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The traditionalists of Kuchipudi feel proud of their continuing Gurushishya Parampara as its hallmark in practising the Daruvu based dance system. Its disadvantages are evident in some instances. In the absence of a proper Swara Laya background and Systematic initiation into the field of classical music, the Daruvus do not very often conform to the established classical Raga norms. As such though the Daruvu is the same the rendering varies due to lack of Raga unanimity. In this regard, it may be pointed that the classical music sympathetically accepts any systematic rendering, as it will conform to some raga lakshana or the
other.
But the difficult in the case of Kuchipudi music one may have to face is the inability to identify the Raga of the Daruvus sung by the Kuchipudi exponents with the known |
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Raga classifications. It should be realised that its a matter of concern for everybody involved in the development of Kuchipudi form of art. It is not still too late to correct this discrepancy. Our efforts should be directed towards the unanimity of Raga adopted for each Daruvu and strict adherence to it by all practitioners. It is said a beginning was already made sometime ago in this direction. All India Radio is supposed to have some Daruvus recorded under the guidance of late Sri Chinta Krishnamurti, which were later sung by the renowned Sri Venkateswarulu and Smt. Srirangam
Gopalaratnam.
The original old dance dramas of Kuchipudi should be reoriented towards the proper raga conformity and should be represented tot he acclaim and delightful experience of the connoisseurs of this art. It is necessary, on the other hand to
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understand the changes that took over the South Indian Natya and
Sankirtana music during the same period. It can be noted that the music adopted for dance purposes at that time gave more importance to solo performance and depiction of Lasya by the dancer. The Trinity of the classical Carnatic must play and important role in the development of South Indian Music. Sri Tyagarjaswamy, Sri Muthuswami Dikshitar and Sri Syamasastri among themselves reigned over the kingdom of South Indian Classical music. The present day classical musician does not any more include a "Varnam", 'Geetham", and 'Swarajathi" in his or her reportoire. These are confined to the practice sessions. One may rarely hear a padam or a javali in the public performance. Today performances are dominated by the compositions of the Trinity or those of their
followers.
The South Indian dance music had |
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under gone some changes in the later days. The Devadasi dance confined to the temples was not more than a ritual. The court dancers were meant only to please the ruler, who danced items like ‘Salaam Sabdam’. There was dearth in compositions exclusively for dance with qualitatively higher musical
oreder. The task of filling this gap fell on four brothers popularly known as Tanjore Quartet –
Ponnayya, Chinnayya, Vadivelu and Sivanandam. Sri Ponnayya was a great Bharata Natyam exponent and an accomplished classical musican as well. He was a disciple of Sri Muthuswami – Dikshitar of the Trinity. Sri Ponnayya and his brothers are said to be the founding fathers of a dance system popularly known today as Bharata
Natyam. The romantic items depicting the Nayika – Nayaka Bhava in accordance with Alankara Sastra in the form of “Pada Varnam” were perfected by them. Bharata Natyam has an exclusive claim over
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“Alarippu”, “Jatiswaram”, “Varnam”, “Tillana” and “Javali Bharata Natyam continues to give equal importance to the ancient
compositions and ensure their due place for items like “Kowtwam”, “Sabdam” etc. The success of Bharata Natyam should be attributed to its insistence on highest classical standards both in dance and
music.
Both Kuchipudi and Bharata Natyam may be considered as twins as they exhibit certain inescapable similarities. Music adopted for both is only one system. Items like
Padam, Javali and Padavarnam adopted by both the systems were authored in the Telugu language. Both exercised equal right over “Kowtwam” and “Sabdam”. This causes a certain confusion to a lay man. But to a connoisseur the distinction is clear in the form of constumes
(Aharya), the execution of postures (Mudras) and the items for performance. Each has
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a distinct style of its own “Sollu Kattu” (Jatis), Kuchipudi, Bharatanatyam and Kathakali have their own style of “Sollu Kattu”. Kuchipudi also practices
a distincitive style of “Sollu Kattu”. Consider for instance the following :
| Thangudu Thonga Dhikki Thakka |
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| Thinna Jhekudu Jhekudu Kitathaka |
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| Jamithari Kumdhari Kuku |
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| Jaga Kina Kudhi |
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| Tha thai Thattha Hatta Thai Thai |
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| Tham Tham Dharugudu Tham |
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| Tha Tham Kita Kidhari |
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| Kitadhimi Kitadhimi Thaka Dhadhiginata |
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| Kitadhimi Kitadhimi Thaka Dadhiginata |
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| Kitadhimi Kitadhi |
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| Tharikitatham Tarikitatham Tarikita |
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