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besides Marga Cari-s. Interestingly, some of the movements mentioned in Natyasastra follow the movements we see around in nature. Since all the mudras and Cari-s symbolize either objects in nature or living beings inaction, ancient masters assigned names that reflected the generic items. Bhaumi Cari-s like Cashagati and Edakakridita are good examples for this. The Cari, Cashagati, which literally means the walk of the Cashaka bird, is similar to that of the Cashaka bird where in the movement involves one step forward and two steps backwards. Similarly is Edakakridita Cari, which means the playful jump of a baby goat.

As mentioned earlier, some of the basics of Kuchipudi that are identified with Cari-s are Bhaumi Cari-s, Edakakridita, Janita, Syandita, Apasyandita Cari, which is jumping up and down with the feet in talasancara, fits into the first group of Tam-digidigi-tai steps. Such similarities could be found in some others too. Janita Cari can be identified with one of the variations of Ta-kita-kita-taka group; Syandita and Apasyandita cari-s with Tam-tata-dinda steps.

A conscious use of the Cari-s can be seen in the choreographies composed by Vempati Chinna Satyam, both in solos and dance dramas. This use can be predominantly seen in the Pravesa daruvu-s. For instance, in the Pravesa daruvu of Balichakravarthi in Ksheera sagara madhanam an extensive use of Cari-s like sakatasya to show the stately gait of dance drama Haravilasam, one can observe the use of Akasiki Cari-s with a few modifications. In the entry of Rukmini in the dance drama Kalyana Rukmini a very delectable and fine use of Urudvritta Cari can be observed.

In the solo items too one can see the use of cari-s. The Pravesa daruvu of Usha choreographed by Vempati as a solo item has the use of such Cari-s as janita, Vichyava, Vidyudbhranta, Sakata and Urudvritta, which go along with the song and movements making it evident how the codes of Sastra can be used in a fitting manner in the prayoga.

Thus Guru Shri Vempati Chinna Satyam was instrumental in paving a path fro the younger generation to emulate by showing the relationship between the textual tradition and practice. He shows how one enriches the other, and how a performer can become a complete artiste by understanding this relationship and translating it into his performances.

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