Ballet of a rare kind
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Lasya Priya's Yakshagana was innovative and appealing.
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GRACEFUL Radha Vamseedhar Vilas Natak in Yakshagana format.
K. Uma Rama Rao, retired head of the dance faculty of Telugu university became specially known for production of dance ballet of rare kind and did research into old traditions of dance dramas including Yakshaganas. She collected a rare Yakshaganam titled Radha Vamseedhar Vilas Natak, in Hindi written by Maharashtrian king Shahaji who ruled Tanjavur between 1684 and 1712. She produced it in Yakshagana format and presented it at Ravindra Bharati recently under her banner, Lasya Priya. Central Sangeetha Nataka Academy, New Delhi granted funds for this production.
The hero and heroine in this theme are Krishna and Radha. Radha appears to have practically replaced Satyabhama of the Kuchipuidi Bhama Kalapam. But the narrative structure resembles Bhama Kalapam. The already existing Kuchipudi tradition must have influenced him. The Hindi lyrics of Shahaji are set in Carnatic style, using the same ragas, as mentioned by Shahaji in his text. We also see the influence of Jayadeva's Geetha Govindam on this ballet.
Alekhya looks great as Radha and her movements on the stage and the many adavus she uses earned grace for the character of Radha. She underplays the role to elevate its dignity. Uma Rama Rao ended the show with reunion of Radha and Krisha freezing them together into statuesque postures that we find generally on calendars sheets, looked at as `Parama Purusha' and `Paramadevata'. That was a period of `Madhura Bhakti' and Vaishnava cult dominating the show, which we see in Jayadeva's Ashtapadies too.
The sequences were divided into two backdrops `Kadambavanam' for Krishna and `Sringara Vanam' for Radha. Kadambavanam was a place where Krishna sits and receives characters like Udhava (Swarnabala) and a Yogi (Rupali Roy), both making efforts to reunite Krishna with Radha. Ultimately it is Krishna's flute play that pulls Radha to him. Vijayalakshmi played the role of Srikrishna and her physic suited the role perfectly. Sindhoora, Charvy, Karina and Sindhuja figured in minor roles.
In future, Uma should consider recording the musical part with Hindustani singers and use Hindustani ragas. The Carnatic style took away the clarity of Sahitya.
GUDIPOODI SRIHARI
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