Preethika Pavirala’s Mesmerizing Kuchipudi Debut

Preethika Pavirala, under the tutelage of renowned gurus, made her kuchipudi debut at Ravindra Bharathi. Her performance reflected her dedication to cultural preservation and showcased her exceptional dance skills.

Preethika Pavirala started her journey in Kuchipudi dance under the tutelage of Guru Vedantam Raghava in the U.S. She continued to hone her skills under the guidance of the young and accomplished Guru Pasumarthi Mruthyumjaya after relocating to India. Having recently graduated from Sreenidhi International School, Preethika is embarking on the next stage of her academic journey at Stanford University. Committed to cultural preservation, she created the Vaitalika Foundation to help the underprivileged reconnect with their ancestral heritage.

The florally decorated stage at Ravindra Bharathi on Sunday was the perfect venue for her brilliant debut performance. The rangapravesham was an unforgettable experience as the young artiste displayed the excellence infused into her by her esteemed teachers, who must be congratulated for their meticulous grooming. Her ability to absorb complex choreographic concepts handed down as heirlooms in the traditional Kuchipudi lineage families was indeed extraordinary.

The stage lighting was handled masterfully by Basavaraju. The master of ceremonies was the redoubtable Murali Krishna, whose rhetorical flourishes, scintillating with eloquence, added value and luster to the occasion. The superb orchestra, headed by the incomparable DSV Sastry, was the perfect accompaniment. The power of his voice produced waves of sound that literally carried the dancer along to remarkable effect. Three elegant costumes were successively used: mint green and blue, light blue and red, and violet and yellow, suiting the artiste. “Paripahi” by Swathi Thirunal was the opening item after the customary paean of a few verses in praise of the Mother Goddess. The radiant Lord Ganesha, Lord of the Ganas, son of Lord Shiva, assuages sufferings. Adored by the Devas, he grants the desires of those who worship his lotus feet. Preethika held the audience’s attention from the start as every gesture and movement she made was precise and assured. Angikabhinaya was chiselled and in step with every phrase and in exact tune to the talam. Her command of the stage was wonderful for such a young dancer. The item ended describing the compassion of the Elephant-Headed God, who abundantly bestows knowledge, wealth, and happiness to his devotees. In Ragamalika Poorva Rangam, she invoked the blessings of the Dancing God and his consort, Nataraja and Parvathi, who embody the tandava and lasya qualities respectively. The audience were also greeted and wished well-being. The most exceptional piece in the repertoire was the Siddhendra Shabdam. This rare composition of Vedantam Parvateesham, Guru Mruthyumjaya’s grandfather, was choreographed by Mruthyumjaya, enabling connoisseurs to glimpse this treasured piece. The legend of Siddhendra Yogi is thus interpreted: as the first Kuchipudi Bhagavathulu were the reciters of the Sama Veda par excellence, the Yogi wished to teach them his dance as he was delighted with their accomplishment. When he approached their dwelling place, the elders, impressed by the great Yogi, wished to offer him the customary hospitality given to reverend sages. However, Siddhendra Yogi placed a condition that he would only accept if they learned the kalapam from him. This perturbed the Bhagavathulu, who at first refused as they thought their dignity might be affected. Under threat of being cursed, they decided to obey. Pleased by their prowess, the Yogi instructed them to perform for Shankaracharya and receive his plaudits. Thus, the Bhagavathulu received their cherished tradition, which went on to flourish and is still flourishing. The dance also matched the vivid style of this piece to make it memorable. In “Kulukuga Nadavaro,” an Annamacharya Keertana, the poet requests the palanquin bearers of Goddess Alamelumanga to carry her gently without disturbing her. Preethika delicately enunciated the item in a charming way, as the lady bearers are admonished not to let her sandalwood powder or flowers adorning her fall off nor her bangles tinkle.

“Marakata Manimaya” deals with madhura bhakti. Krishna’s blue complexion is mesmerizing and illuminates the universe. His large eyes, ears decked with earrings, and lotus lips smiling sweetly were all gracefully brought out in the artiste’s adept abhinaya combined with nritta to make a complete picturization. This lengthy item tests the dancer’s stamina as it is paired with a long jathi sequence of pure nritta on the brass plate rim.

In Shiva Stuti, Preethika was radiant as she portrayed the celestial beings in ecstasy watching the Lord dancing with Jagadamba as the other Devas played musical instruments. The concluding faraz thillana was embellished with sahityam describing the glorious beauty of Lord Venkateswara. Preethika’s brisk and vigorous style showed no loss of energy as she went on to finish with all the sparkle seen throughout the evening’s performance. Sri V. Harshavardhan, former Commissioner of Commercial Taxes, was the chief guest for the occasion.