A rare and evocative synthesis of devotion, philosophy, and classical dance unfolded at Ravindra Bharathi on Saturday, 17 January, as the timeless wisdom of the Bhagavad Gita was interpreted through Kuchipudi by a remarkably young artiste, leaving the audience immersed in spiritual and aesthetic delight.
Anna Rao Gangavalli
A seamless fusion of devotion and dance took place on Saturday, 17th January, at Ravindra Bharathi. The immortal lessons of the Bhagavad Gita were expounded through their enactment in Kuchipudi dance to the accompaniment of 54 selected stanzas. Fifteen-year-old Ventrapragada Nuthna Ananya, a very young and talented artiste, accomplished this endeavour with choreography learnt from senior Guru Maddali Usha Gayatri, abhinaya taught by her mother Vani Bhavani, also a dancer, and sloka recital skills infused by Gita Acharya Sri Kripalu.
Ananya has anchored television programs for children and is also learning to play the violin, as well as undergoing training in vocal music. The music was composed by Vempati Srivalli Suri, who also, with distinction, essayed the vocalist’s role in the program. Her singing, aided by an experienced orchestra, added immense value.
After an auspicious invocation to Ganesha, the prelude was the Krishnashtakam — “Krishnam Vande Jagadguru”. Ananya was attired in an elegant costume of orange colour with a pink border, which gleamed in the lights like burnished gold. Her abhinaya was striking, as the dancer’s mobile face and liquid eyes aided expression. Graceful nritta was exhibited in profusion.
Krishna is hailed as the son of Vasudeva, the destroyer of Kamsa and Chanura. His body is of a turquoise hue and he wears a garland. Ananya was charming as she took up the pose of Krishna holding his flute in a statuesque stance. His hair hangs in locks framing his face, glowing like the full moon. The peacock feather is tucked on his head and his radiant smile beams. The Srivatsa mark shines on his chest, with Tulasi adorning him along with dazzling ornaments. Rukmini and the gopikas are always with the Lord in yellow pitambara. The son of Devaki is the jewel of the Yadavas.
The Gita part of the recital was framed by Ananya first reading the verses; this was followed by Srivalli singing and Ananya dancing in synchrony to bring out the meaning, aided by brief projections on the backdrop of the respective cantos being enacted.
The opening scene depicts Arjuna’s desire to survey the enemy host facing him in battle. He requests his charioteer, Krishna, to take him near them. At the sight of close relatives and revered gurus in the opposing army ranks, Arjuna feels dejected and begins expressing his anguish — “What is the use of gaining a kingdom at the cost of slaughtering one’s own people?” The answer lies in the sublime divine wisdom contained in Krishna’s discourse.
Arjuna is admonished to abandon his delusions. The warriors facing him are already preordained for destruction; he is merely a tool used by time and implacable fate. He who, without attachment, carries out his duty attains salvation. Abandoning all else, he is to take refuge in devotion to the Lord alone.
An ornate description of Sankhya philosophy and the gunas — sattva, rajas, and tamas — followed. The magnificent climactic Vishwaroopa Darshan was rendered superbly as the audience watched reverently and with rapt attention. Arjuna is both overwhelmed and illuminated. He is now convinced and rejuvenated, ready to take up his appointed task to wreak vengeance and destruction upon the Kurus, who will now endure the results of their evil actions.
Ananya was convincing throughout, as her angika and mukha abhinaya, combined with energetic nritta, rose to the task of conveying both the thrilling battlefield scenes and the elevated spiritual emotions of the recital. Holding the spectators with the aura of embellished dance was no mean feat, and Ananya, it is hoped, will continue successfully in her chosen mission of conveying the timeless values of the Bhagavad Gita through dance and recitation to guide, inspire, and benefit society.
