Elegance etched in Kuchipudi
Guru Srilatha Suri is the Artistic Director of Natyanjali Kuchipudi Dance School in Dallas, Texas. A senior disciple of Padmashri Dr. Sobha Naidu, she has devoted over three decades to the preservation and propagation of the Kuchipudi legacy, steeped in traditional culture, through performances, choreography, and teaching. She is the recipient of several prestigious honours in recognition of her contribution to Indian classical dance and has presented numerous solo recitals and dance dramas across several cities in the United States.
Her daughter and disciple, Dr. Pranamya Suri, who has also undergone advanced training under Dr. Sobha Naidu and Jai Kishore Mosalikanti, is currently visiting India along with other students of Natyanjali as part of an Indian performance tour. Pranamya has performed widely both in India and abroad at prestigious venues and is recognised for her versatility in portraying lead ballet roles such as Parvati in ‘Shiva Ganga’, Krishna in ‘Meera’, Shiva in ‘Kumara Sambhavam’, and Durga in ‘Navaratnamalika’, among others. She has also designed innovative collaborations and curated festivals.
Her diligent understanding of the Kuchipudi style enables her to excel in technique allied with plastic expressiveness. A qualified medical professional, she is an interventional spine specialist who has used her specialised knowledge to pioneer dance–anatomy workshops. The students accompanying her have trained for many years with care, completed their Rangapraveshams, and continued their dance journey despite demanding academic and professional commitments.
It was heartening to watch a polished, one-hour-long programme performed with care, control, and grace. Shilparamam, Madhapur, served as the venue on Saturday. Pranamya, adorned in dark pink and green aharya, impressed with her commanding stage presence.
The opening item, ‘Pari Pari Nee Padame’ by Balamurali, is a poetic melody with a catchy tune that auspiciously offers surrender at the divine feet of Lord Ganesha. The composer assures the deity that he seeks no boons but worships Him with devotion, never abandoning His sacred feet. Ganesha is depicted as the embodiment of compassion, the epitome of sanctity, and the essence of music. Set in Hamsadhwani, this brisk solo was energetically rendered by Pranamya, who moved through a series of stances with sculptural precision. Through angika abhinaya, she envisioned the God of Auspiciousness with all His attributes, dancing to nectarine music played on the flute and mridangam. Her chiselled nritta effortlessly covered the expansive stage.
The ‘Suryashtakam’, composed of eight Sanskrit verses, extols Surya as the giver of light and life, the bestower of knowledge and health, and the source of strength and courage. These verses, when chanted with devotion, are believed to reverse adverse cosmic influences and alleviate illness, sorrow, and poverty. Pranamya was portrayed as the effulgent Sun God seated in a golden chariot, while the students exquisitely mimed his traversal of the cosmos, drawn by seven dazzling white horses. As the various names of the Sun God were recited, each student assumed a corresponding pose, culminating in an arresting tableau.
Oothukkadu’s ‘Swagatam Krishna’ in Mohana was another solo by Pranamya. Krishna is welcomed as she portrayed, through layered abhinaya and contoured nritta, the exploits of the handsome Lord—likened to a flower, anointed with sandal paste, wearing a tilakam. The narrative unfolded with Krishna dancing on Kaliya, killing the demon Madhu, and vanquishing the wrestlers Mushtika and Chanura. The saviour of Gokula, worshipped by the maidens of Brindavan, protector of Devas and sages, was convincingly depicted. Pranamya’s portrayal of the wrestlers being challenged and defeated through twisting and turning leaps highlighted her agility.
‘Meenakshi Pancharatnam’, presented by the students in group choreography, was a symphony of symmetry and synchrony. Adi Shankaracharya’s magnificent Pancharatnam is like a garland of five jewels praising the Goddess. The divine journey of Meenakshi was celebrated—from her birth from the sacred fire, her growth into a warrior princess guiding her kingdom with wisdom, compassion, and valour, to her encounter with Lord Shiva. Their celestial marriage symbolised the union of Shiva and Shakti, harmonising power with grace and leadership with devotion.
The highlight of the evening was ‘Bhudevi Varaha’, a specially commissioned ragamalika. The story of Vishnu’s incarnation as the giant boar Varaha was enacted by Pranamya and the students. Pranamya’s depiction of Mother Earth (Bhudevi) spinning on her axis was ornate and controlled, as she moved in tiny gliding steps without disturbing her stance, creating a revolving visual. As she glanced in contempt at the asura Hiranyaksha, he seized her and hid her in the depths of the cosmic ocean.
Vishnu then appeared as the colossal Varaha with gleaming white tusks. Gauri Nukala excelled as Varaha, diving into the undersea realm and battling Hiranyaksha in dynamic nritta patterns that portrayed the intense struggle and eventual destruction of the asura. The scene transitioned into sringara rasa, with the loving interaction between Varaha Swamy and Bhudevi conveyed through tender glances and gestures, expressing divine union and mutual devotion. The charama shlokam reinforced Varaha’s role as protector and saviour.
The audio recordings were crystal clear, and the make-up by Sudarshan dazzled.