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In Memory of a pioneer
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The first Kuchipudi guru to arrive in Telengana, Bhagavatula Ramakotaiah was remembered on his death anniversary.
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In remembrance At the event in memory of Bhagavatula Ramakotaiah.
Bhagavatula Ramakotaiah was the first dance guru who came to Telangana and began teaching Kuchipudi in the year 1956, the year of the A.P. State formation. He was also the first `Natyacharya' who ran a school in Hyderabad and introduced girl dancers to play the roles of male characters on stage. His contribution to the Hyderabad stage as Kuchipudi dance guru was unique. He was famous for presenting Yakshaganas of Kuchipudi - Ramanatakam, Bhakta Prahlada, Sasirekha Parinayam, Gayopakhyanam and Usha Parinayam. He also experimented with social themes like Gurajada's Lavanaraju Kalaand Padmaragam, his own creations in Kuchipudi dance. Sethuram, his son, as a child played the role of Prahlada in Bhakta Prahlada, Lavudu in Ramanatakam. Presently he is working in the Telugu University's Dance faculty. It was he who organised this memorial function of his father marking his `Vardhanti', last week at Thyagaraya Ganasabha.
The function was organised under the joint auspices of Sri Kuchipudi Nritya Nilayam and Chaitanya Art Theatres. The programme was opened by six dancers presenting a Vinayaka theme in the traditionalDaruvu format. Aparna, Nalini, Keertana, Mohan, Indu and Bindu took part in this and displayed good command on jatis, which were a bit complicated. Takkuvemi Manaku, a Ramadasu kirtana in Ragamalika was the choice number to present Dasavataras. Keertana played sutradhara and presented this first line of the kriti, as an introduction to the ten incarnations of Maha Vishnu. Then other girls joined to present each episodes of the Dasavataras, taking up different roles in Avatara themes. Draupadi Maana Samrakshanam was the next important number. Opening this part of the Yakshagana with a Natakuranji Varnam Nannu Brova Neeku Bharama, they went for Draupadiki Valuva Sabhalo, a line in the kriti, for dramatisation and used it for the introduction of the story, bringing the character of Duryodhana on to the stage. From then on, till Manasamrakhasna scene, the entire drama ran against musical backdrop, dancing to variegated Jati patterns. Different ragaswere used according to the thematic version.
There was an experimental presentation of Jandhyala Papayya Sastry's Pushpa Vilaapam verses, giving roles of flowers to each of his students, that was well received. With Sethuram using all the mudras of Kuchipudi in the abhinaya part, without disturbing the Kuchipudi format. Rasaleela was another notable number interpreting it as if it was showing the way to Mukti (Salvation). Sarada Reddy and Kanna Rao lent a pleasing and expressive vocal support. Nageswara Rao was on mridangam and Sethuram conducted the whole show. Kuchipudi exponent Sobhanaidu and Director, International Telugu centre T. Gowri Sankar lauded the efforts of Sethuram and blessed the artistes. It was a pity though that some of the dances had to be presented under rain as there were leaks in the roof of the stage. Even green room was not spared of this problem. It is time for the management to attend to this problem immediately.
G.S.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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