Khyathi Putta ascends in Kuchipudi with a captivating rangapravesam

Sadguru Sivananda Nrityamala presented the Kuchipudi rangapravesam of Khyathi Putta at Shilpakala Vedika on Saturday. Distinguished guru Sri Bompally Sudheer Rao, who is based in Warangal and is the recipient of numerous awards, has shaped many young dancers through his discipline and commitment. Under his guidance, young and talented Khyathi delivered a fine performance, marking a significant milestone in her Kuchipudi journey, which involved frequent travel from Hyderabad to Warangal.

The recital opened with “Gajavadana Beduve,” a composition in Hamsadhwani by Saint Purandara Dasa, invoking Lord Ganesha, the remover of obstacles and harbinger of auspicious beginnings. Khyathi brought alive Ganesha’s distinctive form and personality. His elephant visage, curved trunk, pasa and ankusa, musika vahana, and benevolent presence were portrayed through expressive movements and sculptural imagery. Interspersed with passages of rhythmic movement, the composition established a devotional and artistic beginning to the recital.

Saint Tyagaraja’s celebrated “Endaro Mahanubhavulu” in Sree Ragam is an offering of reverence to the countless great souls who have realised and experienced the Divine. Through a fine blend of nritta and abhinaya, Khyathi presented three examples of devotion.

Hanuman’s devotion is absolute. When presented with a precious muthyala haram, he examines each pearl and breaks it open, searching for Rama within. A jewel that does not contain his Lord holds no value for him.

In Bharata, devotion takes the form of selfless surrender. Although the throne of Ayodhya is his to occupy during Rama’s exile, Bharata refuses kingship and reverentially places Rama’s padukas upon the throne.

Shabari represents yet another dimension of bhakti. Her long years of waiting culminate in Rama’s arrival at her humble dwelling. Overcome with affection, she offers him fruits, tasting them first to ensure that only the sweetest are given to her Lord.

In Khyathi’s interpretation of Bhamakalapam, Satyabhama emerged as a woman of striking individuality. Beautiful, accomplished, and conscious of her lineage and refinement, she possesses immense confidence in herself and in her place in Krishna’s affections. Her celebrated Pravesa Daruvu excerpt introduced not merely her physical beauty and adornment but also the pride and self-assurance that define her personality.

Her possessiveness and pride gradually gave way to longing in Krishna’s absence. Wit, humour, persuasion, and spontaneous dialogue coexisted with the subtleties of sringara, allowing Khyathi to present Bhamā’s personality as it unfolded rather than as a conventional portrayal of a lovelorn heroine.

“Shankara Srigiri,” in Hamsanandi, is an evocative composition in praise of Lord Shiva. Shiva is absorbed in profound meditation while the gods await his union with Parvati, from which the divine force destined to vanquish Tarakasura must arise.

Manmatha releases his flower arrow, disturbing Shiva’s meditation. The tranquil ascetic transforms into Rudra. His third eye opens, and the fire emanating from it consumes Manmatha. The playful lightness of Manmatha, the serenity of Shiva in meditation, and the sudden intensity of Rudra provided a rich canvas for the nritta and abhinaya that the dancer explored with depth.

The finale, “Jaya Jaya Durge,” a Tharangam in Ragamalika composed by Sri Narayana Teertha, was dedicated to Goddess Durga, celebrating the Divine Mother in her many dimensions. She is radiant and compassionate, yet also the embodiment of Shakti, the primordial power that assumes a formidable form when cosmic order is threatened.

The episode of Mahishasura Vadha brought dramatic expression to these qualities. Empowered by his boon and consumed by arrogance, Mahishasura overpowers the celestial forces and disrupts the balance of the worlds. The gods bring together their divine energies, from whose collective radiance Durga emerges. She ultimately subdues the buffalo demon, appearing as Mahishasuramardini and restoring order to the worlds.

Khyathi brought the evening’s recital to a dazzling conclusion, earning applause from the appreciative audience. The orchestra featured Sudheer Rao on nattuvangam, Mantha Srinivas on vocals, Raja Gopalachari on mridangam, Sudhakar on veena, Sai Kumar on violin, Sai Bharadwaj on flute, and Jaykumarachary handling special effects. Padma Shri awardee Magunti Murali Mohan and Alekhya Punjala presided as chief guests.

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Anna Rao Gangavalli

Anna Rao Gangavalli[email protected]