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Music Season
KARTIK FINE ARTS
In myriad hues
RUPA SRIKANTH
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Deepika Reddy’s approach was bold and melodramatic.
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Photo: M. Vedhan
Kuchipudi: Deepika Reddy
Dressed in a gorgeous polka-dotted costume of purple and orange, Deepika Reddy made a striking picture on stage. Her Kuchipudi recital was as colourful, the canvas filled with the myriad hues of folklore and mythology.The approach was informal, bold and unabashedly melodramatic, as Kuchipudi is wont to be. The solo style is after all an offshoot of an ancient dance drama tradition and realistic acting (lokadharmi) techniques still play a major role as does stylised mime (natyadharmi).
Deepika’s programme was strong on the narrative and light on the rhythmic abstractions. The central piece was a detailed storytelling session on Draupadi’s strength of character — her humiliation at the hands of the Kauravas and her thirst for revenge. This excerpt from a thematic work, ‘Stri Trayam’ was quite a challenge for the dancer. Her multiple role-play had clarity and a good dose of authenticity, but it tends to be stereotyped. As she matures as a dancer, one looks for depth. Draupadi’s trauma when she is dragged to the court and her confrontation with the ‘elders’ and her husbands could have occupied more space than the dice game.
The final moment of triumph on the battlefield when Bhima bathes her hair in Dushasana’s blood could also have been captured more dramatically. Deepika had the good fortune of a strong support base. They were: Kishore Mosalikanti (nattuvangam), Ramesh Jetty (vocal), Hari Babu (mridangam), Bhavani Prasad (veena) and Natarajan (flute). The gore on the battlefield was contrasted with the sweet emotions of love between the gopis and Krishna in ‘Sringarinchukoni’ (Suruti, Adi), an excerpt from Tyagaraja’s ‘Nauka Charithram.’
The concluding tillana (Behag, Adi, Balamuralikrishna) was truly scintillating. As with the other pieces, the choreography was by Kishore.
The lilting pallavi had been originally composed with an infinitesimal gap (‘kaal yedam’) after the start of the time cycle and Kishore had composed the korvais to the music — the result was the adavus in ‘usi.’ Presented with finesse, it was a grand finale.
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