S. came up with a beautiful Kuchipudi recital
PHOTO: C.V. SUBRAHMANYAM
BACK TO ROOTS Sita sonty perfroms Kuchpudi at Kalabharathi.
US-based Sita Sonty gave a brilliant Kuchipudi recital at Kalabharathi last week.
A Johns Hopkins Universtiy alumnus, who is a desk officer of Syria in Washington, Sita Sonty is daughter of the US-based Sriram and Sarada Poorna. She is an exponent of both Bharatanatyam and Kuchipudi and has won many a laurels for her performances.
A disciple of Adayar Lakshman, Uma Rama Rao and Sudha Srinivasan, she is now under the tutelage of the Vedantam Raghava, son of the Kuchipudi maestro, late Rattaiah Sarma, and a disciple of Vempati Chinna Satyam.
Irrespective of the fact as to how much quality of the attributes that characterise the Kuchipudi tradition got truly and faithfully represented, the show literally kept all alike in the auditorium in a rapturous spell all through its one-and-half hour duration.
The choreography by Raghava, had nattuvangam by him that brought all reminiscences of the style adapted in the old hit movie Jhanak Jhanak Payal Baje which went musically captivating though, summum bonum, it remained a moot point for the connoisseurs in particular.
The choice of jathis and in consequence, the patterns of foot work though were innovatively thrilling, being repeated in all the items, created monotony.
Whether it was Sri Ganapathini of Tyagaraja (Sourastram) or Suryaastakam of Veda Vyasa in Ragamalika, Utakkad Venkata Subbayyar's Krishna Tandavam set in Nata, Narayana Theertha's Tarangam, Parama Karunamaya in Mohana and lastly the Ravanakritha Sivatandavam in Kamavardhini, Sita emoted even the minutest hues of emotions embedded in the lyrics with arresting empathy. Amazing fluidity coupled with fluency in movement and all facets of abhinaya, crystal clear clarity in Mudra and paradigmatically aesthetic balance of nritta, nritya and natya not only marked her performance but also made her seem to be born for dancing.
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