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representation with due support from classical music.
It is seen that Kuchipudi Yakshagan's have adopted the ragas and taal-s of classical music. The oldest of these is Bhama Kalapam. Goll Kalapam, Usha Parinayam, Prahlada, Rama Naakama, Dhadhinamma Katha etc., were added to the repertoire subsequently. The use of classical raga-s in these items is limited to a few such scales as Anandabhairavi, Kambhoji, Bhairavi, Sriragam, Saveri, Pantuvarali etc., In all the number of scales used is not more than ten to fifteen. Mohana, which was earlier known as Reygupthi (Reyvagupthi) in Kuchipudi parlance, was also one of the largely used scales for the Kuchipudi Dharuvu-s. However it may be pointed out that the Reyvagupthi is Mohana in classial carnatic style are two-seperate raga-s with distinct features. The prescription of raga-s |
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according to the strictly followed. The same raga is used in different emotional situations.
The Dharuvu-s of Bhama Kalapam is very effective musical compositions. The musica composition of Kuchipudi dance strike a beautifule balance between the libretto and the music set to it. However Vilamba(slow) the pace or temp(laya) of the Dharauvu may be, the words of the libretto are distinctly heard. But the pefection in terms of adherence to raga characterisitics while rendering this dharuvu-s by the Kuchipudi perfomers was woefully lacking. There can be two reasons for this. One-lack of clear understanding of these precise characteristics. Two the possibility of these raga-s being in the form originally rendered before they evolved into their present form.
A similar situation was face by the Kathakali dance style as well; they have termed such musical variation
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under the name Sopana
Sangitham. Bharata Natyam does not seem to have come across such a predicament.
The second possibility referred above is clearly discermibile in some Kuchipdi dharuvu-s. in most instances it is a case of the former, that is lack of application of the mind. Take for instance the Madhana dharuvu in Bhama Kalapam set majestically in Anandhabhairavi, which gradually slips, partly into Stanza 'Indhrilona naa naadhudayday...' is rendered. This kind of inintentions faux pas cannot be explained away as ragamalika. The abov edharuvu employs Sa, Ni, Dha, Ni, and Sa in Anandabharavi, a practice peculiar to the old school. Similarly there are many such raga-s with different notational connotations in the old school of practice, which are abandoned today. Mukhari is an instance of this. |
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The Contemporaneous Melattur presentations of dance drams of Natya Mela form followed a different technique as the literary par to the dance drama - libretto,
is adopted to the musical raga prescriptions, thereby literature giving precedence to music, as it took a secondary position. This technique of slow pace or tempo vives rise to daruvus of musical significance leaving less scope of dramatic Nrutha- Abhinaya. It however suited the Natya Mela of Mlattur. The Kuchipudi dharuvus as mentioned earlier struck a balance between their Libertto and Music.
Kuchipudi in its resurrected form
(Entertainment of the elite in the modern era)
The advent of theatre resulted in the downfall of Kuchipudi Yakshagana. The place of theater we taken over by cinema after it reigned the stage between the later part of the
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19th century early 20th century. There was a period of lull in between as the influence of the theater started waning, when the Kuchipudi Ykahsagana resurrected with a renewed force and rejuvenated in a new outfit to the dual accompaniment of mellifluous music and scholastic literary compositions, thanks to the tireless perseverance of Dr. Vempati Chinna Satyam, the stalwart in the cause of propagation of the Kuchipudi art. His works of dance drama project the characteristics of the Western Opera and Ballet. He has spruced up the original Yakshagana. He has relied heavily on Natya Dharmi than on Loka Dharmi and has avoided such rustic indulgences as dialogues, especially double entendre and meaningless, inconsequential characters such as Vidhushaka-s.
The literary equivalents of Kandhaardha and Parnchachaamara meters were given up in Vempati's
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production. He has a penchant for classical rendition, which is dutifully adopted in the music and the libertto of his dance dramas. The raga-s and tala-s of both the schools of Indian music, Carnatic and Hindustani have been used t highlight the mood of the scene or the situation in the story line. Even the use of the Desi style of music is welcome if the situation warrants it. Whether Carnatic, Hindustani or folk, they all project the Indian cultural ethos.
In the reincarnated form the dance dram is divided into various scenes to facilitate the narration of the story. The music in dance dramas goes in the tine with the literary composition and together they maintain the moods and the emotions of the story line.
Generally in a musica performance the music dominates, giving importance to the raga rendition leaving practically no scope
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