Rheya Kunchala’s graceful ‘Rangapravesham’
Deepanjali presented a flawlessly executed ‘Rangapravesham’ on Saturday evening at Ravindra Bharathi. Guru Deepika Reddy, known for her uncompromising pursuit of perfection, had an apt student in Rheya Kunchala. To witness a student of Deepika’s is to experience, in all its dimensions, the profound beauty of ‘Kuchipudi’ in its purest and most undiluted form.
It has all too often become the norm in Hyderabad, according to this critic, to bring out students without adequate rigour. Hence, it is recommended that other Kuchipudi teachers learn from the exquisite presentations of Deepanjali on how to present a solo or ballet hallmarked by pristine excellence. Every detail of stage setting, lighting, and allied elements acquires a high degree of refinement, and even the aharya is chosen with meticulous care by Deepika herself to achieve the desired effect. It is this diligent attention to the minutest detail that creates the magic witnessed on stage. Notably, even the invitations to the recitals are designed with thoughtful care.
Deepika is a taskmaster who pushes her students to achieve their best and beyond, honing them through long hours of demanding training and infusing them with the capacity to present a two-hour-long recital demonstrating mastery over the classical art. Indeed, it is a mark of extraordinary good fortune for a disciple to have such a Guru. Among her many accolades are the Sangeet Natak Akademi Award, Kala Ratna, Nritya Choodamani, Natya Kalasarathy, and Natya Visharada.
Rheya Kunchala has trained in ‘Kuchipudi’ for 13 years and has taken part in many of her Guru’s ballets. Dedicated and sincere, she approaches dance with commitment and focus. She is currently pursuing law at NALSAR. Rheya views her art as a celebration of heritage and as a sacred form of expression.
In fetching crimson aharya, Rheya began with Pranavakaram in Arabhi by Oothukadu Venkata Subba Iyer. An audible sigh of admiration rose from the audience as Rheya, tall, elegant, and imposing in stance, offered salutations to the elephant-headed God Ganesha, the remover of obstacles for the fruitful completion of endeavours. Her angika abhinaya was surpassing, vividly evoking the distinct form of the deity.
Ramadasu’s “Thakkuvemi Manaku” in Saurashtra, a perennial favourite, followed. Stirring in its lyrics, it was handled briskly by Rheya. The poet-composer’s stanzas delineating the ten incarnations of Lord Vishnu were described in succession. Rheya appeared majestic in the pose of Lord Rama, to whom heartfelt praise is offered as the highest succour whose presence alone suffices to bestow all that is required.
In a frieze-like manner, Rheya depicted the Lord with the Sudarshana Chakra—Matsya restoring the Vedas, Kurma supporting Mount Mandara, Varaha slaying Hiranyaksha, Vamana measuring the worlds, Parasurama destroying tyrant kings, Rama vanquishing Ravana, Krishna defeating Kamsa, and the penultimate Kalki. Her anga shuddhi was impressive, denoting deep internalisation.
The Tarangam “Shiva Shiva Bhava Bhava Saranam” in Ragamalika by Narayana Teertha included Gangavatharana, the well-known story of the descent of the holy river to Earth. Ganga, beseeched by Bhagiratha’s prayers, descends in torrential force, only to be caught in Lord Shiva’s matted locks, breaking her fury before being released as gentle rivulets. The culmination featured staccato jathis, immaculately matched in footwork on the rim of a brass plate, highlighting the dancer’s balance and command over laya and tala.
The second costume, cream-white with violet, complemented Rheya beautifully. “Alarulu Kuriyaga” in Shankarabharanam, a kirtana of Annamacharya, followed. Rheya was lithe and agile in precise nritta, allied with delicate abhinaya that suited the mellow mood of the composition. As flowers cascade, Alamelumanga dances gracefully behind a curtain, her anklet-adorned feet captivating Lord Venkateswara with their enchanting presence.
The Thillana in Kadana Kuthuhalam by Balamuralikrishna was rendered crisply and joyously. The complex rhythmic cadences of nritta were handled with elan and sparkled with unflagging stamina. Intricate foot movements showcased Rheya’s command over pure dance and reflected her Guru’s inventive and creative choreography.
A sprightly Mangalam—“Ramachandraya”—concluded the recital, offering blessings and wishing eternal grace and peace to all through Rama’s divine protection. The depiction of Lord Rama, resembling the full moon, beloved of Janaka’s daughter, bestower of boons, adorned with ornaments and eternally residing with Ramadasu, captivated the audience. Rapturous applause echoed deservedly as the memorable evening drew to a close.
Sri Anjaneya Reddy, IPS, graced the occasion. The seasoned live orchestra added lustre to the performance: Deepika Reddy on nattuvangam, D. S. V. Sastry on vocals, Rajagopalacharya on mridangam, Sai Kumar on violin, Murali on flute, and Jayakumar Acharya on special effects. Credits are also due to Sudarshan for makeup, Basavaraju for lighting, and Shloka Reddy for anchoring.