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This kind of Jati is seen in the Tarangam compositions of Sri Narayana
Thirtha.
For any dance system the success is when it can meaningfully co-ordinate the principles of both dance and music with a systematic and aesthetic approach, Sucha-a dance system naturally attracts the attention of art
lovers.
In this regard I must congratulate Kalaprapurna Vempati Chinna Satyam, Vetaran Kuchipudi Guru, for his relentless efforts in producing his dance dramas striking a balance between the various principles of dance music and literature. His dance ballets themselves will make the subject for a detailed study.
About the Author :
Shri Patraayani Sangeetha Rao was |
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born in a family of musicians – his father, Shri Seetha Rama Sastri and grandfather Shri Venkata Narasimha Sastri were both exponents of classical music and received many felicitations from music lovers.
Shri Sangeetha Rao received many awards and titles, notable among them being “Sangeetha Bhushana” from Bharati
Tirtha, Andhra Research University in 1953. He assisted Shri Ghantasala Venkateshwara
Rao, the celebrated music composer and playback singer of Telugu cinema, during 1954-74 and toured the United States, Canada and many European countries along with him, giving performances.
His association with Kuchipudi Art Academy began in 1973 as a vocalist. He later became a full fledged vainika and music director of the academy.
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He composed music for various solo items and dance ballets, inclding Padmavathi Shrinivasam, Kalyana Rukmini and Haravilasam, which were acclaimed as masterpieces both at home and abroad.
Kuchipudi Sangitha Nruthya Rupakam
(The author hails from a musical family and has distinguished himself in the field of classical music, with several honours like Sangita Bushana, Kalaimamani etc. to his credit. He has been associated with Guru Vempati Chinna Satyam for over two decades and has composed the music for all the ballets produced by the maestro since 1974).
Creative fine art expresses itself through various forms. On such popular expression of Kuchipudi dance form is Yakshagana. In Andhra
Pradesh the Yakshagana-s such as |
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Bhama Kalapam, Golla Kalapam, Usha Parinayam, Bhakta Prahladah, Rama Natakama etc, have been stage uninterruptedly for generation together till date. The Yakshagana as poined out is only one of the many forms through which the Kuchipudi dance expresses itself. The different forms and formats of the creative fine arts such as music, dance and literature continue to be popular with their audience for a limited period and slip into oblivion due to the pressures of time, social changes and the changing tastes of the audience. An instance of this is the lack of popular poetic expression in Telugu literature set to the prosodic prescriptions. It is also true of certain forms practiced in the fields of music and dance.
If a particular form of artistic expression continues to win appreciation and command a rightful position for a long period, it is but
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due to the presence of an inherent nor limited by the tyranny of time. It is a fact that the original Yakshagana form of Kuchipudi dance style is gradually losing its popular appeal, but it is regaining its rightful glory in its modified Kuchipudi dance drama form. By the continuous research, effort and tireless practice of a determined few, the Yakshagana form is modified and evolved into Kuchipudi ballet in its present form and depicted as the cultural representative of the Andhra region.
Fine Arts – A Means of
Expression
One form of the performing arts, that dominated the scene for sometime immediately after Yakshagana was theatre. It was taken over subsequently by cinema, which has since become an inseparable part of our social life notwithstanding the present invasion of satellite and cable
TV into the drawing room. The fate of
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the present day theater is such that it owes its very existence to the sustenance provided by the government. The case of the art of dance and dance drama is different in that they hold the connoisseurs. There is no conflict with the supporters of cinema. Dance and dance drama that claim general appreciation today are the confluence of the streams of three art forms, namely music, dance and literature.
Music (Sangitham) is an important part of the Yakshagana and dance drama along with Nrutham and Naatyam. Before attempting to analyse the role of music in the traditional Yakshagana system or the present day Nruthya Natakam (dance drama), it is necessary to have a systematic understanding of the theory of music.
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