Veena Murthy Vijay unravels the many layers of Kuchipudi

The second evening of Kala Mela, presented by the Kalakshetra Foundation at Bharata Kalakshetra Auditorium, brought to Chennai a vibrant showcase of Kuchipudi repertoire by Veena Murthy Vijay and her disciples from Shri Rajarajeswari Kalaniketan, Bengaluru. The performance drew the audience into the layered traditions of the form — balancing ritualistic roots with aesthetic finesse.

The evening commenced with Purvaranga Vidhi, a preliminary rite that sanctifies the stage. True to Natyashastra’s prescriptions, the dancers consecrated the stage with water, incense and lamp, evoking a temple-like atmosphere. The use of authentic props and the solemnity of the ritual lent an aura of sanctity.

This was followed by Ramayana Shabdam(Rama Pattabhisheka Shabdam), a narrative tracing the arc of Rama’s life from birth to coronation. Set in Ragamalika and Adi tala, the story unfolded episodically — Rama’s valour at Mithila, his exile, Sita’s abduction, Hanuman’s leap to Lanka, the great war and finally the Pattabhishekam at Ayodhya. While the choreography carried the stamp of tradition, the ensemble ensured clarity in storytelling without letting the narrative slip into monotony.

The highlight of the evening was Sandhya Tandava, where the dancer executed the vigorous solo with command over karanas. The choreography envisioned Shiva’s celestial twilight dance in Kailasa, where he instructs Brahma to maintain the tala even as he conquers the six inner weaknesses — desire, anger, greed, delusion, arrogance and jealousy. The clarity of charis and rhythmic jatis gave this piece its luminous power, embodying both technical precision and spiritual depth.

Sandhya Tandavawas the highlight of the evening.
| Photo Credit:
Velankanni Raj B

The mood softened with Bhama Kalapam, a jewel in the Kuchipudi repertoire.  Veena depicted Madhavi, sparring gently with Satyabhama in a playful yet poignant dialogue. The conversations stood out for their natural flow — witty, satirical and tinged with tenderness. As the drama unfolded, the allegory deepened: Satyabhama’s pride gave way to yearning, while Madhavi’s teasing banter underlined the futility of ego. The symbolic exchange of the nose ring, representing surrender of the self, was handled with subtle abhinaya. This episode reminded the audience that Bhama Kalapam is not just about conjugal quarrel, but the soul’s longing to unite with the divine.

The repertoire continued with Shiva Tarangam, where disciples displayed agility while balancing on the brass plates, weaving rhythm and narrative seamlessly. It depicted Ganga’s descent and Shiva’s subjugation of her pride, the dancers’ synchrony in jathis enhanced the appeal.

The finale, Simhanandini (Chitranrutyam), offered a spectacle and scholarship in equal measure. Set to the formidable 128-beat Simhanandanatala, the motif of a lion was drawn on stage by Veena , her footwork etching the sacred image in rhythmic precision. Traditionally performed in temples as an offering to goddess Katyayini, this number evoked echoes of the devadasi tradition while simultaneously situating itself in the modern proscenium.

What stood out was the cohesion of the troupe, uniform costuming, measured movements and an evident devotion to the idiom. .