Tradition and technique
Vyjayanthi Kashi gave a highly competent Kuchipudi recital in the Capital the other day.
IN FORM: Vyjayanthi Kashi strikes a pose. PHOTO: CH VIJAYA BHASKAR.
Vyjayanthi Kashi, a Bangalore-based Kuchipudi dancer, is known for her innovations and imaginative choreographic productions, which have often been seen in Delhi and other metros. Recently, she brought to the Capital a performance based on the traditional but not often seen compositions of Kuchipudi. The recital was reflective of the research and dedication one expects from a professional dancer.
Vyjayanthi's form stands her in good stead. With clear footwork, neat lines and the grace characteristic of Kuchipudi's up-and-down movements and slides, she is well equipped to utilise the technique to convey themes of her choice. Among other numbers, Vyjayanthi's tarangam during her recital at the India Habitat Centre was a case in point. Taken at a fast pace, the second portion with the dancer executing rhythmic portions while standing on the brass plate was impressive. Earlier also, the intertwined toes and other footwork characteristic of this number stood out for their clarity.
Her presentation of the golla kalapam - the dance of the milkmaid, who is a spiritual symbol as she deals in milk, ghee and curds, which all have significance in ritual prayer - was also attractive, though the spiritual aspect of the character was not particularly obvious despite the enlightening introduction.
Vyjayanthi's recital unfortunately suffered due to inadequate vocal support, with the singer being more off the key than on. Be that as it may, the dancer did deserve a larger audience. Dancers from outside the city often face scantily filled halls, but this situation arises due to a general failure to build up an audience for the classical arts, rather than personal effort or lack thereof on the part of the individual artiste.
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Chennai and Tamil Nadu