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KALAYANA
RUKMINI
The scenes and the situations in this presentation warrant the use of the Hindustani scales such as Madhuvanthi, Pahadi, Desh, Sohini, Jaya Jayavanthi, Bheemplaas et al. It is but natural to adopt the Carnatic scales of the matter-of-fact nature to create a scene of conversation, preaching or wordy - duel and to choose the Hindustani scales of face to project the emotional, sentimental mood of the scene. Incidentally, even such Carnatic scales such as Kedaram, Yadukula Kambhoji, Varali etc are used to serve the purpose of highlighting the emotional element. In short, Kalyana Rukmini is a beautiful ballet.
HARAVILASAM
This ballet is full of melodrama. The dance and music are set to the novel and experimental parameters.
The viewer is bound in a divine, |
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emotional feeling as the literatuer, music and dance combine to bring about a rare experience in the Siva Tandava scene. the use of Bilaskhaani Todi to bring out the feelings of separation in Lord Siva after the flames consume Sati, His consort is apt as no other scale in any other style would have given the desired result. Similarly the Desi nature of the raga-s for the marriage preparations and punnagavali raga wle parvati is made-up as a bride, reinforce the mood of the scene and invoke a feeling of rare experience in the viewers.
The scoper for experiment is successfully tested in this ballet as the compostion "Aamani vachchi
vaali" set in a literary meter known as Khanda Gathi, in ragamalika is presented in misra jaathi Jhampa Taal using an unsual pace (tempo) of Madhayama kaala. The general practice is to use this taal in dhruta
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Kaala. In effeect the literay
metre of Khanda Gathi is converted into musical meter of Chaturasra Gati to make it amenable to the expression of Natya.
SIVA DHANURBHANGAM
The medium of dance drama is effectively used to portray the story of Ramayan through this abllet. The story line alternates between Sita and Sri Rama till Lord Sri Rama snaps the devine bow of Lord Siva.
The earlier parts deal with the birth of Sri Rama in Hari Katha style, the incident that stimulates poetic expression of Ramayana, the initiation of the princes to archery.
Extraordinary care is taken to compose the music for
"Maanishaadha" the first sloka fo Ramayan. The seindhavi scale for the lullaby is an experiment. The rare classical raga-s Suddha Bangala, Pandi etc are revisited and used with refreshing novelty. The overall presentation of the dance dram is in |
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conformity with the poetic expression.
APPLICATION OF TRADITION DANCE FROM TO MODERN CHANGING
SITUATIONS
The above review of the dance dramas produced by Kuchipudi Art Academy, Madras is nothing but the first impressions carried by the viewers. A more comprehensive analysis of these dance dramas as well as the works of other Kuchipudi performers is necessary to understand the evolution of the rustic Yakshagana into a refined, sophisticated Sangith Nruthya Rupakam of Kuchipudi.
After the performances the connoisseurs come and express their happiness and congratulate the artistes and some further make their suggestions and volunteer advice.
Some of them think that the art has a duty to serve a social purpose. This medium must take upon itself to project contemporary problems. They opine
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the biography of Jesus Christ or Mahatma Gandhi will make a good subject to present trough this medium.
Most of these suggestions are good, ideological and revolutionary. However it is necessary to remember the limitations of the classical arts. They do not reflect contemporary life. Classical music and dance forms belong to the ancient life styles and behavior with poetic expression.
If an attempt is made to fix the present day situations in that mould it would look ridiculous and out of place. this is not to underestimate the greatness of the classical fine arts.
The Paadda Bhedha-s, Hasta Bheda-s predetermined connotations and purposes, which are referred to under the common name and expression 'tradition'. How far it is deal to convert the traditional art form to suti the present life situations is a difficult question to answer.
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When the scholars of Telugu Literature were faced with such ticklish issue they did not hesitate to deviate from the path of tradition and create an innovative prosdic path in the form of Maathraa Chandhas to fulfill their social responsibilities. The poet is allowed the freedom of choosing the medium to convey his feelings. If we try to fix the great popet Mahakavi Sri Sri's poem 'Polaala nanni halaala dhuni ilaa thalam lo heyman pandaga" into the mould of prosodic prescription, for instance Champakamala meter and present it like "Polamulananni imposaga haalika moppaga jesi dharithilo" can it be said the purpose is served? Similary the attempts at translating the great verses of Geethanjali and Omar hayyam into Telug verses had not met with much success.
The same is true of music. The Classical Kalyani scale that is suitable to render "Kamalaambaam Bhajarey",
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