From Kuchipudi performance at Kala Mela in Chennai. , Photo Credit: Velkani Raj B
The second evening of the Kala Mela presented by the Kalakshatra Foundation at the Bharat Kalakshetra Auditorium, a vibrant showcase of Kuchipudi demonstrations by the Vena Murthy Vijay in Chennai and Sri Rajarajeswari Kalanichtan, was brought from his disciples from Bangalore. Performance attracted the audience into layered traditions of the form – balanced ritual roots with beauty cleverness.
In the evening, it was started with Purvaranga Vidhi, which is an early rite that sanctifies the stage. The truth for Natashastra’s prescription is true, the dancers preserved the platform with water, incense and lamps, which creates a temple -like atmosphere. The use of authentic props and the severity of rituals gave aura of purity.
Ramayana Shabdam, presented by the students, discovered the story of Rama from his birth to the coronation. , Photo Credit: Velkani Raj B
After this Ramayana was Shabdam(Ram Patabhisheka Shabdam), a story, which detects the arc of Rama’s life from birth to coronation. Set in Ragamalika and Adi Tala, the story manifested episodically – Rama’s valor in Mithila, his exile, Sita’s abduction, Hanuman’s leap to Lanka, The Great War and finally the lease in Ayodhya. While choreography approved the tradition, a contingent of artists ensured clarity in telling the story that the story was allowed to slip into monotony.
From Kuchipudi’s repetition ‘Bhama Kalapam’, performed as part of the Kala Mela Festival of Kalakshetra. , Photo Credit: Velkani Raj B
The main attraction of the evening was the Sandhya Tandwa, where the dancer carried out a loud singles with command on Karan. Choreography conceived Shiva’s astronomical twilight dance in Kailasa, where he instructs Brahma to maintain the lock, even he conquers six internal weaknesses – desire, anger, greed, confusion, pride and jealousy. The clarity of four and rhythmic Jatis gave this piece its bright power, causing both technical accuracy and spiritual depth.
Sandhya TandwaThe main attraction of the evening was. , Photo Credit: Velkani Raj B
A jewel in Kuchipudi’s list of performances softened with Bhur Kalapam. Veena portrayed Madhavi, a playful so far in a touching dialogue with Satyabhama. The conversation stood out for their natural flow – funny, satire and tenderness. As the play came out, the metaphor deepened: Satyabhama’s Gaurav gave a way to suffer, while Madhavi’s teasing banquet underlined the futile of the ego. The symbolic exchange of the nose ring was handled with subtle acting, representing its own surrender. This episode reminded the audience that Bahma kalapam There is not only about conjugation quarrel, but the desire to unite with the divine of the soul.
The list of demonstrations with Shiva Tarangam continued, where the disciples displayed agility on brass plates, weaving the rhythm and story originally. This depicted the subjugation of the Ganges’ dynasty and Shiva’s pride, the interaction of the dancers in the genius increased the appeal.
Finale, Simanandini (Chitrantutam) offered a spectacle and scholarship in equal measurement. Set for the combined 128-beat SimhanandanThe lock, the design of a lion was drawn on the stage by Veena, digging the holy image in his footwork rhythmic accuracy. Traditionally, the temples performed as a gift to Goddess Katayini, this number developed the echo of the Devadasi tradition, as well as located herself in the modern process.
Whatever it was was the harmony of the congregation, a clear devotion for a uniform costume, measured movements and idioms. ,
Published – September 08, 2025 03:33 PM IST