Dilip Kondiparti Chairman Jyothi Chintalapudi Convener Vamsi Krishna Prakhya

Home , Alla Rakha, Indian Nutcracker, Krishna Vijayam, Kuchipudi, Nataraja Ramakrishna, Vempati Chinna Satyam

Dilip Kondiparti Jyothi Chintalapudi Chairman Convener

Vamsi Krishna Prakhya Chief Editor Editorial Board Mohammed Iqbal Gaggutur M J Thatipamala

Sunila Pavuluri Rao Tallapragada

Cover Design: Venkat Makina Design Coordination : Phani Madhav Kasturi

1 Narrative Writers of Biographic Articles of Artistes

Vamsikrishna Prakhya Anand Bandi Aparaajitha Mrutyumjayudu Thatipamula Vani Gundlapalli Rao Tallapragada Archish Prakhya

America Kuchipudi Dance Convention 2017

Executive Committees

Fund raising Registration Rama Kakulavarapu Ratnamala Vanka Ravindra Kuchibhotla Prabha Malempati Rambabu Manchikanti Sneha Vedula Jayamala Thatipamula Logistics & Decorations Vani Gundlapalli Sai Kandula Sidhdhartha Nookala Hospitality Ravi Chivukula Santhi Kuchibhotla Yogendra Srungaram Sheela Sarva Kishore Gandham Manasa Addepalli Souvenir Vamsi Nadella Vamsikrishna Prakhya Mrutyujayudu Thatipaamula 2 Iqbal Gaggutur Anil Annam Heartfully Speaking

A daring heart’s dream conceived when wide awake can change lives for good. In the sixteen years of Siliconandhra’s expedition, plethora of such dreams opened new vistas. Converging many of these wonderful dreams has resulted in a path well laid out to achieve sky-high goals for all Siliconandhra family.

For Siliconandhra, goals are always with a purpose of making a better world. To realize excellence, and stretch our capabilities, new goals are often set and reset and pursued with more vigor. Such rigorous pursuit resulted in many tangible as well as intangible victories. Our victories brought us more laurels with responsibilities.

It is with that sense of responsibility, we take up projects such as “Jayaho Kuchipudi”. The efforts being taken up are at multiple planes: social, cultural and economical etc. In all these efforts the support provided by the community is incredibly commendable. With the assurance of this tremendous support, we have been working on building bridges between hearts from far off lands.

It is with the intention of fostering camaraderie and building better community of Kuchipudi artistes, Siliconandhra is convening the like minds from far off places of North America. To nurture Kuchipudi dance in North America to towering heights beyond imaginations of today we need four pillars. First, the contributions of gurus who are vehemently permeating the art is very important. Secondly, learning by students with equal passion as that of gurus is undisputed requirement. Thirdly, supporting parents to keep the torch of culture aflame till eternity is significant. Finally, encouraging community to provide symbiosis among the first three pillars is essential.

With the America Kuchipudi Dance Convention, Siliconandhra is aiming at providing the high pedestal for all essential constituents to be together to make the dreams of generations of Kuchipudi artists realized and taken to next level. I congratulate everyone for participating and being involved in conducting this convention with ever cheerful visage and contagious enthusiasm. Looking forward to great achievements in store for us.

Anand Kuchibhotla

3 Pondering Thoughts

At the outset of the first ever Kuchipudi Dance Convention being held here in the United States of America (India's culturally rich and equally diverse twin country), it gives me great pleasure to see the coming together of artists across the states. The Silicon Andhra University campus is brimming with activity. Rehearsals, meetings, the arrival of artists far and wide, decorators, caterers, sounds of the dancing feet and the silence of pondering thoughts.

From having taken a leap across the seas toward a cloud of nothing, Kuchipudi dance has mightily stretched itself in several directions across the United States. Half a century after, we find ourselves looking back at the progress in pure delight. 'Look back to learn and look forward to succeed'.

With glowing torch in hand and a motto in mind, together let's envision an even glorious future of sorts. Under the banner of America Kuchipudi Dance Convention, together let's dream:

- To create a national platform for the coming generation of budding aspiring artists to collectively gather and delve into the depth of the art form, to bring out newer directions without forgetting the old. - Of appreciating and honoring pioneering students and their gurus, with high level awards both from the government of India and the USA. - To nurture legendary gurus from this land of hopes and dreams. - To see one or many such prodigies wear the anklet of determination? - To fulfill many such hopes and dreams. As the saying goes it takes a village to raise a kid! This two day festival of Kuchipudi Dance has been possible only with the wonderful hard working team of passionate gurus, scholars, artists, volunteers and their families who worked timelessly and tirelessly. Tomorrow you will witness the coming together of a magical, mesmerizing, vibrant, educative and entertaining shows.

While the first international convention was conducted in California in 2008, America Kuchipudi Dance Convention had at one time been a distant vision. With unparalleled Vision and inspiration from Anand Kuchibhotla garu (founder/CEO OF SA) and relentless work of our Silicon Andhra volunteers, Today it is a close reality.

'Jayaho Kuchipudi'.

Jyothi Kuchipudi Chintalapudi

4 Making of Gurus

Silicon Andhra, a universal family, has been striving for the past one and half decade to perpetuate Indian Language, culture, and tradition. With great passion and purpose, Silicon Andhra took many initiatives. We strongly believe that it is our responsibility to pass on the legacy of our rich Indian art forms, culture, and tradition to the next generation.

In this journey, Silicon Andhra took unprecedented and bold initiatives as part of its mission. One such effort is making of gurus from the next generation by bringing perpetuity and awareness about the richness of the Kuchipudi dance form by initiating sustainable and tangible educational awareness programs with the Kuchipudi dance form as the main focus. We are proud to say that our initiatives have a direct impact on the significant increase in the number Kuchipudi dance teachers and students. To mention a few, organized multiple International Kuchipudi Conventions with up to 7000 gurus and dancers from across the world. SiliconAndhra founded first of its kind a higher education institution, the University of Silicon Andhra in Milpitas, California offering Masters, Diploma and certificate programs for Kuchipudi Dance form along with other art forms from India. The University of Silicon Andhra offers a unique program, “Sampada”- “Silicon Andhra Music Performing Arts Academy” in affiliation with Potti Sreeramulu Telugu University to provide proper academic credits through proper American accreditation channel.

SiliconAndhra took a gigantic project of adopting Kuchipudi village to preserve the legacy of Kuchipudi dance's birth place where Saint Sri Siddhendra Yogi, one who gave structure and shape to this great dance form. We are proud to mention that we made remarkable changes in the lives of the Kuchipudi village residents and also to the traditional guru families who are still living in the village. Initiated construction and fulfillment of a 200-bed multi-specialty hospital “Sanjeevani” which serves to provide advanced medical treatments to the population from close to 50 villages.

I welcome and thank all the gurus who are performing, participating and also encouraged their disciples to attend this valuable gathering. I also thank and welcome all the delegates of “American Kuchipudi Dance Convention”. The valuable interactions, priceless lecture demos, and heart accelerating performances of this convention will bring a new era of gurus from our youth to continue “Guru Shishya Parampara”.

Dilip Kondiparti Vice Chairman, Silicon Andhra 5 The Nuances of Kuchipudi Dance Every time an artistic presentation, of anything, strikes chord with our mind, beauty is derived. This leads to happiness and we ruminate that feeling for sometime, the length of which depends on the impact on our mind. These are the moments a child inside us who is dreaming, adventurous and romantic, comes out to make our life lively. Visual arts such as painting, sculpture, dancing etc have more visual appeal that adds more grandeur to the art form. And these art forms generate gratification instantaneously to the viewer. Dance, which combines multiple art forms usually contributes to spellbinding effect on its viewers. And that is why millions of people are related to dance as art form some how. Among the many varieties of this art form, Kuchipudi tradition has been touching the minds and hearts with appealing Nritta, Nritya and Natya. The perennial stream of Kuchipudi has been flowing through generations in India. The community of Kuchipudi in India has done tremendous effort in creating master pieces and adapting the art to every aspect of life. Numerous sages, saints and gurus took the art form to divine heights. In the last century, the springs of Kuchipudi started emanating from continents far away from India as many Kuchipudi experts immigrated. The seeds sowed by these experts turned into successful centers of excellence. The divine Ganga of Kuchipudi originated from the remote village of Andhra Pradesh in India, has been brought to every nook and corner by the students who are now gurus propagating it across the oceans. When a creative mind tries to adapt to its surroundings or faces challenges a new work of art addressing the journey is given birth. With so many creative people from Kuchipudi background across the continental US in the last half century has certainly helped the art form to redefine itself while preserving the chaste conventionality. High standards of gurus with extraordinary talents have been contributing to take Kuchipudi to next level. The potential of Kuchipudi community in the continental US is often not fathomed appropriately. Most of the new experimentations by Kuchipudi community in US are not given appropriate focus in the main stream media in US as well as India. It is in this context Siliconandhra is trying to bring out the potential possibilities from Kuchipudi community in continental US. The convention is a platform to showcase the plethora of possibilities from seasoned maestros as well as budding enthusiasts. In this context we tried to focus on the state of Kuchipudi community in this souvenir. And we hoped to capture the creative aspects and dream projects of the gurus and experts in Kuchipudi from continental US. In that effort we asked them to share their ideas and thoughts related to teaching the art to creating dream projects to collaborating with each other. We found some interesting and inspiring accounts of gurus and experts and we tried to delineate the thoughts in this effort. Basking in the bright summer morning in silicon valley, with a grand panoramic view of cultural landscape, its easy for an art lover to get gratifiation from valley’s bustling cultural activity. On a typical weekend one would be entertained by a concert by a visiting artists from India, or a local enthusiasts group trying to put up a show competing in their mind with the broadway show, or an aarangetram, or a Fusion of some kinds etc. For a connoisseur of arts, the valley brings out quite a variety to the plate. It is in this fertile ground Siliconandhra is conducting the American Kuchipudi Dance Convention. We wish the delegates a blissful rendezvous which will enlighten each other to take newer heights in their expedition.

Vamsikrishna Prakhya Sujanaranjani 6

Sumati Kaushal

The concert hall of Ravindra bharathi was packed as usual. A mesmerizing performance of kuchipudi by a dedicated dancer was keeping the audience spell bound. An ardent admirer of the dancing lady’s divine dance was watching the performance dedicatedly. His wife was laboring at hospital to give birth to their child. He had option of staying at hospital on the occasion or attending the concert, but he chose the latter with much enthusiasm. During the performance, he was called out by a relative who came in hurriedly to tell him that he was blessed with a girl child. He was happy and got back to continue with kuchipudi event. The next month, he brought his baby to the concert hall to another packed performance, and showed the baby to his revered danseuse and with much excitement told her, “Ma’am I’m lucky to have a baby girl so that I can name her after you, ‘Sumathy’”. The personality who won thousands of fans is not a political leader or a spiritual guru, but an adroit dancer, kuchipudi guru Ms. Sumathy Kaushal. With such ardent admirers as her audience she draws inspiration and confidence from her gurus to serve kuchipudi art form even today at the age of 77. God provides her with positive energies to pass on her knowledge to the deserving students earning her much desired BLISS.

The beginnings:

She was five year old when she started dancing. Her first guru Sri. P.V. Narasimha Rao introduced her to the initial techniques of the art of dance, and she enjoyed dancing even though not understanding various dance forms. Later Dr. Nataraja Ramakrishna stayed in her house and taught her the nuances of classical dance in Visakhapatnam. The training exposed her to a broader outlook and understanding the importance of various techniques involved in learning and presenting the dance art. It was then her performances were highly appreciated as she grew up in an atmosphere where she was provided with multiple opportunities to pursue the art form. Her talents were recognized and led her to popularity. At this stage she was introduced to classical Kuchipudi dance by legendary guru Late Sri Vedantham Lakshmi Narayana Sastry. Though he was 80 years old at that time, he had tremendous energies and enthusiasm while teaching, and she was fortunate to receive a treasure of art and knowledge from the expert whom she called “Thata Garu” respectfully.

Ms Sumathy Kaushal’s family, Late Sri. Vaddadi Bapiraju garu & Subbayamma (uncle & aunt), Late Dr. V.V. Krishna rao & Sowbhagyam (parents) guided her to a disciplined life learning and practice the art, with total surrender to God and Guru. This training helped her in developing a bond between her and the Guru. Kuchipudi dance’s grace, expressions and unique features attracted her to surrender herself to the ar

Innovations:

Ms Sumathy Kaushal’s contributions are distinguished by adherence to the traditions and propagating the art form in its pristine purity. She choreographed some items where the same presentation of dance can be done in Kuchipudi, Bharatanatyam, and Odissi styles, and compare the nuances to provide the audience a means to do comparative study. A firm believer in having experience of performance and knowledge of applied theory to bring out art in its true form suggested by Sage Bharata in Natya Sastra. She conducts lecture demonstrations to focus on the true essence of Kuchipudi dance.

Giving top priority to her dance career, she also realized the importance of being educated to a certain extent. Mathematics was her favorite subject, she developed skills in the art of mathematics as well. She is innovative in adapting her knowledge and apply mathematical skills while dealing with presentation of Jathis, varied calculations and geometry in planning the formations of groups. Her contented attitude and peaceful disposition seems to have roots in adapting and dedicating to the cause of kuchipudi at every level.

A guru born:

Pandit Ravi Shankar, the legendary Sitar Maestro, invited Ms. Sumathy Kaushal to give a lecture demonstration in his institute ‘Kinnera.’ He requested Sumathy Kaushal to explain and elaborate on the nuances of Kuchipudi dance art, as he wanted to introduce Kuchipudi dance in his institute. She 8

demonstrated various rare Talas, while emphasizing on Nritta aspects, elaborated on the expressions and performing Padams as well as the unique feature of Vachikabhinayam in Bhama Kalapam. That technique focuses on total proficiency in dealing with different aspects of Kuchipudi dance, a combination of Yoga and Meditation. Her lecture was delivered with tremendous confidence in front of legendary Gurus like Pt. Ravi Shankar, Ustad Alla Rakha, highly reputed Gurus of dance and music, and connoisseurs of the fine arts. The Tala Prasthanam for rare Talas and Konugolu, the unique feature of Kuchipudi dance, involvement into the characters while bringing out the dramatic elements established her reputation as a true and authentic Kuchipudi dancer, and she was offered to teach Kuchipudi in ‘Kinnera.’ Then she realized her gift of passing on her knowledge to the next generations in its pristine purity, as an obeisance and tribute to her gurus and the great saint Sidhendra. And thus formed “Nritya Sikhara”, which celebrated 50 years of meaningful experience recently.

Sumathy Kaushal is also attached to accredited Universities in India in capacities such as

Chairwoman of Dance Examination Board, visiting professor, member, expert panels to choose candidates for Lecturer posts and Scholarship holders.

Dream come true:

Learning Bhama Kalapam from authentic gurus, Late Sri. Vedantham Satyanarayana Sarma, and Late

Sri. Chinta Krishna Murthy was her dream like most of the kuchipudi lovers. She pursued it by staying in Kuchipudi village to learn from the legendary gurus with dedication even though there were no facilities that provide minimum comforts. Not worried about lack of luxuries, she thanks God for giving her an opportunity, which is a great treasure to possess. With her nature and focused pursuit she soon became the daughter of the village, who would carry on the torch to the future generations in its glorious form.

The most valuable award of her life was receiving the authentic “Satyabhama Jada” from Late Sri. Vedantham Satyanarayana Sarma garu, who considered Sumathy as his successor “Pratibimbam.”

The Gurus recognized her presentations as the most authentic, and announced in public in front of many gurus and connoisseurs that Sumathy Kaushal’s presentation is the most authentic and pure form. Their blessings instilled confidence in her skills helped her being more humble in the pursuit.

A blow too hard:

Life is not all too rosy for Sumathy Kaushal. In 1992 she was at her peak of her career. A prestigious committee was formed to celebrate the Silver Jubilee of ‘Natya Sikhara’ as it was getting ready for 100th Rangapravesam. On another hand she was gearing up with the state government in getting a kalakshetra for kuchipudi. As Man proposes and God disposes, her husband R.B. Kaushal, who was pillar of strength to her and dance career, passed away in 1992. And she lost all enthusiasm. Totally 9

dejected to carry on with any activities, she moved to the U.S. in 1994 to join her sons in L.A. She started life afresh in the new continent.

After a strenuous transition, she accepted the fact that dedicated life to kuchipudi again which helps her achieve bliss always. Her only motto of popularizing Kuchipudi dance in U.S. had to start everything from a scratch and today she stands positively as the only Indian teacher to have produced 116 full-fledged performers of dance in their Ranga Praveshams.

Accolades:

Some of the accolades she is adorned with:

 Sumathy was the youngest classical dancer to be honored by the World Body for her enormous contribution in the era of Indian Classical dances at the first World Telugu Conference held in Andhra Pradesh.  She was awarded "Nritya Kala Praveena" by Thagaraja Gana Sabha in Hyderabad, "Natyarani" by Southern Art lovers at Madras.  She was awarded "Nritya Kala Siromani" by Vamsee Art Theatres Hyderabad.  She was awarded "Shane-e-Hyderabad" by Hyderabad Art Lovers.  She was honoured as "Nritya Kala Praveena" by Kinnera Art Theatres.  TTD arranged her student’s performance for Nada Neeranjanam at Tirupathi on 20th February 2017, as part of her birthday celebration.  Natya Sastra award by Sambhavi School at Bangalore.

While teaching her students the nuances of dance art, she also shares her valuable experiences to motivate them to enjoy even the most difficult techniques. The bond that she develops, and the interactions she encourages to have helps making the teaching sessions enjoyable. She is an extended family to the kids as parents consider her as the most important person in their family, who gives the necessary disciplines to shape them into artists and respectable personalities.

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With many valuable experiences in authentic classical kuchipudi dance form, Ms Sumathy Kaushal is a towering persona of kuchipudi dance form in continental US. It is very reinvigorating to talk to her and definitely puts us in a plane of “Atmaananda”

Bhagyasri Bennabhaktula

The divine art of Kuchipudi is learnt by many disciples vehemently. Many go through years of tutelage under great gurus. Many artists earn degrees in disciplines other than dance. Pursuing dance to earn a degree in it distant dream for many as they get into the general grind of life. If any artist moves to distant shores for various reasons, the dream of earning degree in their field of passionate study becomes an impossible dream.

Going by the common perception, Bhagyasri Bennabhaktula is one such dedicated artist who gave up hope after she moved to USA with family. A software engineer by profession, a Kuchipudi dance artist by conviction but no less a dreamer continued to teach new generation of artists. About three years ago when Siliconandhra announced a university offering courses for multiple degrees and disciplines, Bhagyasri was elated. When the course work commenced in January 2017, she promptly restructured her schedule and life to be part of the Masters programme right from the inception. Her years of pursuit of the dance she adores is now going to be recognized with a formal degree, auguring greater heights.

An established artist from LA area Bhagyasri Bennabhaktula is a Director of Natyasaraswathi Dance Center, teaching, performing, organizing events, truly enjoying every moment. We tried to look into her career and contributions so far.

Beginnings:

Bhagyasri’s sister Dr Saraswathi Rajathesh inspired her to develop interest in dance. Bhagyasri grew up watching her sister learning Bharatanatyam from Guru Samrajyam Ramanarao garu and performing in many stage shows. Bhagyasri started learning Bharatanatyam from her sister at 10 years age.

Never tired of learning, right from school days always enjoyed participating in cultural events learning myriad art forms. She formally started learning traditional Kuchipudi dance from Guru Sri Chinta Adinarayana Sharma garu, prime disciple of great Guru Vempati Chinna Satyam. In addition, she completed Master in Computer Applications and Diploma in Kuchipudi from Telugu University and Diploma in Bharatanatyam from Bharathidasan University, setting a mindset to pursue formal academic curriculum and earning degrees. Cherishing each and every moment engrossed in dance, eagerness to dance and ultimately to become one through dance.

She learnt every aspect of Kuchipudi being important, whether it’s abhinaya or nritta. Before presenting it always better to explore on that and understand fully.

The instructor:

Bhagya Sri started a dance school Natyasaraswathi Dance Center (sister school of Natyasaraswathi Kuchipudi Academy, Bangalore) 8 years ago, trained many students and training adults and kids in Kuchipudi and Bharatanatyam. Performed in many dance events. She is trying to teach the great art form to the present generation and open the vistas of spirituality to them.

Being a dance instructor and Director of Natyasaraswathi Dance Center, BhagyaSri teaches, performs, organizes events, truly enjoying every moment. Motivated by resolute words, “Believe in yourself and follow your heart”, she has been a multi tasker in true sense. Managing time properly, utilizing maximum given time for all her interests, Bhagyasri is able to work as a software engineer, teach

Telugu language amongst kids as a Siliconandhra’s Manabadi volunteer, being a mother of two girls and a home maker.

Motivation:

Always getting inspired to understand and learn more about Kuchipudi art, she tries to compete with herself to excel herself from one performance to another. During her performances, she not

only makes the students perform better, also focuses heavily on conveying information and context about the art form up to possible extent to the art lovers in the common audience.

Apart from following all her interests, Bhagyasri is a serious yoga and meditation practitioner. Humble to think there is lot more to learn about the intricacies of movements, abhinaya and various aspects of this vast ocean of dance, she constantly motivates herself to act promptly with discipline while respecting other’s opinion

The creative mind:

The Natyasaraswathi sister Duo (Bhagyasri and Dr.Saraswathi) does many fusions on

Mohiniattam, Kathak, Bharatanatyam, Kuchipudi, Odissi, Manipuri etc. Her sister/guru Dr Saraswathi is not only a Kuchipudi dancer is also well versed in other dance forms like Mohiniattam, Kathak, Bharatanatyam, Odissi, Simhanandini.

Following footsteps of guru Dr.Saraswathi, who conducted Nrityabharathi events across India, Bhagyasri organized 6th Nrithyabharathi event in LA, as a tribute to India on the eve of Independence through 8 Indian dance art forms in LA. Myriad dance art forms are brought together by dancers who would perform on one stage. The highly appreciated event was a feather in her cap.

With such dedicated teachers who are staying students for life time, art can only be taken to newer heights and the likes of Bhagyasri are great pillars for institution of Kuchipudi to standtall.

Divya Yeluri

Choreographing and directing a solo production or especially a dance drama production is a Herculean task. Living in the USA, it is even more difficult, since starting from the script writing, to the composing of music to the finances and work load of staging the production, every small detail can become a huge hurdle. On top of, if the production has not just one dance format, but three of those, Kuchipudi, Bharata Natyam and Odissi forms for depicting different characters in the same play, it is gigantic task in itself. Such a fete was made possible with three experts in their dance forms, Smt. Subha Parmar as Narada in the Bharatanatyam Natyam style, Smt. Sudha Grover as Rukmini in the Odissi style, Smt. Malini Nair as Lord Krishna in Mohini Attam and Smt. Divya Yeluri as Satya Bhama in Kuchipudi. This ensemble has won many accolades for its uniqueness.

Many times, you have to settle down and work with what you get to the best of your capability rather than trying to choose what you want. But again at the end, when the production is staged and creates the aura you have always imagined, it is such a gratifying feeling. Thanks to the almighty, Divya Yeluri, an established guru in USA, has achieved this time and again.

Formative years:

It is about time to first light of the day, Four years old Divya isn't dozed off even for a minute. Her eyes are bright and shine focused on stage. There are people with bright costumes and heavy makeup, going and coming, whispering and shouting, crying and laughing, colorful lights are focused on them. Hailing from a family of both grandparents being stage artists, Divya was eagerly waiting to see her father's ingress and egress on all dramas. It is very much delightful to see those on the stage predominantly her father to adorable Divya. That's the epoch Divya got endearment for grandstand. Since then, she never felt glutted with the art forms.

Divya's family nested in Shipyard colony, Vizag which is noticeably far from the main city. Divya used to wake-up when the morning tide is about to come and started her daily routine with music, dance and education. She never felt that she missed anything as a child, instead she got more engrossed with the dance form. Her tryst with dance started with Bharathanatyam. It didn't go well for little Divya as she searched frantically for the answers of the critical dance forms of Vazuvoor, though her guru Smt.Padma, who was the disciple of appreciable Guru Sri B.Ramaiah Pillai robust tutelage. Vazuvoor style of Bharata Natyam had become a door step for her pursuance of Kuchipudi dance in later years. Though, her parents were constantly reminding her to pursue education, she had determined to pursue both. At the tender age of thirteen, she completed her intermediate. With that she proved she can do anything for art forms. Divya was in the saddle to do long haul.

Turning towards Kuchipudi:

Divya went on accomplishing her deeds on Bharatha natyam with lot of applause. While in those performances, she got attracted with nectarous dance form of Kuchipudi. Around ten years age one striking day, she went to have glimpses of protuberant and ace guru Sri Vempati Chinna Satyam's ballet form Kalyana Rukmini. Her reverence to the dance form went multifold with attractive telugu lyrics and acoustics. Precisely for the letter of Rukmini consigned to Lord Krishna. The exact lyric that made Divya felt was in Rukmini Devi's letter to Lord Krishna giving him ways to recognize her ... his true devotee... ' , '. On that day Divya determined to get the elixir ట ర గ గర లల గర called Kuchipudi dance form. After this, Satyanarayana garu, a student of Dr. Vempati Chinna Satyam garu who was working in Shipyard introduced Divya to the great Maestro. In the reign of 1985 when a Kuchipudi kalakshetra established a subsidiary in Vizag, Divya promptly became member of it. The Kuchipudi Kalakshetra was founded by Guru Balakka, Guru Baji, Guru Hari, Guru Chandram and music Guru Durgakka, Guru Sangeetha Rao, Guru M.S.Rao, Guru Nagarjuna, Guru Govinda Rajan. Every one of them are held at great reverence by Divya even today. Guru Sri Vempati Chinna Satyam and Balakka extremely strict and were rectifying Divya, to perfect her style and that left her in great bliss.

The high point:

By passing years Divya encountered with some predicaments, but at no time she remotely thought of relinquishing. When she entered into graduation in GITAM University, she directly went under the tutelage of Master Guru Chinna Satyam in Chennai. With this she missed some months of education, as she was also attending some performances with Master. Travelling alongside of Guruji and Balakka for the performances gave her immense gratification.

Divya got elated with applause of the audience and then blessings from Gurus. After all as in a telugu dialogue - ' . '. Especially అ అ ా చపట ఆక న క ార పంచ భ పరమనమల when Guruji said that she was the best at Krishna sabdam. Divya elated when Balakka praised her depiction as Ravana in Tulsidas Bhajan in front of other well known artists and got pleasure when Balakka selected her as a role of Chandalika. She went on giving solo performs and ballets in Kuchipudi throughout the world. Some illustrious are, Government of India sponsored tour to Germany with Guruji, and at Sao Paulo, Brazil. She felt like she was chosen to get absorbed in Kuchipudi dance.

The Reincarnation:

Divya got married to Mr.Venu Yeluri and shifted to U.S.A. at the peak of her career. There she got herself enrolled as a student in Computer Science for a Master's degree. At that time she was totally shattered by sudden demise of her beloved friend Madhavi. For a few months she lost interest in life and couldn’t practice Kuchipudi dance. However she bounce back and intermingled with routine. One day Maestro Vempati called upon and instructed her to give training for Anitra Das who was her first student. It was a different experience for Divya as a teacher. In memory of her friend Madhavi Latha she dedicated her dance institute and named after her as "Madhavi Nritya'.

Divya's exemplary fusions are, interconnected with - first in the year 2006 a jugal bandi with Archana Joglekar (Kathak). In 2008 Divya's students and Smt.Subha Parmar (BharathaNatyam) had done a dialogue. In 2010 a fusion on Sri Krishna Parijatham with Smt.Subha Parmar as Narada in the dance form of Bharata Natyam and Smt.Sudha Grover as Rukmini in the Odissi style, Smt.Malini Nair as Lord Krishna in Mohini Attam and Divya herself as Satya Bhama in Kuchipudi. Divya cherishes a memory with Pandit Ravisankar in the year 2009 when about eight Gurus in the tri-state of all the different classical dance styles of India performed together to Bhoomi Mangalam. In the year 2011 it 16

is memorable for Divya as her students in Kuchipudi and Smt. Malabika Guha's students in Kathak style. And from then on, Divya have been performing in many a fusion performances.

Divya have choreographed and performed challenging solo dances like, Alokaye Tarangam, Bho shambho, Thillanas, Annamayya Keerthanas, kalinga Nartanam, Bhajans, Devi Kritis, etc. and a few dance dramas, Goda Ranganadheeyam, Ganadhipa, Swami Vivekananda, Sri Venkateshwara Vaibhavam, Shiva Padam and the like.

On the lighter side, Divya choreographed a number of dance sequences taking semi-classical songs from Indian movies . Some examples are Maha Ganapathim from morning Raaga, Dheem ta dare from Takshak, ekadantaaya vakratundaaya from Viruddh, on Nani shiva Rudraaya, Madhura Madhura Dhara Meenakshi, Mukunda Mukunda and many folk dances.

Divya procuring Kuchipudi dance not only as an art form but also wholeheartedly as in spirituality. She had a tender feeling of meta-cognition of God inside her while performing, choreographing, teaching. She wants to uplift the art form without doing any pollution of conventionality. Her students are her strength, shield and hope. She tries hard to safeguard her students from any eventuality that seizes the eagerness in them. For Divya those are like blossoms about to spread the fragrance .

Learning under the direct tutelage and guidance of the legendary Dr. Vempati Chinna Satyam, her primary focus is always on the standard of the Kuchipudi being presented. In her dance school, Nritya Madhavi, students have to be absolutely perfect in all aspects of Nritta, Natya and Nritya. Personally, Divya's strongest point as a dancer was always been her Sattvikaabhinaya and when some of her students experience the divine bliss while practicing, learning and performing kuchipudi, it gives her so much satisfaction.

Divya Yeluri has also learnt the very rare temple ritual dances ‘Simha Nandini’, ‘Maha Lakshmi

Udbhavam’ and ‘Mayura Koutvam’ from Guru.Smt.Voleti Rangamani . Divya has choreographed a number of solo items and Dance Dramas and her choreographies have received rave reviews by both critics and connoisseurs. In 2015 May, Divya and her students had the privilege of performing in the Whitehouse in Lieu of Asian American Heritage. In Divya Yeluri’s words… ‘Kuchipudi is the Yoga I practice for my physical health and the meditation I perform for my mental health. Kuchipudi is the means with which I connect with the divine and move forward in my spiritual path’.

(Narrative by Aparaajitha)

Hema Chavali

During a fine day in Germany, in the year 1992 an aspiring young dancer clad in silk, mesmerizing and beautiful gold ornaments, silver anklets that crawled up her ankle, and fine sweet bells that rang the most euphonious melody one could hear, and bursting blossoms of Irises, Roses, Tulip, and Laceleaf, made her a spectacular sight for all who gazed at her direction. While she silently and very patiently stood, her guru called her to perform and she gracefully walked to the stage. It was her first solo abroad. She danced on a brass plate showing her exceptional abilities and stole the show. The audience gave a standing ovation for full 10 minutes. The artiste was Hema Chavali who won laurels from all corners on her debut show abroad. Young Hema had to be brought back to stage twice to receive the applause well as she was too young to stand through the 10 minutes. She went on to grow into an international artiste and win accolades as a habit.

Initiation

Hema Chavali got initiated into native dance of Andhra Pradesh called Kuchipudi known for its graceful and unique techniques. She was in first grade when she initiated herself into Kuchipudi. When asked for volunteering she signed up without even asking her parents. Her guru Dr.Vempati 18

Chinna Satyam had two assistants who were asked to teach her a dance piece titled Muddugare Yashoda.They would make her practice for hours. One of the gurus was often disappointed with her and would fly into rage at the slightest mistakes saying that she was incapable of dancing as it was a very expressive dance piece and required a lot of facial expressions. However, Hema was strong and not ready to give up on her passion. For years she would rise early in the morning practice Kuchipudi and rush off to school. When school was finished for the day she would take part with the other students. This continued and her iron resolve astonished her gurus. She was unstoppable.

‘Gurukulam’

She moved to Chennai from Guntur to live at mastergari hostel and learn the Art and was there till she got married at the age of 22. It was a rewarding experience for Hema as she lived and learned at the gurukulam. One great moment in her career most unforgettable was the moment when she did nattuvangam for her master garu himself. It was such a special honor that only Balakka, Hema and master's son (Ravi) did nattuvangam for him. She cherishes the finest experiences she had from teachings of Master garu and hopes to relive those moments through effective choreographing with her students.

Perfect practice makes perfect artist

When she was proclaimed ready and won the heart of her guru she leapt like a lion on its prey. Each move more graceful than the next, she soon danced her way into people’s hearts. She however was humble and always believed that perfect practice makes perfect artist. Soon she began taking up social welfare programs with the Andhra Pradesh government helping people understand environmental concerns and life-threatening diseases such as AIDS. Hema continued her hit programs until she decided to move to the United States. Some of the best times in her career were the dance dramas she took part in Hyderabad in front of roaring crowds. Hema wasn’t done yet this was only the beginning.

Persuasion

Her guru then proclaimed that she was ready to perform in her first solo abroad in Germany where many of the Indian diaspora were awestruck when they heard about the fine young woman. After a long and tiring journey Hema set her graceful feet on German soil. They set off on a long journey with news reporters hounding them from all sides eager for comment. After a long journey she stayed at her resthouse prepared for the musical night with some of the most beautiful displays of Indian culture such as cuisine, film, art, and dance. She was decorated beautifully and was a sight for all those looked at her. It was as if Devi came herself for the performance. A few minutes later she was called onto the stage by her guru. She began her dance with gasps from the crowd when she moved so fast and gracefully. It was as if Nataraja came in female form and started his cosmic 19

dance. With each move so flawless and lovely the audience was stunned until finally her dance was finished. For a moment the only sound was of Hema’s breath until a person in the audience started applauding soon the applause spread like fire with not for 1 2 or 5 minutes but for 10 minutes. She had struck gold with this performance.

Preserving the tradition

After the legendary performance she soon began teaching young children and composing beautiful dramas including mythology. Even after years of stardom Hema continues her charity and social welfare programs such as AIDS awareness and acquisition of funds for developing Kuchipudi. When some people asked her what her name was she said it meant Gold and Hema struck it gold indeed when her iron resolve changed her fate. Her example is followed by thousands of girls in Andhra Pradesh.

Angika and Sathvika are the two main streams she focuses on but getting clarity in all four abhinayas is important for her students. She believes in perfect practice rather than practicing till one gets it or doing till they don’t make mistakes. Discipline is absolute element she insists on.

Perfection is something she learnt from my Guru. All his Dances are masterpieces. There are a handful of his students who perfected those dances and are able to present them as the guru would have expected. The present day Kuchipudi has so many Gurus and their own styles of presentation but what is well known and respected around the world is that of Dr. Vempati master garu.

Steps for success

Asked to list her recipe for successful programs, Hema listed some very important steps she uses for the outstanding dramas that received positive reviews.

She would sit and ponder on what she would do for the drama. Sometimes this process lasts minutes or even hours together.After pondering and setting her thoughts in order she starts visualizing or perceiving the drama and then judging whether it was good enough. When she pictures it and dreams it to be of reality Hema will talk to qualified script writers and skilled musicians to bring the dream drama to life.

With her skillful and talented students she works day and night and manages to perfect their choreography and have it ready. Hema would talk with friends and family to find suitable and able candidates for roles, Glamorous and Flashy stage props, and beautifully hand-made costumes from experts. While in this process , Hema makes improvements and adjustments to the final show . 20

Motivation

Her guru Padma Bhushan Sri. Vempati Chinna Satyam who gave a whole new perspective to Kuchipudi was her model, inspiration and influence. And her passion towards dance always keeps her motivated.There was never an instance that would discourage her from learning. She always wanted to learn more. It gives her immense joy to dance. She learnt music to enhance her dance performances.She used her musical knowledge to refine her dance.For choreographing a new dance, knowledge of the ragam and the mood of ragam elevates the choreography. Learning different art forms like music and dance that support each other helped her perform better.

Creative experiences

She composed dance dramas titled Srinivasa Kalyanam, Jagriti, Mahanandi Maniharam, Amuktamalyada, Radhakrishnamritam, Telugu Vaibhavam and Andhram dance dramas.

One of her innovations in Kuchipudi was to use a screen in a puppet show during a dance drama on stage. On the theme of awareness about AIDS in Jagriti, a dance drama, she used the light and shadow techniques to show the power of Kuchipudi. To educate the audience about the hasty sexual relations that lead to AIDS, the artistes behind the screen performed this without actually touching each other.

She choreographed fusion of kuchipudi dance for a piece of Yanni music called Nostalgia. This was performed in Indonesia with a couple of other Kuchipudi dancers. Currently she is working on her another dream project called Chandamama kathalu.

Considering dance as an influential medium she wants to impart our culture and its valuable morals to the kids in US by making it a fun experience.

(Narrative by Archish Prakhya)

JYOTHI CHINTALAPUDI

It was a dream come true when International Kuchipudi Dance Convention was being held in Vijayawada, close to its origin, the village, Kuchipudi. The banks of river Krishna near the divine feet of goddess Durga were reverberating to the great sounds of 6000 hearts stepping unison to perform Mahabrinda natyam. Every artiste dreams of doing something unique that distinguishes them from others. Leading those cherubic visages with grace was Jyothy Chintalapudi, accomplished kuchipudi artiste working hard to make convention after convention a grand ceremony.

Gracing the lead table she danced on along with the thousands of follower to achieve the record shattering effort by Siliconandhra. The Mahabrinda Natyam performance day was the one that fills her eyes with tears of joy seeing thousands of artists from various countries, assembling in one place and performing on same item. Working from scratch, bringing so many artistes together and breaking our own record each year, is beyond what words can say. For her, it's beyond a Guiness World record. It's a stream of energy of thousands of artistes in open air just paying tribute together to legends of this artform. One has to only experience it to visualize the beauty. We tried to look at Ms. Jyothi Chintalapudi’s efforts in the grand tradition of Kuchipudi.

Recollections from youth:

Jyothi was told that she was instructed to come to office of her beloved teacher, Sri Sobha Naidu garu. Jyothi felt agitated and bewildered. While striding towards office, she thought of several reasons. Just now they had a rehearsal. She herself was playing Bhrugu Maharshi and her Guru Sobha Naidu performing as Lord Vishnu. In a very crucial incident she was supposed to put her foot on her Guru. Out of reverence and affection, Jyothi don't want to lift her foot on her Guru and managed to express the antagonism in a more benevolent way.

Jyothi thought her Guru wants to discuss about the practice session. She entered the office room and wished her Guru. Guru Sobha Naidu told Jyothi that, when you are on the grandstand you are no more Jyothi, and me no more your Guru. We should absorb the personality and transfigure. Those utterances were leading Jyothi to do higher quality performances till now.

Impressionable years:

Petite and adorable Jyothi strode towards the dance class. She abominated those dance classes, as she was exhausted with hectic school schedule. But she was learning Kuchipudi dance for the affection towards her mother, as she was initiated to go for tutelage of Kuchipudi dance. Her mother wants to see Jyothi as a proficient dancer. She was under the vigorous tutelage of Sri Sobha Naidu Garu. On a factual moment, when she had performed a debut (arangetram), she got exhilarated with Kuchipudi dance and till now she has the same emotion with Kuchipudi dance.

Jyothi went for summer classes to get well acquainted with Kuchipudi Dance in Kuchipudi village itself. There she had a robust tutelage from Sri Vempati Chinna Satyam Garu. Those days are revered by her even at this moment as she was surrounded by the aura of proficiency in Kuchipudi dance. If she is fortunate to re-live a moment, she wants to refresh this special saga.

Becoming the character

It was during final rehearsal before a performance. That was the first time Guru Padmasree Dr. Sobha Naidu garu was playing the Role of Lord Vishnu and Jyothi was playing the role of Bhrugu Maharishi. She was supposed to lift her leg in anger and kick Lord Vishnu on chest for ignoring Bhrugu’s presence in his abode. In respect of her guru she couldn't do that and managed just with facial expressions. Immediately after practice sobha Naidu garu called Jyothy into office and asked why she didn't do it. When Jyothy explained her concern and Sobhanayudu changed her thinking. 23

“Once you are on the stage if you still think you are jyothi and I'm sobha Naidu, then you can never be at true artist. You should give your best to the character that you are carrying.” These words made Jyothy to realize the performance’s sanctity and how to become one with the role and play it. That had a big impact on Jyothy which she kept as a mantra to utter in every performance she did. Numerous such occasions with guru’s took Jyothy to next level as performer.

Divinity within

Jyothi recollects a day of her robust performance where she was stage crafted as Siva. After the play, she was going towards green room. Then a gentle woman came, primordially Jyothi thought that she would give a hug as an applaud, rather she fall upon Jyothi's feet chanting Siva mantra. That was the juncture, where Jyothi felt a revered responsibility towards the Kuchipudi art.

Overcoming the downsides:

As any human Jyothy als had ups and downs in her life that affected her passion. In the initial days of arrival into USA after wedding she was very excited whenever a telugu association asked her for a performance. They mostly wanted kuchipudi item on brass plate and wanted that in less than 10 min. A kuchipudi artist takes years and years of training to become a performer and spends 2-3 hrs before performance for makeup. She started feeling their requests as insulting and discouraging. Didn't see a point being a classical artist in that society.

The second most discouraging one in her life wass my family situation. Her husband being a physician helping society in a great way made Jyothy to shoulder responsibilities of household. With limited outlet for pursuing dance as a passionate artist and a guru would do she was dejected for sometime for not being able to expand her academy to train students.

Drained by this she found a boosting in the inspiring words from the founder of Siliconandhra Anand Kuchibhotla working on Kuchipudi conventions. She had worked on earning many opportunities to spring back and passionately follow her dream for greater goodness of kuchipudi art form, beyond her imagination.

Accomplishment in multiple disciplines

When asked about her ability to manage so many activities, the response in her words: “My goal is to maintain balance my life amongst family, kuchipudi training to students, my MA (kuchipudi) classes from University of Silicon Andhra and my volunteering towards the initiatives of Siliconandhra. It's all about

time management through compartmentalization. I totally divide my day into segments dedicated to each task that I'm involved in and set targets to accomplish in each segment that I'm working on. Focused and organized approach is the one totally helped me succeed in all.

There may be days when you get encouragement from people around you to. And put you to criticism to discourage you. But as long as the tasks you are managing gives you pride, working towards the success will only make you feel content and will give emanating to life.

Job, kids, cooking.... are the basic things that anyone around you will do. Identifying the one thing that your heart beats for and working on fulfillment from that makes everything else worth doing and worth living too. That's what I learnt from my personal experience.

Tutelage:

Jyothi was an Assistant teacher at Hyderabad from 2003. She came to U.S.A. in the year 2005. Since then she is giving her beneficial guidance in Kuchipudi dance necessitous children in various places like Rochester, Omaha, Atlanta. She wants to uplift and keep rejuvenate this Kuchipudi dance form with her Gurus' blessings. Her Gurus are only her motivation who dedicated their lives in this self- effulgent grassland of Kuchipudi dance.

Jyothy was an assistant teacher in Kuchipudi academy in Hyderabad from 1993 and later moved to USA in 1995, and established her own academy. Trained Several students in Rochester(NY), Omaha(NE) and Atlanta (GA). Currently she is teaching omaha students (through Skype) and atlanta students in her studio. Moving every 5 years from one place to another, had its limitations on teaching but nothing ever stopped her. Guru being her inspiration and biggest support till date to pass on this art form to next generation, she manages and convenes lot of activity for the benefit of Kuchipudi community. Known for her services in coordinating the kuchipudi performances for international artists, conducted several renowned gurus’ concerts and organizing dance camps for students, enhancing skills of students and also supporting artistes based in India.

She performed in front of international audience fundraising for habitat for humanity, gave several lecture demonstrations in high schools during international days and has been a special invitee to perform in city and county festivals.

In her words, “M most satisfying service till date is to work with the Siliconandhra passionate leaders and coordinate Kuchipudi conventions from 2008. These conventions helped promoting and perpetuating the greatness of kuchipudi to next generation in several folds. I’m so proud that I have several students who continued their passion even during their college years and adulthood.”

Kamala Reddy

Three eminent artists assembled to create something with a message with the idea of Freedom for Tibet.They know that no two individuals, no two cultures, no two religions, no two nations are the same.They also know that they all need to co-exist in harmony on the stage to present a masterpiece. By listening, understanding and accepting each other they wanted to bring out the essence of this message through dance, music, theater and visual media. The challenge was to get diverse art forms such as modern dance, Kuchipudi, western music and South Indian drums (mridangam) co-exist together on the same stage and still create something beautiful.

This program was seemingly a challenge for one of them, a Kuchipudi dancer because usually artists are always so used to performing a pre-choreographed piece in Indian Classical dance. Here they wanted to do a lot of movement extempore on stage and that was very new for Kuchipudi dancer. She had to get out of her comfort zone and trust her instincts and just let go.

They started the program with each performing their own styles individually.

There was chaos initially on stage when each artist was showcasing their own style without consideration for the other. They used a background conversation between Mahatma Gandhi and Mr. Jinha during the time of separation with visuals of India during the time of partition and lighting effects to show the disharmony that emerges with arguments, and unwillingness to listen, understand and accept one another.

It then transitioned to quietening their minds, and working together and before anyone knew it, thestage was transformed into an interesting blend of the various art forms each with its own characteristics yet together creating a new sense of harmonious beauty and peace. On that stage “Stray Birds” was performed to message audience with positivity and reliving it in real time very successfully. Representing Kuchipudi in that innovative ensemble was a composed Dr. Kamala Reddy.

Finding harmony in randomness and disseminating tranquility through the viewer’s hearts and souls is the essence of Dr. Kamala Reddy’s dance performances through years. We tried to look into her expedition so far in the beautiful land of Kuchipudi in her own words.

Motivation:

The joy that I get when I immerse myself in dance and forget everything else around me is indescribable. Dance helps me realize my Higher Nature and connects me to that divinity within, helping me tap into my highest potential. This is what keeps me motivated. As I am growing and evolving spiritually, I am better able to interpret the teaching of our scriptures through dance, which has allowed my experience with dance to evolve to a whole new level and has made me a better person.

The Initiation:

Learnt Bharatanatyam from Late Guru Samrajyam Ramana Rao in Hyderabad since the age of seven and had given my Arangetram at the the age of eight. After learning Bharatanatyam for several years, when circumstances had it that I could not continue learning any more from her, I refused to learn from any other teacher. A chance experience of watching Srinivasa Kalyanam performed by Guru Vempati Chinna Satyam’s (Mastergaru) troupe from Madras, with Shoba Naidu and Manju Bhargavi as lead roles, had such an impact on me and my parents that when my mother suggested it, I was finally willing to try a new style of dance. It so happened that Mastergaru started a branch of the Kuchipudi Art Academy in Hyderabad that same year in 1981 and I joined the Academy. The rest is history. I was so enamored by the style that I couldn’t wait for the next class as soon as I finished one class. I was learning incessantly, walking from college in the mornings after a karate class to attend morning dance class until 1 pm, going back to school for the afternoon sessions of classes and then walking back to dance class for the evening session from 4.30 pm to 8 pm daily. I just loved the teaching, the intensity and the progress. With my Guru’s blessings, I could give my Kuchipudi Rangapravesam the very next year in 1982 and have never looked back since. I am ever 27

grateful to my first Gurus Smt. Seetha Nagajothi who taught me the fundamentals of Kuchipudi and Guru Shoba Naidu who encouraged me immensely and under whose guidance, I gave my Kuchipudi Rangapravesam. They put their heart and soul into teaching me and I am eternally grateful to them

Sculpting the inner-self:

Growing up, I have always had a full schedule. As an eight/nine-year- old, I remember waking up at 4 am with the rest of my family, walking to and from a one hour horse-riding lesson, swimming for an hour, going to school, heading to dance class and coming home at 8:30pm. As I grew up, the activities may have changed but the schedule remained full. This was my choice, as no one at home was pressuring me to keep such a grueling schedule. In fact, my mother made me stop horse riding and karate after a few years because she was afraid that I would become ‘too muscular” to suit dance.

I still don’t remember how and when I studied for the course work in pre-university. The first year and a half of my Kuchipudi lessons included traveling with my teacher Shoba Naidu garu to all her performances just to watch her. I was so inspired by her. She was my role model for dance in those days.

The long hours of practice, the hard work, the sweat pouring down my hair dripping down to the floor, the tired burning muscles, all came with single pointed focus and concentration and gave immense joy of learning. At the end of the day, just a nod of appreciation from Mastergaru made all that hard work more than worthwhile. We saw the passion with which our Guru pursued his dream, and unknowingly that transferred to us and became our stimulus to keep us going. I cherished these days the most because my time with Mastergaru instilled in me a level of inspiration, dedication and discipline that has allowed me to serve the world in this way and has made Gurukula Experience: me who I am today.

As I grew older, I started traveling to Madras (Chennai) on a weekly basis for learning. Accompanied Mastergaru on my first long tour to the USA in 1984 and since then continued performing with Mastergaru on a very regular basis. By then I had started medical school in Gandhi medical college in Hyderabad but my dance training was in Chennai and performances were all over India and abroad. Every aspect of this experience was a teaching one. I learned so much from staying at Mastergaru’s house in the true Gurukula tradition, and contributing to the house work in a minimalistic but impactful way for me when I woke up at 4.30 am to pump water for the household and then went back to sleep only to be woken up at 6 am by Mastergaru for early morning practice. That discipline, hard work, dedication and passion that I saw in my Guru had been permanently imprinted on me. I started enjoying all the hard work and sweat even more. No situation was too hard for me in those days. We traveled long distances without reservations in the trains and were taken to the 28

auditoriums directly to perform, and then I had to head back to Hyderabad overnight on many occasions to take an early morning exam in medical school.

This rigor and challenge taught me to manage time efficiently, and forced me to improve my concentration to be able to grasp new material faster than I normally would have. Pressure of learning in a very short time become pleasure forever. I found myself developing “photographic memory” as my friends jokingly put it. I now realize it was purely through God’s grace. Dance is a divine gift given to us, and as any gift, it can also be taken away as easily. Therefore, I am forever grateful for this gift and will enjoy it as long as I have the strength and ability to do so. Medical school was the time when my dance career was at the peak. We were performing almost every weekend traveling to every nook and corner in India and had 3 month tours to the US, the then USSR, Czechoslovakia and Hungary. This was while balancing my school work and exams.

Reorienting after Obstacles:

Peer pressure was one of the challenges for me that came on intermittently in spurts whenever I missed an important event in college involving friends. It was difficult for my friends to understand the commitment it takes to persevere in an art form such as Kuchipudi. One needs to make sacrifices to achieve a level of proficiency in it. I had to make choices between socializing with friends from medical school and practicing and traveling for dance.

There were also some challenging times in medical school when I doubted whether I could simultaneously cope with the academic rigor and the pressure of performances - both of which required a lot of effort and time to succeed. I was so fortunate to have my father as my guide and mentor. He always encouraged me and gave me the strength to choose the right path, and helped me realize my goals and vision with more clarity. He was one of my biggest admirers and I was his. My father seemed to have more faith in me than I had in myself, and that gave me the courage to continue both dance and medicine. He always said that I had it in me to pursue and excel in both and that I just had to realize and know it. And I did! I drew my inspiration from his belief that one can achieve whatever they wish to do if they have the conviction and the courage to work for it

Treasure Recovered after Tragedy:

My father passed away very unexpectedly in 1991 just three months after my marriage and moving to the US. That was the toughest year in my life. I had moved to a new country as a new bride, I had lost the one person I was closest to. I went from an extremely tight schedule to having days of nothing to do except for study for the USMLE exams and the boards before I could start residency. We were living in a small apartment with no space to dance. I was truly miserable for a few months. But fortunately 29

for me, my husband and his family were most supportive, and my sister-in- law, Jayanthi Reddy, arranged a program at the S.V. Temple in Pittsburgh. She urged me to do my best for this performance. I slowly started to get out of the apartment, got membership at a nearby health club, and started practicing dance there. Those two months of rigorous training and preparation changed a lot of things again. The performance was very well appreciated. I was requested to start teaching Kuchipudi at the S.V.Temple by a few interested parents and that is how my teaching career in the US began. I started residency and fellowship, during which time I had 3 children. Dance classes were in full swing, with my students performing regularly in and around Pittsburgh, and I participated in Masterguaru’s 4-month tours to the USA in 1994 and 1998 and a month-long tour to France in 1987. I could do this only because of the constant and formidable support of my husband and family. They helped tremendously on the home front and gave me utmost strength emotionally. Today, I continue to practice medicine, teach and choreograph dance, and perform extensively. Many a times I am asked why? Why not give up one profession for the other and make my life easier? And my answer to that is this. Both professions give me a wonderful opportunity to serve humanity in completely different ways. I am able to practice Karma yoga. My medical profession gives me the opportunity to bring some comfort to patients and ease their suffering to whatever extent possible. My dance profession gives me a greater opportunity to impact young minds and help them see life with a new perspective. I truly believe I was entrusted with a responsibility to serve as many people as possible in this lifetime and that is what I am doing in the best possible way I know.

Karma Yogi

As a teacher, my goal was to impart this beautiful gift of Kuchipudi to other students while keeping up the standard that my Guru had expected of us. I wanted to inculcate in them a love for dancing that would stay with them forever. Students learned that success comes with hard work, discipline and perseverance but helping them realize that this can and must be done without expectations to be an enjoyable process is important. One must realize that the journey is more important than the destination itself. Not everyone may be the greatest dancer, but if they dance with true love, dedication and immersion, the result that they obtain from their sadhana is the same or greater than someone else.

I realize that with learning comes a responsibility to give back and share that gift with others. They say the greatest gift one can give is the gift of knowledge. “Vidya danam maha danam”. With this in mind, while I have been educating myself in Vedanta, I am incorporating it into my everyday lessons and general living. I feel nothing but gratitude for the all the blessings I have had in my life and I feel that the greatest gift the

I can offer as I evolve spiritually, is this gift of Vedanta to my students and audiences in the form of dance as that can be transformative and not just informative. As I grow, I realize that Kuchipudi means a lot more to me now. Every class I teach and every performance I give is an offering to God and I accept any result that I get as “prasada” (blessing) from the Lord. This is my Karma yoga. As I learn more about Vedanta, I see dance as a vehicle for spiritual growth. It helps us attain “chitta suddhi” (purity of mind) and “chitta ekagratha” (single pointed focus) which in turn prepares us to understand our true Self and come closer to our Higher Nature. My goal is to impart to my students and audiences the true meaning and message of our scriptures through dance helping us reach into our own infinite potential and connect with our True Higher Nature - the Atman.

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Ms Kamala Reddy stands tall amongst Kuchipudi community with her composed demeanor and an attitude detached off result. Most of us get bogged down just worrying about how we are going to cope with a tough situation rather than being in the moment and focusing on doing our best to deal with the situation and moving on, without regrets. She attributes her ability to balance competing priorities without being stressed out to her her parents being always relaxed and encouraging. Learning to be unfrazzled about anything in life, however tough the situation might have been, Kamala Reddy is an epitome of what dedicating one’s self to art with purest soul could do to the personality.

Krishnaveni Miryala

A look into Krishnaveni Miryala’s works and contributions in Kuchipudi arena in her own words:

Innovations, Aims and Dreams

I personally carved a niche for myself in highlighting the abhinayam in Kuchipudi and consider it as my forte. I have received similar reviews from the audience and critics alike. I try to experiment in depicting the same character (especially women) based on various classes of men or women (nayikas). I also focus on every detail while enacting an episode, which makes it look more realistic to the audience.

I collaborated with Kathak dancer on Pandit Ravishankar’s sitar music Taraana and it was very well received. I hope to do many more thematic collaborations with different dance styles from India. I would also like to collaborate with western dance forms, especially flamenco which goes very well with Indian music and vice versa.

My aim is to make my students understand this subtle and yet important aspect of Kuchipudi and master it so that they set themselves apart from the crowd.

I am in the process of creating my dream project by consolidating out of many ideas I have. I strongly desire to choreograph Kuchipudi to a soulful lyrical music in American genre, so as to can connect to a wider audience here in America and spread our art form beyond our origins. It will be a creative visualization which will be giving a depth to the emotions that would be portrayed. While visualizations are always based on real life incidents, it will not be based on a particular incident alone.

I also innovate on the techniques and presentation of Kuchipudi. I incorporate yoga into my teaching technique with students and personalize the instruction based on student’s grasping ability. Being a mother of a special needs child with Autism, I use all the behavioral analysis strategies that I learned to help my son, to help students who have difficulty in whole body coordination. Sometimes, I end up breaking an adavu into various tiny steps to help them remember the sequence. I weave a story for that adavu, which proved to be very helpful in mastering the steps for such children.

Although I wouldn’t consider this as a project, my dream is to come up with a unique Kuchipudi dance therapy program to help children with neurodevelopmental issues. Most of these children are drawn to music and have a very good grasp of rhythm. I believe that if I could build up on that skill of the student by incorporating dance, yoga and breathing into their routine, it could possibly help them in their overall development. I have been researching on this for a while and hope to consolidate one soon and start one-one lessons with special needs children.

Finally, while I cannot relive my early days of dance learning with my favorite Guru as she is no more, I wish to attain the same experience for at least half a month, in India in Kuchipudi Art Academy.

Background, inspiration and formative years

Dance has always been very dear to me ever since I was a child. My father was in military and so we travelled all over India until I was 10yrs old. It was only after we settled in AP (now Telengana) that I could start my formal training. We came to know of Kuchipudi dance classes in the neighborhood and I expressed my desire to learn the dance. My parents gladly accepted my request and there was no turning back.

I had to change to a couple of gurus due to our family relocation, but my true dedicated dance lessons formulated when I joined my late Guru Vempati Nageswari guru’s academy in Warangal, at the age of 16. After my 10th grade, I had a choice of joining Intermediate college or polytechnic college. I chose to join polytechnic college pursuing a Diploma in Electronics and Communications, only because that college was closer to my dance school and that I can go to classes almost daily.

Those 3 years of polytechnic and dance lessons from my Guru are the most cherished years of my life. I would go directly from college to dance classes and train for 3 to 4 hours almost every evening. My dance mates and I would attend weekly 3-4 times classes. We would drench ourselves in sweat but never felt an ounce of tiredness despite attending those classes right after school/college. We

would learn, experiment, share of dance styles & views while practicing for dance ballets and also assist our teacher with classes for younger children. I cherish that the most, which I miss the most now. We also gave 1 or 2 performances every month and participated in almost every competition, every local and non-local. We performed solo, dance ballets, musicals and many more.

I am a big pro towards education and I insisted my dance teacher to help me prepare for Certificate and Diploma courses and I completed both of them successfully under her guidance. As opposed to the myth that dance will be a distraction to academics, I scored straight A’s in all three years of my Diploma. Dance was never a hindrance to my academics but on the other hand it enhanced my memory and my overall academic performance. In fact, it helped me get into the Engineering college for studying Bachelors in Electronics and Communications at CBIT engineering college in Hyderabad. It was the most difficult transition of my life, leaving my dance guru and school, but my passion for dance did not wane.

As I wanted to continue dance along with my Engineering studies, I applied to Telugu university for a Bachelors in Dance and attended the assessment examination. I hoped that they would allow me to join the bachelor's program and let me to pursue both degrees (dance and engineering). But as per the Indian Education system demands, I had to choose one. Although I couldn’t fulfill my aspiration to attain the degree in dance, I continued my dance lessons privately throughout my Bachelors in Engineering, under the gurus Vedantham Ramalinga Shastry garu and Yashoda Thakore garu. Learning under these two gurus was a completely new experience as I learnt a lot on the technical aspects of dance & music.

Soon after the Bachelors, I got married and arrived in America, with the hope to continue learning dance and pursue my Masters in Computer science. I was able to proceed with my academics but couldn’t continue learning dance. It was a very tough period as I was discouraged from learning, but I never gave up hope. I kept performing what I learnt in India at least once or twice a year and finally decided to teach despite many odds. After a huge gap of 9 years, I started teaching dance lessons here in Ashburn VA, which helped me revive myself as a dancer and invent myself as a teacher. I never envisioned myself as a teacher when I was learning dance. I wanted to be a lifelong learner and performer. However, once I started teaching, I started to experience the most beautiful feeling of giving and passing my art form and my legacy to my students.

Accolades and cherished moments

I am thankful to God that I did not really have a low point in dance career. However, I had many low points in life and I was successfully able to swim through them with the help of dance. While I dance or teach dance, I forget my low points during that period. Dance rejuvenates me and gives me strength to keep going forward.

Dance is my passion. I was never tired of learning dance. I always envisioned myself as a learner and performer in my early days of being dance student. There was never a moment when I thought of pausing my dancing career. I get immersed into the lyrics/character/essence of the song while dancing and the pure joy (rasaanubhuti) that I experience is beyond expression. Dancing gives me an immense peace of mind and soul and hence I keep dancing all along.

I embraced the innate grace and abhinayam part of Kuchipudi which is key to storytelling aspect of the dance form. I believe in involving the audience into my dance. I talk to them through my dance, engage them with my abhinayam and never let them take their eyes off me so that they can experience the same joy that I experience while dancing. I am blessed to have at least one person from the audience come to me after every performance and tell me that he/she was mesmerized and was lost in my dance and could practically visualize the story and the scene in front of their eyes. My feelings and emotions after hearing such comments inspire me more.

Here, I would like to share the most cherished moment of my entire dancing career. Back in the days when I was in India, my father would attend most of my performances whenever he could, but never applauded or commented my dance. I used to crave for a compliment from him and always felt incomplete despite of numerous applauds from the world around me. However, all that changed one evening when I performed the role of Sri Krishna in a ballet called Sri Krishna Vijayam, he said that he saw a reflection of Lord Krishna in me, while I was on stage performing the role and he had goosebumps all over him. That was the biggest and best compliment I ever got and will cherish that throughout my life.

As a recognition to my talent and dedication to Kuchipudi Dance, I have been chosen as a Director on Board of IDEA (Indian Dance Educators Association - DC), a prestigious non-profit organization dedicated to enriching the Indian cultural landscape on the American land.

(Narrative by Anand Bandi)

Neelima Gaddamanugu

Graced with beauty, talent, zest, poise, and compassionate nature, the soft-spoken, genial Founder/Director of Nataraja Natyanjali has made her Dance Academy a name to reckon with in performing arts field of Atlanta. Hyderabad born Neelima Gaddamanugu’s dance journey has started due to her parent’s commitment to Indian classical danc e. Her parents were extremely interested with this art form and she drew her initial inspiration from them. Her mother was a light music artist at All India Radio and she took the first steps in building the interest in dance and music.

Later, every day, her father Sri Ramachandra Murthy, a bank executive (now retired) is used to drive young Neelima to her guru’s house which is over 10 kms away. Her guru is her first inspiration and the second is the the art form itself, which provided unlimted scope to learn. There was a lot of pressure to learn but she never got tired of learning. It has been a long journey but she cherished every moment of it. She spent long hours at summer camps and went thru vigorous training. She loved those interactions with other senior groups and motivated to learn even more. This got her to learn unique techniques with expressions and foot work.

Neelima Gaddamanugu started her Kuchipudi journey at the age of four under the tutelage of Guru Smt. Mythili Prabhakar, a senior student of Guru Sri Bhagavathula Ramakotayya and Dr.UmaRamarao garu. She also trained under Guru Sri Dandhibotla Narayana Murthy who is a senior student of Guru Padma Bhushan Dr. Vempati Chinna Satyam. Thus, Neelima had the unique opportunity to learn and understand the techniques from the two pillars of Kuchipudi dance tradition over the course of 18 years. This rigorous training enabled Neelima to win number of honors including Gold Medals and First prizes at a number of cultural competitions and dance festivals in Andhra Pradesh, where Kuchipudi dance form originated.

Neelima has given more than three hundred performances. She performed as a lead in all the major dance ballets under her Guru’s production - Priyam Venkatesam (Padmavathi and Lakshmi Devi), Siva-Ganga (Ganga),Sri Annamayya Charitam (Alimelumanga), Sasirekha Parinayam (Sasirekha), Sri Krishna Satya (Satyabhama). She was also invited to give performances at several Temple Festivals including Tirupathi, Bhadrachalam, Srisailam, Annavaram, Simhachalam, Birla Mandir on important religious occasions.

Neelima is critically acclaimed as a young choreographer for her dance compositions, particularly for Mahishasura Mardhani Stotram, Asta Lakshmi Stotram, several Annamayya Kruthi’s (Alarulu Kuriyaga, Yemuko Chiguruta Adharamuna, Adigo Alladigo, Vedukundama Venkatagiri, Tandanana Hare) and Javalis. Her commitment to Kuchipudi dance has been evident both from her active participation in dance seminars and organization of dance festivals in Andhra Pradesh. In addition, she took upon fund raising responsibilities and performed for numerous social, charitable and religious causes.

Neelima started teaching since age 12, conducting summer classes often to students much older than her! She has been teaching Kuchipudi since December 2003 in the metropolitan Atlanta area. Her passion and commitment to this art form motivated her to form Nataraja Natyanjali Dance Academy with a goal to further popularize Kuchipudi dance through teaching and continuing the parampara. She been doing various performances and fund rasing events in and around Atlanta for the past 7 yrs. This academy now has over 80 students.

It gives her an immense joy to dance and it was the sense of tradition and purity that made her to love and stick to this art form. She experiences a kind of peace and joy that cannot be explained. She feels it even more when while depicting a few special characters in dance dramas. She experienced immense joy and took a lot of pride while choreographing Hanumad Vaibhavam, a dance drama with 48 students. She took it up as a challenge, since it had a lot of male characters. And it was not easy to do jathis with the main lead. There was a lot of pressure from the temple and the audience with their high expectations. She took the challenge and delivered a successful performance. She fondly recalls it with a pride. After that there was no looking back and never felt low again. She took up new challenges and was never afraid to compete or compare with other dance gurus. She believed that Kuchipudi is an art form that belongs to everyone and everybody must do their best in its retention and in passing it on to future generations. 37

While at School, she stood first in Navya Nataka Samithi’s ALL INDIA DANCE COMPETITIONS at Hyderabad for three consecutive years in 1987, 88, and 89. Later, she won several Prizes from Lions Club of Hyderabad, Secunderabad; Balananda Sangham, Navya Nataka Samithi and other Inter- school festivals and govt. programs. Representing Andhra University in classical dance segment at Inter- college youth festival, Neelima had the privilege to perform in other states like Jaipur, Rajasthan, Delhi & Lucknow and won several recognitions. She also won the Beauty Contest conducted by Rotary Club of Vizag and won several singing and dancing contests.

Her mother Smt. Ramani – a light music singer got her into the music world also. From her early age, Neelima learnt Carnatic vocal through a 8 years of formal training from Smt. Sitamahalakshmi garu and learnt playing Veena from Sr.Butchibabu Garu for over six years. She also played volleyball and learnt painting, pot making, stitching and light music from her mother. She graduated from AMAL College, Andhra University, earning a BSc in Botany and Chemistry.

Though she learned Carnatic vocal and veena, her first love has been dance. But her dance is enriched with her knowledge in vocal and instruments. This combination of expertise helped her to tach better and in making better compositions. She strongly recommends all her students to learn Carnatic vocal and/or any musical instrument to balance dance with good music. It is important to realize that dance and music exist together.

Her favorite part of the dance is “Expression”. She allocates a lot of importance to facial expressions with which she actually connects to her audience better. Most of her audience recall that she has a special creativity with song selections and the way the dances are composed. She likes to experiment in her compositions with contemporary themes and fusion touch. She tried a fusion with Kathak, Bollywood and Bharatanatyam art forms to just keep her students engaged.

At the same time, she also opinions that “the fundamentals should not be changed as this is an art form that belongs to the world. No significant style variations can be allowed as there are many standards that we learn and teach. It has to be the same “adugulu”(steps), Jathulu and Items ( songs), no matter whichever the way one may start and end a composition. But to keep pace with the world we can have some creativity with a contemporary touch that may encourage new generation to perform more and interact with others. It also helps learn and exchange ideas from different gurus. Kuchipudi is a great art form and a tradition. Ultimately, we all must love and respect the tradition and converge to work together and make it as one world with a unique course that can flourish into the future generations”.

Her dream project is yet to come and she is working on her creative visualization currently.

At the personal level, when she was in her third and final year at the College, she got married to Siva Gaddamanugu in Hyderabad in June 1999 and moved to Atlanta in July 1999. Neelima continued with her post-Graduate education and through distance-learning earned an MA in English and Certification in Dance.

Initially Neelima started a Dance Academy in Hyderabad. After arriving in Atlanta, with a view to spread the richness of Indian culture and heritage and also to put her passion and dancing and 38

singing talent to constructive use she opened the Nataraja Natyanjali Kuchipudi Dance Academy in 2002. After humble beginnings, the student enrolment grew and she registered the Academy in 2006.Currently the Academy has about a hundred students ranging in age from four to forty seven years. Neelima imparts all the training in Kuchipudi dancing, and traditional folk dances if required for any specific dance performances.

Kind-hearted Neelima has supported many worthy humanitarian causes. When asked causes she has helped she replied,” I like helping poor kids, old age homes, kid’s education, or any work in villages in India. I do annual recitals and I participate in Fund raising events only. All my Annual recitals are fund raising events. My first Annual recital was in 2009 and we raised funds for Hindu Temple of Atlanta, Riverdale. My second Recital was in 2011, through which we raised funds for an old age home in Andhra Pradesh, India, and a Datta temple in Gangapur, Maharashtra. In 2012, we did a 20 minute dance drama on Panchabhoota Prasasthy for ATA convention. My third annual recital in 2014 was a traditional Kuchipudi dance drama HANUMAD VAIBHAVAM, to raise funds for Hanuman Mandir, Alpharetta’s land acquisition plan.

In 2015 - we participated in several local fundraising events by local organizations. In my 4th Annual recital, we raised funds for HUDHUD cyclone which affected several areas in Vizag, Andhra Pradesh. Her next annual recital in 2017 will be to raise funds for Orphanage kids.

Neelima has also been invited to Judge several Dance competitions.

Her impressive and commendable work has been much appreciated and recognized and she has received Awards from NATA, ATA; TAMA, GATA; GATeS; and SEWA Organizations.

Neelima is proficient in Telugu and English. When time permits, she loves listening to music, singing for her friends and family in homes, watch movies, paint and thread work, browse new catalogs for clothes and jewelry and design new clothes for herself and friends.

In her Academy, Neelima tries to inculcate life lessons like self-confidence; discipline; team spirit; kindness; passion for the chosen art –form etc. She tries to ignite creative spark in her students, help them overcome their initial stage fright and providing then a spring board to showcase their talents.

Neelima believes that dance is an exciting and ever evolving art-form and one must strive to push the boundaries with continuous learning, practicing and experimenting with innovative, creative and imaginative dance technique and choreography. She updates her own knowledges by reading books on dancing and also practicing latest dance forms while visiting India.

Neelima has many ideas for her Academy. She wants to teach Yoga, singing and musical instruments training also to make her Academy a one-stop Academy for parents and students.

The determination and the drive to pursue her passion for dance, music, teaching and helping deserving causes burns brightly as ever.

Watch Neelima’s journey unfold!

Neeharika Pendekanti

Yetho Hasta Thatho Drishti

Yetho Drishti Thatho Manah

Yetho Manah Thatho Bhava

Yetho Bhava Thatho Rasah

“wherever the hand goes the eyes follow, wherever the eyes go the mind wanders, when the mind is engaged, expression results, where there is expression, the emotion is experienced”.

Learning Phase:

When I was 4 year old my grandmother took me to Bharatanatyam classes and Kuchipudi Dance Classes. I learnt both dances for 10 years and with my time constraint I continued only Bharathanatyam next 2 years. Even though I like Bharathanatyam, but my heart is in Kuchipudi. Because I had experience in both then I realized that I am enjoying more “Kuchipudi Dance”. Then I started continuing Kuchipudi instead Bharathanatyam. I am fortunate to have Guru like Padmasri Nritya Choodamani Dr. Sobha Naidu. From that point onwards, I continued Kuchipudi till today, never looked back. I really want to thank my grandmother. There were times when I would make excuses to skip a class, my grandmother helped me stay focused and made sure that I never give up. I think my grandmother saw my passion and talent in Kuchipudi.

Teaching means Encourage Learning:

This is something I advise the parents of all my students. They are all children, the focus is to learn and anything is less. As a parent we need to encourage them to learn theses arts. It is very easy to give up when it gets harder. If the child has the God's gift of dance, it is the responsibility of the parents to help them stay focused. The philosophy I believe in is to instill a sense of confidence in 40

the student while fostering a love for dance. I really enjoy teaching dance. We have a unique situation where students come in all sizes, shapes, ages, and ethnicities. It is the responsibility of us gurus to adopt a more global approach in teaching the traditional artform like Kuchipudi. I learnt the technique from my guru and my students taught me how to teach.

Dance - Larger than Life:

The emphasis is on strong foundation that will encourage anyone to strive for excellence in their dance Journey. Dance is a part of who I am. It has become an integral part of my identity. Dance is not a livelihood, it is a lifestyle.

I have a B.E. in Electronics from Osmania University and an M.B.A in Telecommunications Management from California. All of these gave me the world knowledge but dance gives me the inner happiness even today.

I cannot emphasize enough the importance of classical learning to be able to do any dance style. A bollywood dancer for a year, with the knowledge of Kuchipudi, I tell myself that "now the bollywood steps I've been doing all these years make sense". A young student who learns Tap and Kuchipudi is always finding similarities and tries to connect both. I enjoy making the Kuchipudi dance relevant to the kids that grow up here in the US.

I am a dance enthusiast. I availed every opportunity to learn any dance style. After Kuchipudi, I took Hip Hop classes. It taught me to listen and grasp the beats very differently from what I am used to. The instructor would tell me, " Honey, Your foot work is correct but it isn't hip hop". That's when I understood the importance of attitude. When we dance Kuchipudi, along with technique our guru's subconsciously taught us the attitude of a classical dancer.

Even today, every practice and every performance gives me an adrenaline rush. I am always amazed how outcomes are different for the same dance based on my state of mind at that time.

Achievement and Aspirations:

We have recently produced a Kuchipudi dance ballet on anti-bullying. Kuchipudi dance ballets are our own versions of broadway shows. I would like the next generation to appreciate and take it further. I would love to be able to do more themes that are relevant to the next generation.

Fusion is very essential for the next generation of dancers. Every dance form makes me to listen to the music differently. A life time is not enough to learn the intricacies of a rich classical dance form like Kuchipudi. In today's multi-cultural and multinational society we live in, it is essential for our next generation to train in more than one dance form to take it to next level.

I am the founder and artistic director of SITA (School of Indian Traditional Arts). The school has produced numerous ballets like Mahishasura Mardhini, Krishna Leelamrutham and Yashoda Krishna. SITA has organized Cultural Awareness camps and Asian Heritage presentations at various public schools and corporations.

Revathi Komanduri

A talented and dedicated Kuchipudi artiste Revathi Komanduri’s voyage in the exciting world of Kuchipudi as told by her..

Background and Inspiration

My mother Smt. Pathri Bala Tripura Sundari took me to dear Mastergaru, Poojya Sri Vempati Chinna Satyam garu, at the age of 8. Before this I had brief training with hri. Pasumarthi Krsihanmurthy garu in Chennai.

The atmosphere in Guruji’s academy and his class created a very deep positive impact on me at a very early age, which continued into my youth and sustains me even today. The mere presence of Guruji was enough to mesmerize us in this art form.

We used to live 60 miles from Guruji’s academy. We used to go to school, and from school to dance class and back home. From home, I used to cycle three miles to the bus stand, change two buses and then walk another two miles to get to the class. After the class I had to go back home the same way. I don't know how we used to do it!!!

What continues to keep me motivated is my love for this art form, my love and deepest respects and reverence for my Guru ji who sacrificed his entire life for the sake of Kuchipudi dance. My 42

mother and Guru ji should get all the credit for the love I have for Kuchipudi and for whatever I am today.

Kuchipudi has been part of me since I was 6 years old. I spent all my childhood into youth with Guru ji and I cannot imagine my life any differently. What I get out of it repeatedly is peace and enhancement to my inner self, my soul when I teach and choreograph.

Although I have a Master’s degree in computer sciences I did not have the same passion as I have for Kuchipudi to pursue it ever.

Experiences, cherished memories and Appreciations

What I cherished the most during my learning is just being under the tutelage of Guruji, his love and caring he always had for his students, his classes and all the programs I was able to do under his direct guidance. The type of exposure we had to Kuchipudi ballets, choreography and performances is unparalleled .

Performing under Guruji‘s direct guidance for my Rangapravesam and also all his ballets especially "Gopika Krishna" and “Sri Krishna Parijatham" are very dear to my heart.

Guru ji blessed me by watching my choreographies, my ballet Vighneshwara Vaibhavm(2009) and also other works. Another cherished childhood memory is an appreciation from renowned Guru, Vidwaan. (Late) Sri Nedunuri Krishnamurthy garu, for my performances in Vishakapatnam in 2008, for which he was the chief guest.

There were indeed some small instances where I used to get demotivated and discouraged (especially when I was young). However, the charisma and impact that Guruji had on my childhood and upbringing helped me completely overcome these hurdles. All that mattered was Guruji.

Na Guror Adhikam tapah

Na Guror Adhikam phalam......

(Neither is there any Austerity Higher than the Guru, Nor is there any Higher Reward than the Guru)

According to me what we consider as lows and highs in our experiences are labels we put on them ourselves. Every experience is a learning experience. We learn to fight and get stronger from these "lows " as we call them. We have to learn to treat lows and highs at the same level.

I feel it is the determination and love for the art form that finally gets one through. On another note, I have always said to myself, whatever my low experiences have been are lesser in comparison to what my mother or Guru ji went through for the sake of Kuchipudi.

Passing on the art to future generations

For me the best part of performing Kuchipudi is the drama, and extensive satvika abhinayam involved in the style which is very near to real life. Since Kuchipudi is a reflection of life s nine sentiments, navarasas, what better way can there be to express ourselves? Apart from these rasas, Bhakti rasam is something I love the most. I focus on both Aangika Abhinayam and Satvika Abhinayam a lot, which is what Guru ji taught us to do.

The way I have translated my passion for Kuchipudi is by teaching and choreography. First and foremost, l love teaching. It gives me inner strength and immense satisfaction to my soul, just looking at my student’s blossoming into fine Kuchipudi dancers. I also love choreographing new themes, new ballets and songs. I am very fortunate to have students who always reciprocate positively by being available for all my choreographies. They too learn a lot more through new choreographies, ballets and also by helping me teach some classes.

Dream Projects, Innovations and Fusion

With Guruji s grace and the grace of Nataraja, I was able to do many new choreographies including, 50 to 60 new kritis (solo items), 20 arrangetrams (Rangapravesams), three dance dramas. I also choreographed Shabdams for Yuva Bharati , a non profit organization doing excellent work and service to dance and music.

Apart from this, I conducted many workshops for faculty and children in private and public schools.

My Guru has been my inspiration for my dream projects. Added to it, it is my own zeal to see my students perform their best that inspires me constantly. I aspire to to create many more dance dramas and make children have the experience of doing them primarily because Kuchipudi is a tradition of dance drama. Here I would like to talk about some of my projects.

Menaka Vishwamitra (2001): staged under the guidance of guru Sri Vempati Chinna Satyam garu. It was originally choreographed by Guruji. As this was the first project, along with my husband Sri Raghu Komanduri did all the work including student training, funds, sponsors, souvenir, costumes and jewelry. I was still fairly new to Atlanta. It was a tremendous amount of work, but my students did so well that at the end of it I was very happy. This program was the first dance drama in Kuchipudi style done in Atlanta with live orchestra with our own local talent. We cherished the music so much that even after 16 years we continue with the same musicians here for all our programs. We also performed this dance drama in many other cities with live orchestra including, Nashville TN, Mobile AL, Corning NY, Pittsburgh PA and Detroit MI.

Vighneshwara Vaibhavam (2009): concept for this was conceived and written in 2007. This project took the longest to put together because I was getting everything done from India- music, costumes and jewellry. Once the script was written, it took me six months to complete the choreography with

my students. I then moved to India to get the music, costumes and jewelry done. It was the most tedious task as I was doing all by myself which included, traveling in bus to Chennai and Hyderabad from Vizag at least ten times to get everything done to perfection. I got the music recorded in the studio and it took many weeks of hard work. I came back in June of 2008, found a wonderful organization VIBHA as a sponsor for the program, trained all my students. We did the first performance on January 10th of 2009 as a benefit show for the children of VIBHA. Vighneshwara Vaibhavam was also performed in many other states including, Jacksonville FL and San Fransisco (by students of Nrityananda dance school).

Kumarasambahvam: this was based on a concept by Shri. Sastry Bhagavtula. This is a mini ballet that we have been performing several times since 2012. Recently we were blessed to perform this ballet in the presence of Barhmashri. Samavedam Shanmukha Sarma garu in Atlanta 2017.

Bala Bhakta Maarkandeya (2016): This project was done in a very elaborate way. The script was completed in 2014. It took a yearlong to compose the music which was performed by a very talented local artiste, Ms. Subhahsini Krishnamurthy.

Choreography was done with 60 students who worked hundreds of hours to put this together. The main roles of Maarkandeya, Yama and Shiva were played by very young children of ages 13, 14 and 15 respectively. It was a pleasure training them and all children performed to their best capacity. The program went live on May 1st 2016 with a live orchestra.

I constantly try to innovate and have been trying many new techniques in foot work and presentation during my choreographies including new jathi patterns, techniques on the plate and also new themes.

I also had the privilege of doing a few fusion projects. The fusion we did was bringing kuchipudi, Bharatanatyam, Odissi, and Kathak on stage together, like a jugalbandi. We did thillanas and other keertanas in different styles on stage. I choreographed a thillana for a project by Hindu Temple of Atlanta involving Kuchipudi and Bharatanatyam together.

I have also been wanting to do a ballet on a social awareness theme. I am currently working on the concept and trying to put it together.

(A narrative by Anand Bandi)

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Sarada Nori

“I strongly believe that spreading an art in its true form is the most important thing. But how it can be adopted to different cultures and audiences is what makes it more consumable and exciting. Current generation’s perception of an art and the attitude to learn and master it has changed significantly. Their aptitude to appreciate an ancient art form which more culture and religion centric depends on how a teacher packages that generates interest and curiosity in them. This is where my training in music and puppetry become handy to design workshops to introduce the language of dance in a special and interactive form.”

Journey of Learning:

I was always curious about music and dance during my childhood. Observing my interest in these art forms, my parents thought that formal classes would help me to explore further. At the age of 6, the first step of my journey started with guru with Smt. Usha Rani, learning the fundamentals of Kuchipudi. Then I switched to another guru, Smt. Usha Gayathri under whom I refined my dancing skills and gave my Arangetram. I also spent 2 years at the Kuchipudi Art academy in Chennai. On a separate note, I also learnt Bharatanatyam from Smt. Ananda Shankar Jayanth for 2 years

I was not just happy and content with the techniques and presentation of Kuchipudi on stage. I always felt there was a scope for enhancements in terms of Style which includes rhythm, gestures, dramatization of characters. I was fortunate to attend concerts both as a viewer and as a performer which kept my curiosity and learning alive. The feeling of being on stage and bring characters alive felt very thrilling. The performances that I witnessed as a viewer gave me hopes that artistic experiments are boundless and limitless. I performed several times as a freelance dancer to explore the depth of Kuchipudi dance.

Keep Continuing

Artistes around the world have been consistently delivering presentations in their own styles. Observing several unique concerts always motivates me to continuously explore the new avenues of innovation. My training in dance, music and puppetry had prompted me to dig deeper into collaborative productions. Blending these three different arts and interacting with my gurus on constant basis, my journey as a teacher and performer has opened new paths constantly given me scope for expansion.

Dance involves persistent practice especially when we embody a character. Embracing a role from a mythological story has always been memorable for me as it gives me the power and liberty to be a different person on stage. Bringing in the personality enveloped around the role with exquisite technique is always a challenge.

Currently I teach Music and Dance at my studio in Connecticut

I also had an opportunity to be trained in Carnatic music and puppetry in addition to dance. At the moment I teach music and dance and make non-lyrical productions in English choreographed in Kuchipudi style.

Ups and Downs

Due to exposure to different forms of Kuchipudi, my transition to Vempati garu's style was a painstaking experience. I did feel discouraged as students of my age at that point had already mastered the technique and were busy taking it to another level. I repented that I had not gotten the opportunity to pursue such a challenging style in early stages of my dancing career. However, my passion to learn and get better at that art had always stimulated me to keep going further. Today I fondly look back and appreciate all of the opportunities I had despite the fact that I had joined Kuchipudi Art Academy at Chennai. Each of those moments had gently nudged me towards a beautiful journey to discover nuances of Kuchipudi.

Memories to cherish

I have always been drawn towards Kuchipudi in its simple and complex forms. Although I have tried other styles of dance I found myself enthralled by the way dance dramas could be choreographed 47

and presented in Kuchipudi. Both watching and participating in the productions take me into a state of euphoria.

Appreciation means a lot to an artist. Although I have many such moments but my favorite one was when my guru acknowledged my hard work and appreciated my dedication during a rehearsal of an upcoming important project that our group was getting ready to perform. It meant a lot to me when a blessing came from him. Another moment of admiration I is still fresh in my mind was when I had performed Madooka Shabdam for a competition enacting several roles and switching rapidly from one to another in order. This resulted a spontaneously applause from audience.

On the flip side, there were some painstaking times in my career. The major hurdle was a critical health issue where in doctor advised me to put a stop to my completely as it might cause further damage to my health. This was a kind of retreat for me where I couldn’t perform and participate in productions or couldn’t even teach until it was resolved. This was an uncontrollable situation in my life but I could overcome this odd stage by surrounding myself with my passion in every possible way. This helped me take baby steps towards my recovery.

Innovations, Aspirations and Achievements

One of my dream projects is to bring in my training as a puppeteer and make a production to involve Dance, Puppetry and Music. I came up with a lyrical contemporary themed production combining these three forms to suit the international audience. The production is about how humanbeing destroys the nature and eventually how the nature heals by itself. I used Puppets with Kuchipudi dance movements to bring in animals in a forest. The production uses classical Carnatic music with Abhinaya to narrate instances of violence against wildlife. This show opened doors for me to blend these unique art forms.

Out of a long list of my dream projects, I have realized two of them.

Project 1: a. I had a sect of international audience who had limited understanding on Kuchipudi and Hindu Mythology. Hence I tried to pick a subject that was more contemporary. In addition to this, characters needed to be designed that are suitable for puppets. As I was already working with two different art forms, Kuchipudi and Puppetry, I know that my options were limited. Considering the fact that nature's resources are precious and how humans are exploiting it time and again, I thought it would be a suitable subject for a show.

b. The next challenge that I faced was finding righteous music and custom designed puppets to suit the dancing needs. Of course, a story line to express my thoughts demanded my time and deep thought process. c. Having done 3 non-lyrical productions narrated in English, I was able to scribe a sequence of scenes to present my theme d. With my training in Carnatic classical music, I researched for ragas and rhythms that suit the kind of choreography I had visualized and the myriad moods that depicted the scenes. e. I explained the puppet design to the puppet maker and demonstrated distinct movements to give an idea as to how the puppet must look like and how I intend to hold it as I dance. f. I choose only animals for the puppets as it would be interesting to choreograph and pleasing to watch animal movements. g. I collected several music bits and edited them to suit my story line and sequence of scenes h. I choreographed all the steps first without the puppets in hand. After getting comfortable with the whole sequence we rehearsed with the puppets

Project 2

Puppets have been used in several ways as an effective teaching tool. In my quest to trigger curiosity in young minds, I have conducted a unique workshop that introduces single hand gestures with the help of a puppet. The basic content of this introductory workshop has been derived from the Angikabhinaya lessons that Silicon Andhra University has facilitated in Dr. Anupama Kailash's class. The knowledge and inspiration I gained from the faculty prompted me to apply it with an out of the box approach.

Some highlights of this workshop are a. Children learn the story of dance as per Abhinayadarpanam. b. All single hand gestures are taught with the usages. As a creative exercise they construct small sentences expressing through mudras. c. Navarasas are introduced. As a creative exercise children take up a contemporary or moral story from western culture or Indian mythology to explore the usage of facial muscles and demonstrate emotions. d.Rod Puppets are used where the child's hand is used as the puppet's hand. A set of small dialogues were written to enable acting using mudras that suit the conversation and context.

Projects for Future:

Here are a few projects I have envisioned. These projects demand advanced Kuchipudi skills, expertise in music and in depth knowledge of certain medical fields.

Project 1

Therapeutics of music and dance have been proven. According to research there are certain ragas which would help certain medical conditions in the body to heal. For me to gain control on this field, I needed Music experts who have conducted extensive research on ragas and their healing powers. Currently I don’t have access to authentic research material though some online resources are available. Just like ‘Tai Chi’, a Chinese art form to promote relaxation, Kuchipudi movements can be choreographed with selected soothing movements which can be presented in a scenario or just a collection of nritta pieces in conjunction with the ragas. Developing short presentations might trigger more thoughts on how certain aspects of Kuchipudi and Music can be used. These can be offered exclusively in rehabilitation centers to suit the patients’ needs.

Certain medical conditions like Alzheimers require mind exercises. The exact details on these disease can be gathered and a workshop involving mudras can be designed as an exercise to the brain. Keeping the patients past memories and experiences in mind, the module can be customized to produce interesting exercises to suit their needs.

Project 2

According to an ancient Indian story the evolution of puppetry or TholuBommalu connects to Lord Shiva and Parvathi . The story also includes a Sutradhar. I would like to take up this story involving dancers and puppeteers to bring it to life. Although the type of puppets used in the project might be contemporary, India has some traditional methods of puppetry which are still practiced in the modern times. This project could be a culmination and collaboration of ancient arts named puppetry, dance and theater. Basic concepts of NatyaSastra could be applied as well where suitable.

Project 3

Our Kuchipudi tradition proudly presents a combination of theatre, dance and music. All of these are presented live on stage very frequently. Unfortunately due to lack of resources, children of the current generation, to a large extent, no longer enjoy this in the western world. My dream is to present a Kuchipudi drama for the children, by the children. This will involve live nattuvangam, percussion, instruments, vocal and voice artistes( for dialogues) in the form of Yakshaganam. The theme can be something scripted exclusively depicting an idea that appeals to their generation. Children who have prior training in instruments, theatre, dance and music can be encouraged to participate. 50

Project 4

The grammar of Kuchipudi is so extensive that it can be used to blend into other international dances or music forms. Exploring such options I would like to make a production which is on the lines of a Broadway show. Typically Broadway shows cater to subjects which are universal or easily grasped by audience from different racial and cultural backgrounds. Hence the theme and execution of it might not be like a fully traditional Kuchipudi performance but another version of it.

My dream projects that I have listed on the top have been my new experiments in the recent past. In addition to those I have made non-lyrical Kuchipudi dramas with brief English narration and dialogue to connect the dots in the script. Due to limited music resources, children who do not speak Telugu and a burning desire to keep the students interested in the art form, I use English instead of Telugu or Sanskrit in my productions. I take up stories from mythology for all my productions.

Sasikala Penumarthi

A Kuchipudi dance expert and guru from USA,, Sasikala Penumarthi contributing to taking the dance form to next level for many decades. A look into ther contributions in her own words.

Backgroud and Inspirtion

I have been passionate about dance since my childhood and it was my uncle, Lingamoorthi garu, a well-known actor in films, who took me to Guru Vempati Chinna Satyam garu. I started learning Kuchipudi Dance from my Great Guru at the age of 7.

Fortunately, everyone around me always encouraged me. I have been always enthusiastic and looked forward to the daily dance classes.

I continue to draw inspiration from my Guru's teachings, dedication, passion to promote this beautiful Art, and his commitment. I try to imbibe the same in my students and many of my students who learnt for many years come back in later years and continue assisting me and teaching the younger generation. This motivates me.

The most I cherish from my earlier learning days are my Guru's teachings, participating in his choreography, performing with him. I used to talk to him during our train travels - for various performances across the country - about his life events, experiences with movies and finer aspects about dance. I also cherish my best humorous friends circle with whom I learnt and performed, and watching my seniors practice and perform. 52

Accolades and experiences

As with most performers, I too had some high and low points in my career. I would like to share the highest point till now. In 1987, along with my guru, I was part of a group representing the Indian Council for Cultural Relations at the Art Festival in Tashkent. I played the lead role in Chandalika, a dance drama presented by my guru. It was my first presentation as Chandalika in the Nobel Laureate Rabindranath Tagore’s emotional ballet. Our interpreter came rushing backstage after the performance. Holding me, he began to cry, saying, “You made me cry, you made me cry.” They later announced that I was the Performer of the Evening. Several attendees told us that they were deeply touched by the ballet. My guru, Sri Vempati Chinna Satyam garu, normally would not say anything, but that day he patted me on my shoulder and said I did well. That was worth a lot to me.

I also had to deal with a very low point in my career, it was 2003. I was working on presenting Srinivasa Kalayanam with the blessings of my Guru. All the advertisement and publicity was at its peak. We were practicing, getting the costumes and settings ready. It was an extraordinary experience for me to be able to present Lord Venkateswara’s Kalyanam. It was just 2 months before the performance that I heard the news of my father’s demise in India. It devastated me. I could fathom that it was my father, who packed all the costumes and jewellery and sent his blessings for a successful performance, that passed away. I did not know what to do. Despite this very personal loss, I had to regain my strength and proceed with the ballet. My family, friends, students and their parents stood by me and gave me strength to overcome an extremely emotional and painful time. On the day of the performance, I felt the presence of my father all around the stage. I thank everyone who helped me pull through that phase.

Passing on the art to future generations

Kuchipudi is a story telling art form which I like the most. It has the beauty of expressing oneself through movement and expression. This aspect of Kuchipudi always captured me. I feel that I embody the dance form and feel yogic each time I practice or perform. I continue to present stories from mythology as well as social themes that convey goodness of people, nature and God.

I feel it is my duty to pass on my expertise that I gained from the great master, to the next generation. I accomplish this by teaching, involving students in performances, showing them the dance dramas that we performed with my Guru. I also conduct summer camps regularly, giving them stories and encouraging them to choreograph and present during summer camps. Apart from this I also choreograph new dance dramas and solo items, introduce Kuchipudi in schools across Georgia and teaching in Universities such as Emory, Georgia State and University of Florida.

Innovation and Fusion - Swapna Vijayam

A dream project that I presented hitherto would be Swapna Vijayam, a Kuchipudi adaptation of Nutcracker. When I first joined the Georgia Council for the Arts roster, Maggie Holtzberg, who was the Folklife Arts Program Director at that time, visited our dance studio. When we introduced her to the Natya Sastra, she wanted to know if the traditional Kuchipudi dance form could adopt modern themes. We chose to demonstrate this concept with the adaptation of Nutcracker, a very famous Western theme performed by most ballet companies annually during the holidays. In the adaptation, Clara became Swapna, the Magician became Mayura, the Mouse King became Mooshikaasura. The costumes and presentation was designed in such a way that people who are used to seeing the Western Ballet Nutcracker could relate to the Dolls, the Mouse King Cave, the Magician’s Tricks and the Christmas Tree. People who are used to seeing Kuchipudi Performances could see the Kuchipudi Elements from Natya Sastra such as Abhinaya, Jathis (rhythmic Syllables.) We had all the aspects of the presentation created new, lyrics written by Sri Indraganti Srikantha Sarma in Telugu, music composed by Smt. Subhashini Krishnamurthy in the classic Carnatic style, jathis by Sri Sastry Bhagavatula and choreography composed by myself in Kuchipudi style. Swapna Vijayam was presented with a live orchestra to a full house of 1200, seated at the Robert Ferst Center for the Arts.

We invited various arts organizations including the Atlanta Ballet to be our guests and experience it. However, they were busy with their presentation of the Nutcracker at the Fox Theater during the same time. We received feedback from a number of people who attended the show. They thought it was unique and a variant that should be presented every year, as well.

I drew inspiration for Swapna Vijayam from Natya Sastra. Although it dates back to the 2nd Century B.C., it has the necessary style of presenting to the millenia. In addition, My Guru has always been an inspiration for me to create new works. I feel his presence in front of my eyes whenever I am choreographing. It feels like he comes and tells me to do something a certain way. He always was keen on graceful presentations even in rigorous dances.

A documentary film was produced on the making of Swapna Vijayam. When people talk about fusion, I always think that it should be a coming together of two traditions or cultures. It should be coming together in such a way that the best of both are taken, but also presented in their original identity. Our efforts to present Swapna Vijayam from the inception to the culmination in a performance was to present this very idea of fusion.

I also did another project - Shanthi, a journey of peace. I was presented along with Kanniks Kannikeswaran, an Indo-American musician and composer. This was a presentation of multiple styles of music and multiple styles of dance.

Currently, I am working on Sri Rama Pattabhishekam and its relevance to modern society with emphasis on Lord Rama’s characteristics and portrayal of a Son, Brother, King, upholder of righteousness.

Dr. Sindhuri Jayasinghe

It was the time when India had its share of tumult and issues of religious frenzy taking over unsuspecting common man. Those zealots went on rampage and caused multiple death in riots. A 13 year old girl opening her eye to the social unrest couldn’t stay oblivious to her surroundings. Art is an expression of sensitivity. A small flutter in the environment causes artist heart to respond with equally or more level of artistic expression. That made the tender heart of Dr. Sindhuri to device a mechanism to teach solidarity and sensitivity to fellow countrymen using her only weapon, Kuchipudi dance.

The story young Sindhuri picked revolves around HH Ramanuja finding an idol of vishnu in the palace of delhi sultan. On getting the idol to south India, the daughter of sultan who was disciple of Lord Vishnu comes all the way to get back to the divinity she found when it was in her palace. At this point the creative artist turned the dance drama to bring out the message she wanted to convey to her audience. Sindhuri made the princess reach the town and Ramanuja sishyas stopping her because she is Muslim. Through the princess Sindhuri tells that religion can’t be found neither in air nor in the water. She says that all these religions are the same. Ramanuja is impressed and brings her inside the temple.

She will then be happy and she will faint. Maha vishnu accepts her soul. With reverberating message in the hearts of audience “When God himself shows no difference, why should we?” Sindhuri won

the hearts of people. Its magical to have some of the experiences that could transform personalities. Art surely has the potential and let’s throw light on one such artist Dr Sindhuri garu

Origins:

Dr. Sindhuri was born watching kuchipudi. She watched performance as toddler. She got blessed into Kuchipudi by guru Dr. Vempati Chinna Satyam.With divine grace, she was a solo performer from the age of 3. Learning rigorously under the great guru, she started excelling herself very soon. She began displaying her artistic acumen at very young age. As she went on learning, she added some improvisations and became first to sit on the brass plate while dancing. A fete little hard for someone with experience too.

Applause:

About 20 years ago, she was performing in a village close to Hyderabad. In that village they had an utsava (temple celebration). 25,000 people were there to celebrate. The mass crowd couldn't understand anything about classical dances. Previously, classical dancers who attempted to perform in that village were chased out. The humorous part about this was that the stage was horrendous as it was made of mud and covered with a tarp. When a dancer puts foot down for a step, feet would sink into the stage. The audience occupied all 4 sides of the stage built at height for visibility. Dr. Sindhuri’s performance was in sanskrit depicting the krishna leela tharangini. However, the crowd didn't know sanskrit. For this audience, she explained each and every song in telugu. In addition, despite the horrible floor, she danced on a brass plate with the kalash on her head.

She held those people for 2 hours and still managed to get wonderful applause after every item. In the end, she was tremendously awarded and appreciated. The officials of that village named her the first successful dancer to perform there. To this day, it remains most cherished memory for Dr. Sindhuri.

For the Love of God:

Right from infancy, Dr. Sindhuri always wanted to do a production on Krishna. So she prayed lord Krishna himself to give his blessings to find her a good composer. She decided to do Krishna leela tharangani in which she tied nattuvangum bells all over her upper body and danced while making music with them by hitting those. With so imbibed in the thought one day while she was walking on the street met a Brahman with a Namam. He told her about how the writer of Krishna leela tharangani, Narayana theertha, had done the same thing as what she was going to do with the bells,

without any prior knowledge of what Dr.Sindhuri intended to do. She believes that was not just a coincidence, but was blessings from lord Krishna himself

Dr. Sindhuri performed the whole story of God Krishna as a Mono Ballet where dancer will do all characters. She performed in both dance styles, Bharatanaatyam and Kuchipudi for a good three hours of soulful dancing. When someone does something soulful, God finds his abode in those hearts. No wonder she could feel the divine presence all around her when she performed that and got very memorable applause from eminents of multiple fields.

Dr. Sindhuri too had her share of bitter experiences. Once, long time back she had given her efforts and prepared for 3 months. After all that hard work, out of pure jealousy, the coordinator denied Dr. Sindhuri her role. That was my first and last rejection. From that day I learned that rejection can lead to success.

The Teacher:

Being so passionate about this artform, Dr. Sindhuri started a dance institution which is not commercial whatsoever. She charges monthly fees but the parents earn their money back through extra classes which she wouldn’t charge for. Dr. Sindhuri encouraged over 1000 students to pursue and learn this art form in the USA as well as in India and the UK.

Innovator:

Dr.Sindhuri’s attempts to work on presentations that are unique. She usually starts from scratch to create new themes and projects. An example would be her effort in getting Molla Ramayanam. She is the first artist to ever perform the molla ramayanam. Instead of dancers to accompany lead role, she used color shadow puppets. The unique effort has been recognized and got much appreciation. Dance ballets with moral stories from Vemana, Sumati etc moral poems was another unique effort that got children easily visualize and motivated.

One of Dr.Sindhuri’s dream projects was thirukkural navarasa natya written by former chief minister of Tamilnadu Dr. karunanithi. This was based on kural oviyam which took him 30 long years to finish. She took nine different stories and he named it. And the music was composed by the late legend MS viswanathan. For a project executed at such a grand scale won her many audience and the prestigious “Kalaimamani” title.

With such creative ideas, Dr. Sindhuri has been very active with her artistic prowess and energetic presence. Talking with her generates an electrifying effect. One can feel the unresting demeanor and conviction towards achieving more in the field of dance.

SriVani Vokkarane

‘Once a mom, Always a mom… Once a dancer, Always a dancer’.

“Pranamya Sirasaa Devou Pitaamaha

Maheswarou Naatya Shastram Pravaksshyami

Brahmanaaya Dudahrutham”

“I bow reverentially to you, Lord Brahma and Lord Shiva (the creator of dance) as the shastra of classical dance outpours my lips, as it was told to me by Lord Brahma (The creator of Natya Shastra).”

Learning Phase:

I am very fortunate to born in a traditional family where both my grand fathers were Vedic scholars; Music, Dance, Sanskrit and Vedic recitation were deep-rooted within my family. It was my parents dream to watch their daughter dance. They initiated me to this beautiful art form. I began my dance journey at the age of six by learning Bharatanatyam under Guru Sunanda. I gave debut recital when I was nine in a traditional setting of a Hindu temple. I continued to learn the complex techniques

under the able guidance of Guru Prema Kumari and secured State level scholarship and also excelled in Professional Certification from the State Board Exams. I was initiated to the art of using cymbals – known as ‘Nattuvangam’, the rhythmic vocalization with cymbals used in dance accompaniment. Guru Prema Kumari provided solid training to master the techniques.

Polishing and Perfecting:

The quicksilver and scintillating steps of Kuchipudi drew my attention and I started to learn Kuchipudi when I was at the age of fifteen under Guru Vyjayanthi Kashi. Under Guru Vyjayanthi, I was provided several opportunities to perform at various prestigious festivals and being on her ensemble, was a true learning and enriching experience. I had an elated experience to share the stage by dancing along with my Guru. Later on, I continued to pursue advanced training under Guru Veena Murthy Vijay. Synonymous with grace and honed with magnificent Abhinaya skills, Guru Veena Murthy bestowed upon me a wealth of Abhinaya pieces. I was very privileged to learn the traditional Devadasi art form known as ‘Devalaya Aradhana Natyam’, Guru Veena Murthy instilled within me that confidence and imparted the ancient ritualistic dance ‘Simhanandini’. Guru Veena Murthy is a true mentor in supporting my academic skills.

Dance Moves to USA:

Moved to United States, I was fortunate to learn a few pieces from Guru Shoba Natarajan. Guru Shoba is an exemplary artist and a good motivator who supported me with my ongoing activities. Under her guidance, I received the prestigious Apprentice award from the Illinois Arts Council. She also provided me with an excellent opportunity to perform Nattuvangam for her ‘Royal Ragas’ production hosted in Chicago. What started as a hobby by my parents’ choice, soon blossomed into a passion fruit that I wouldn’t want to let go. There was never a ‘looking backward’ moment in my life, I continued to perform and also started teaching younger students through establishing’ Sriranga Dance Academy’ in Aurora, IL with a mission to promote this traditional art form.

Having received such intense training to master the nuances of Kuchipudi, I was mesmerized by the traditional ‘Devalaya Aradhana Natyam’ – the art of drawing the vehicle of the residing deity through dance footwork. A unique art where the dancer sketches a lion, the Simhavahanam or the mount of the Mother Goddess Durga, while dancing on a white cloth spread over red colored powder through intricate footwork. It is said that the pioneer Guru C. R. Acharyulu watched a Devadasi perform and brought to light by passing on the legacy to some of his direct disciples including Veena Murthy. I am fortunate to learn through the lineage.

This took another dimension in my dance career. It has been a pleasure cherishing those bountiful moments that my Gurus have given me in the past and continue to support me through my dance journey until today. I have performed, organized dance festivals and workshops with visiting Gurus from India. I have been recognized by ‘Sri Annamāchārya Project of North America’- SAPNA organization for my contributions towards Kuchipudi dance. I have also been recognized and honored by the local cultural groups and organizations. I have received laurels and accolades for my 59

contribution at various events throughout the year. I envision Dance as an ‘amalgamation of mind, body and soul’.

The practice of this divine art form leads a person to eternal bliss. I always enjoy practicing, performing and teaching dance. Practice not only makes your body fit as an exercise, it gives the mind a calming effect and helps in reducing stress. It is a great diversion from routine job and family life. After establishing the dance academy with a mission to promote the rich cultural heritage of India, I have engaged myself to teach many young art aspirants and continue to inculcate them into the learning of this graceful dance form. I also choreograph folk dances where children participate in groups at various cultural events and temple activities. I have also been involved with assisting my Gurus with their productions and continuing the lineage or ‘Parampara’ further. My experience with adhering to a culturally- tied ‘Guru Parampara’ drives me to stronger in my pathof learning and mastering Kuchipudi.

Food for Thoughts:

This passion has driven me to pursue academic interest. I continued to pursue a dream of delving into depth and understand the literature and textual traditions associated with Kuchipudi and the aspiration to learn Telugu language has ascended. I am currently pursuing the Masters in Kuchipudi Dance program from Silicon Andhra. As a dancer, it took two decades to learn and master the techniques. During the third decade, the exploration of choreography with innovative ideas begin.

I have explored the fusion of Bharatanatyam with Kuchipudi and presented few Nritta pieces to depict rhythmic patters. I would like to showcase the Abhinaya or mime aspects of the two dance forms to bring out the subtle differences. Another project that I would like to explore is the Tarangam / plate dance techniques.

I would like to choreograph several pieces with complex rhythmic patterns to highlight the balance and stability of a dancer. Another innovative idea that I would like to pursue is the comparative study of Modern Jazz and Kuchipudi. I would like to document and collaborate with a Jazz musician to bring out the subtleness of both art forms.

“Dance has been my passion and will remain forever”

Dr. Yamini Saripalli

(Disciple of Dr. Vempati ChinnaSatyam and Sri Vempati Ravi Shankar)

That year's new class of the BA/MD program at the University of Missouri at Kansas City was embarking on a great journey ahead. The freshmen were eagerly looking around the campus to get acquainted with their new surroundings. One of them was eagerly looking for the facilities in the gym rather than going through the university's historic memorabilia. She wasn’t interested in the typical workout facilities, but was looking for a dance studio. She was elated to find a dance studio where she could practice her Kuchipudi dance.

Unfortunately the gym managers wouldn't allow her to use the studio because it was only supposed to be for aerobics classes. Initially frustrated with the lack of infrastructural support from her university or elsewhere, she began to practice in her dorm room and the dorm basement even with students studying around her. She then brought forward her determination and started writing letters and speaking with the dean. She pointed out both the athletic and spiritual components of 61

Kuchipudi dance and said it was the responsibility of the university to be an equal opportunity institution and provide for students of all backgrounds.

Yamini finally got the much needed space to practice regularly in a dance studio. Being a full time medical student, and dedicated Kuchipudi student, Yamini Saripalli worked hard through her medical school balancing both medicine and dance. Practicing dance 6 days a week, during her academic years, she would often get up in cold winters early in the morning to get to the dance studio, finish her practice and make it to her morning classes all before 8 a.m. During clinical rotations, many dance practices were late night after her patient duties were finished for the day. With the help of her encouraging parents, guru and friends, Yamini managed to complete medical school with honors and simultaneously continue her passion for dance.

The narrative below is an attempt to understand the essence of her voyage so far and excerpts of her views on Kuchipudi dance and her ideas about how the dance form should be taught globally.

Initiation to Kuchipudi

I have always loved music and dance.My mother says that starting at the age of 2, I would make my parents record songs with certain ragas I liked so that I could listen to them over and over in the car or wherever we were. Any kind of music has always moved me to dance. I do not come from a family of artists, but I was exposed to ballet and tap at a young age. My introduction to Kuchipudi was through my first dance teacher Smt. Sujatha Vinjamuri, in my home town ofSt. Louis, Missouri. I seriously started taking an interest in pursuing Kuchipudi when I saw Dr. Vempati Chinna Satyam's dance drama Hara Vilasam in 1994.

Once I started learning under the guidance of Dr. Vempati Chinna Satyam at the Kuchipudi Art Academy- Madras, I knew that this was what I wanted to pursue for my lifetime and from that point on, I have never looked back.

Challenges faced pursuing

Growing up in an Indian community in St Louis, where art was not a priority nor fostered, was very challenging and required a lot of mental strength. I was not doing what every other kid was doing in my community, and society often questioned me about what was the point of my pursuing dance seriously and why I should tire myself in this pursuit. I thank those who questioned and challenged me because these queries forced me to introspect about the intention behind my dance at a very young age. And as a result, I grew stronger with conviction. I knew that Kuchipudi dance was the one thing in the world that truly gave me happiness and inner peace. So no matter what happened, I would keep dancing through the calm and through the storm. I had to fight a lot to continue my practice of dance and that made me stronger. Watching Master garu’s dance drama videos and living in my own dance world, was my escape from the isolated, remote city of Kansas City that was so far removed from the vibrant cultural hub of Madras. I used to fly on weekends to cities where I 62

could learn from Dr. Vempati Chinna Satyam's senior students. I even would schedule my away rotations in those cities so that I could learn from them.I spent all my annual vacations in Madras learning Kuchipudi at the Kuchipudi Art Academy, and I was always under scanner by society for doing something atypical of the community around me especially being in an accelerated BA/ MD program. I took a year off from medical school to pursue my dream of dancing. During this time, I had the great fortune of participating in a four-month tour with Dr Vempati Chinna Satyam and his troupe across the USA. I also got to spend 8 months training in Madras at the Kuchipudi Art Academy. During this time,

I did not just learn dance. I learnt so many things that are associated with the art just by pure observation and being immersed in the art environment. Dr. Vempati Chinna Satyam took such great care of all of us, and I also was able to witness his respect for art connoisseurs, respect for nature, and his respect for each and everyone of us who danced in the tour, no matter how little our role was in the production. That year I learnt so much about discipline, focus, simplicity and humility. These are things that cannot be taught but must be experienced.

Many people in society, including some of my friends, discouraged me from this endeavor saying that I would lose focus and what was the point of doing what I did. I made sure that my GPA was 3.9 or above and that all my scholarships were intact and then took my year off. Taking that year off to study Kuchipudi was one of the best decisions of my life. Thanks to the grace of God and my gurus, my path remained very clear and focused.

I was able to ignore the discordant noise of the outside world, and I kept on dancing for myself. Dance has not only connected to something that transcends the body, but dance has given me so much discipline ,focus and really expanded my mind beyond anything that I can explain in words. To the people who have asked me what kind of life I have if I keep on being busy with dance and not having time for other things, my answer has been: “dance is my life”.

Balancing medical school and dance

Balancing the two required a lot of planning and organizing and sticking to that plan. In other words there was very little room for human error. I didn’t want to miss practice, because I had an exam or too much studying to do. I used to get up at 4:30am to practice during my basic science classes. It was hard emotionally as I was not in an environment that was conducive to dancing. I had no dance colleagues in Kansas City nor did I have a dance community at large. And half the year, the climate was so cold.

Moreover, it was challenging to find a practice space. Because though they gave me permission to use the dance studio, I had to maneuver my time around their class schedule. Which either meant I had to go at 5 a.m. or at 9 or 10 p.m. As far as the actual studying, I have always been kind of a bookworm so studying was not hard. When it came to the subject matter, my mother who is an anesthesiologist) the one who really encouraged me and built my confidence that medicine was a breeze. She really was the one who calmed me down before exams and always knew the subject 63

matter even though it has been so many years since she had studied it. She also kept me well-fed throughout my med school, which was crucial or I would have just survived on Chipotle. When I graduated from medical school I gave my mother my medical degree, because I felt she deserved it more than anyone else.

The most mentally taxing time was my intern year in Internal Medicine at the University of Maryland. Being on call, being responsible and being constantly tired definitely took a toll on me, but I knew it was only for one year. I kept telling myself this taxing schedule was only temporary. Even then, I danced between 5 and 6 days a week depending on what rotation I was on. It was that year that I made the decision that either I should match in dermatology or quit medicine altogether. It was becoming too stressful and my health was getting affected as well. At that time, Dermatology was the most competitive field to match into and is still in the top 3 competitive specialties to match into.

Dermatology is one of the few Specialties that allows for a flexible schedule and has the surgical and cosmetic procedures that I enjoy doing. I had a medical doctorate degree in my hand which give me some confidence, but other than that I had no idea what I was going to do if I did not match into Dermatology.

I only knew I would keep dancing. As fate would have it, I ended up matching in dermatology after doing 2 years of dermatology research. My father was the one who told me to not give up on dermatology, reminding me that I had all the best credentials and had published in several prestigious journals; so I should not give up my pursuit of this profession. I credit him for giving me the courage to pursue something that where my future was so uncertain. During these few years of uncertainty, I had and still continue to have amazing friends from a myriad of backgrounds who were a great support system for me. They would watch dance dramas with me and attend my performances and even give me critical feedback. Some of my college classmates would even come to watch me practice on occasion. Even today, those friends are a great source of support. And above all, my guru's blessing has helped me to continue this beautiful yet challenging journey.

Social work through dance

Both Dr Vempati Chinna Satyam and Sri Vempati Ravi Shankar have always been an inspiration not only in dance, but in terms of helping those in need. It was Dr. Vempati Chinna Satyam's dream to build a hospital with a full serviced medical clinic in the village of Kuchipudi. He fed all of us students free of cost when we stayed there for months at a time, and no one could ever leave his house without drinking coffee and eating something. He often financed medical procedures for students’ families who were in financial need. And most of all he always looked for the needs of others before himself. Sri Vempati Ravi Shankar has a long standing association with the Tamil Nadu Kidney Research Foundation, an organization that provides subsidized and free dialysis, kidney transplants and medications to underprivileged individuals in Tamil Nadu. He has conducted several fundraising 64

dance programs for this organization. Being inspired by this, I have also organized a few fundraising dance programs with other dancers to benefit the Tamil Nadu Kidney Research Foundation.

What are your thoughts on how kuchipudi dance should be taught and learnt?

I think any art should be taught for the sake of learning the art. Both the students and parents have to take an active interest in learning. I see too many parents and children who just want to get on the stage and that is their main focus. I feel getting on the stage should only come when the teacher thinks the student is ready. I feel that the intention behind why we dance or why the parents put the child in dance is very important. To me, classical Indian dance of any style is a sacred art form that has survived the test of time, and it should be revered as such. This reverence does not mean showing outward signs of respect like touching a teacher's feet and bringing fruits for all the important holidays. In my opinion, this means that the student should be disciplined, focused, and interested in learning the art form sincerely. The discipline includes dedicated practice outside class and focus includes an unwavering mind in the class. For the above to happen, there needs to be a dialogue happening between teacher and student or the parents before the commencement of classes discussing two important aspects : intention and commitment.

First, the intention of the student or parents of a young child needs to be understood well by both parents and the teacher. I feel the intention of the student and the teacher should be on a similar wavelength. Secondly, I feel the teacher needs to set the expectation that the student is supposed to practice a few times a week outside of the class as well or they will not progress.

Once the teacher and the student see eye-to-eye and classes commence, there are other things that are important for each class including a well-balanced healthy diet, sufficient rest and regular practice outside the class. All of these things affect a student's performance so these are all important aspects that need to be stressed as well.

I believe in limiting the number of students to approximately 5 per class to allow for qualitative teaching. Especially since students are only attending class one to two times a week, it is important to be able to focus on the students and give them the necessary attention to detail. In addition, the small class size helps to instill group camaraderie among students while still maintaining individualized attention to each student.

Art is taught for Art's Sake?

I insist on learning art for the sake of learning art without worrying about tangible results or what they will do with it in the future. Learning classical Indian dance helps one to develop discipline, an open mind, tolerance, perspective, and ultimately, one becomes a better human being overall. Those who are truly interested in continuing the art for their lifetime will find a way to continue

learning. A teacher’s discussion with student about the intentions of the student in learning the art form will put the student on the right path. Not every student will pursue this art form as a profession. But I feel regardless of if the student becomes a connoisseur of the art, a patron of the art or a performing artist, they all should learn the art at a high quality standard and in a disciplined manner. In my opinion, reverence for art is not an outward display of rituals and formalities, but on a much deeper level beyond that.

Reverence means learning properly, respecting the learning process , having patience and practicing the art form regularly. Nowadays, students want fast results so patience definitely needs to be emphasized.

As a teacher, I think my job is to teach well and cultivate the interest in the art form without forcing the children to learn. Many times, I see parents trying to impose their interests on children and pushing them to pursue an art form or extracurricular activity of the parent’s choice. I feel parents should expose their children to all kinds of performing arts from childhood, and then, let the child choose what they are most interested in.

I also feel the rangapravesam has become very commercial in this country. People treat it like a wedding or graduation ceremony when it is supposed to be the debut of a dancer into the dance community. I think it is the responsibility of the teacher to discourage this kind of attitude. The teacher should decide when and if the student has a rangapravesam, but this certainly should not be a prerequisite for learning dance.

Some students may continue to pursue this art form for their lifetime and others may not. Regardless, we as arts educators should respect an individual's choice and realize that learning the art itself helps to raise an individual's consciousness and enrich their lives. That itself is something very great. I sincerely thank the first generation teachers that came over from India many years ago and paved the way for classical Indian arts in the United States by creating an awareness, appreciation and a community for our classical Indian arts here.

I’m very hopeful that my generation and and those after me will be more focused on teaching students art for the love of the art. It's very heartening to see the variety of opportunities for performing artists that are available here in the United States as compared to a decade ago.

Tips for Aspirants

Often times I hear people in the community telling their children to be like me: someone who is a practicing physician and dancer. This really angers and annoys me. Even though we have been in this country as Indians for so many generations, there is still this mentality that to be successful, one needs to be a doctor or engineer. We live in an amazing country with a multitude of opportunities. With hard work, focus and discipline, one can pursue any field that they want. I truly hope that

parents encourage their children to pursue a field that they're interested in rather than maintain a tunnel vision perspective. And I also hope that children have the courage to pursue their passion.

If parents want to look at me as a role model, I would say the following:

" I did something that the most of the world told me I could not do. They told me it was not possible. but it is possible. You can be anything that you want to be in this world. You just need focus, hard work, courage and incredible determination to block out the noise of the outside world. Then, sky is the limit."

I believe one should learn dance with dedication and motivation, but without seeking tangible results. I believe In Lord Krishna's Karmic Yoga philosophy in anything that we do: that we should do our duty without looking for the end result.The journey of learning itself is such a beautiful one.

The classical Indian arts by their nature itself raise the inner consciousness and elevate the spirit, because they transcend the body and the earthly plane. These arts raise the inner consciousness and provide true happiness.

The outer voices fade away as I listen to my inner voice which is my truth. My conviction and passion guide me through this eternal sacred experience of Kuchipudi time and time again.

Best Wishes to Silicon Andhra On the occasion of America Kuchipudi Dance Convention

UmaKanth Uppalapati

Rajyalakshmi Rayaprolu

The competitions for finding a best dancer amongst so many dedicated and enthusiastic artistes of various ages are all focused on one thing, to display their dancing acumen and open up their creative prowess to sky high level. Amongst those is a 12 year old Rajyalakshmi trying to compete with the great spirit along with all national level contestants. She did her best and commanded the stage with so much love for dance form. The competitions were so close and Rajyalakshmi didn’t win the title. That made the little Raji dejected but didn’t lose her resolve. She went on training more and the next time she competed with more dedicated spirit. She realized that the process of competitions and awards are not the only medium to measure the potency of one’s acumen. That did wonders and she won the prize finally at national level bringing pride and laurels to the parents.

A natural dancer since early years after born, Rajyalakshmi Rayaprolu has enjoyed dancing since being a toddler. Noticing her talents, at the tender age of eight Rajyalakshmi commenced her path of alluring Kuchipudi dance form. Rajyalakshmi, hailing from Warangal, her first guru was Sri.Parameswar, who was the direct disciple of Maestro Sri Vempati Chinna Satyam. At the very beginning she was mesmerized by the Kuchipudi dance form and resolved then and there to make all possible efforts to excel in Kuchipudi dance.

After some time she shifted from Guru Sri Parameswar to Guru Sri Pasumarthy Venkateswara Sarma, Who was from the Kuchipudi village which is in Krishna District, Andhra Pradesh. At the very young age, when every other child is playing happily, she is struggling with Kuchipudi and academics simultaneously. Fascinating Kuchipudi dance ballets make her engrossed. While portraying various characters with different expressions she is absorbed all characters in her stride. Those characters help her captive and lead her to pursue more.

She had done her debut (arangetram) in kuchipudi dance, at the age of eleven. At that same age she performed Sivatandavam in "Girija Kalyanam", receiving a thunderous applause for her talents. Every moment of it were cherished by her till date. Since then she has been learning and practicing Kuchipudi dance over twenty years.

Rajyalakshmi performed in various states all over India, U.S.A., Japan with her Guru Sri Pasumarty Venkateswara Sarma. She performed in Ballets like "Girija Kalyanam", "Mohini Bhasmasura", "Budha", "Meghasandesam", "Dhruvacharitram", and "Mahishasuramardini", "Sita Swayamvaram", and many more. Rajyalakshmi have also choreographed various dance items in Kuchipudi, folk and light music. She had also choreographed various semi-classical dance forms and had a zeal in taking semi-classical lessons. She had also performed the role of Siva in Mahishasuramardhini ballet in Asutin in the year 2008. She had performed with her Guru at various countries including U.S.A., Los Angeles. California, Denver, Chicago in various dance ballets on Kuchipudi dance form.

Rajyalakshmi has a craving desire for dance and want to popularize the Kuchipudi art form to flow incessantly. She is resolute to make her surroundings filled with sweet smell of Kuchipudi dance to keep the purity and divinity of life intact.

The passion, love towards dance and the rhythmic and expressive part of it are keeping her going more and more visual person. Some awards to her credit are National award for her dance form in folklore at the very young age of thirteen years. She had taken the challenge to prove herself always and manifested herself well and have won many awards for Kuchipudi as well as the folk dance forms in India.

In the middle of all these hectic schedule dance career, she never gave up her academic career, and earned her a Master Degree. Rajyalakshmi cleared a license exam to be a pharmacist. In the process of procuring a license, and going by life’s tide, she had a hiatus in her stream of passion for dance for about three to four years. For everyone family is the very backbone, hence she was too shattered, but some how she managed very peacefully and moving on to teaching Kuchipudi dance as a career.

Rajyalakshmi has a versatile personality. She is an Entrepreneur, a Pharmacist, a very promising well versed Kuchipudi dancer and a Mentor for many upcoming students, and last but not the least a loving and caring mother. She believes if a passion is there, everyone will pursue what is one’s own will and do the efforts accordingly.

In the present generation, there is a lot of competition in the career of dance forms. To sustain in the grassland of Kuchipudi dance, Rajyalakshmi is keeping her self to focus on the great footwork, expressions and speed of exceptional dance form of Kuchipudi She believes that dance is a 69

combination of Nritha Nrithyas and Natyas focus on detailed aspect of mudras and postures along with amine expressions.

Teaching in a very easy way for anyone to follow her, she had a great experience of teaching to students of multiple cultures. She makes sure all her students are actively performing in a ballet choreographed by her to provide opportunity for every kid equally.

Rajyalakshmi’s Guru Sri Venkateswara Sarma is her inspiration and very much encouraging her in all innovations in ballet forms of Kuchipudi. Rajyalakshmi is working on a dream project to awaken people spiritually. She is making an effort to permeate the importance of devotion (Bhakti) through the vibrant form of Kuchipudi dance form. She strongly feels that, with devotion towards divinity, one can show affection to other humans and other living beings very well. And she is inculcating such divinity among her students.

Keeping with the spirit, Rajyalakshmi wants to develop a ballet based on the biographies of spiritual personalities of India. Some notable legends for her are, Vemana, Thyagaraja, Budhdha, Vivekananda. They are all sacrificed their lives and influenced people and enlightened them with Bhakti marga to attain self-realization. She want their lives be visualized by people through Kuchipudi.

Also, she wants to up-lift the Yakshagana and Veedhibhagavatha styles, which are ancient forms of Kuchipudi dance. She wants to showcase how Kuchipudi evolved from them. May the Almighty shower her with enough resources to achieve all her objectives and be fulfilled in all possible ways.

(Narrated by Aparaajitha)

Shirni Kanth

On the shining and bright lighting festival of Navaratri, at Kanaka Durga Temple, Vijayawada, Shirni was participating in a dance performance. Petite and vivacious Shirni was interweaved herself with other cuties. She was doing Bharatanatyam at that very moment of approaching midnight. She was in that bliss of performing a dance form. This went on for all nine days as the festival is celebrated for nine days. Time is not a constraint for Shirni, only a performance will matter.

She was catching with every step without any mistake, though she never had practiced the dance outside of dance class room. Daily her master came to her house, and would pick Shirni. She has to have a ride with her master, on TVS moped from her house. Parking far from the temple, they used to walk all along and came back. When she returned home it was almost midnight daily. Such a hard work was like a play to her. Shirni and even her parents never got an iota of dissatisfaction about this tedious journey. She used to pack her belongings which are necessary for her, on her own she

never taken a helping hand from her family, though she was obviously in a position to take. At that tender age, she even got herself ready with the costumes and make-over necessary for the act. Shirni is delighted with all these as those are giving her immense satisfaction. Dance is streaming in her blood.

Formative years:

Scarcely any child has the capacity to chose what one would have to learn at their leisure time. Shirni was the child who knew exactly what she would do. Hence, she pitched-up her career on dance. Since then she excelled herself along with other aspiring children on this path of Kuchipudi without resting for a day. She is proud enough to proclaim that this dance career is her own option.

Shirni started her dance career with Bharatanatyam for all week days, either she would go to her master or he would come to her house. Dance was the only activity other than academics at her infancy.

Swivel to Kuchipudi dance:

As Shirni has one and only passion for dance, she resolved to be well versed with another dance form. Hence, she herself inclined to the heavenly dance form of Kuchipudi. Ambitions and painstaking are the two prominent things to attain the objectives. Where every child wants to enjoy at their core in summer holidays, Shirni went to their parental aunt's house, which is at Pedasanagallu. Which is two kilo meters away from the Kuchipudi. Kuchipudi has the aura of proficiency in dance. There she went for summer classes in Sidhendra Kalakshetram. Those were the syrupy memories for her.

Memories:

Shirni reminisces her tutelage with her Guru Sri Pasumarthy Ramalinga Sastry with contagious enthusiasm. At Kuchipudi, in her Guru's house she spent her summers. Over and above twelve hours of tutelage went satisfactorily for Shirni. For about three years she spent her summer vacations alike. At that time she was in eighth, ninth, and tenth standards. Her own dedicated efforts and watching seniors rigorous training made her time a total worthy. All those moments were etched in gold in her memory lane.

Yearly performances of Shirni amongst the greatest scholars in the abode of fabulous Kuchipudi village were very commendable. She got ovation from legendary Gurus. Some of them are, Maestro Sri Padmasri Vedantam Satyanarayana Sarma Garu, Sri Vedantam Rattiah Sarna Garu, Sri Chinta Ramanadham Garu. She felt like an angel decorated with myriad crowns by her legendary Gurus.

Shirni never felt like discouraged or demotivated. But she had a feeling of mortification for not giving solo performances. In those days giving solo performances were drastically connected with orchestra. Live orchestra was a matter of immense wherewithal. But that was at some way got accorded as she is furnishing some solo performances in U.S.A., with some awesome recordings of Kuchipudi dance music.

Shirni is teaching Kuchipudi classes in Bay area, in U.S.A. She is trying hard to instill the passion into kids for Kuchipudi dance and she believe that the passion will lead them to achieve this art form.

Shirni has an appetite to stick on the traditionalism without deviating much. She dwells on that she can not explain the bliss or joy while dancing, that every dancer should be well acquainted with.

Admirable words:

As the foot note Shirni adds that "We need innovations to get the art form captivate the audience more. Kuchipudi has all the elements like - Vachikabhinayam, Kalapams, Yakshaganams that entertains the audience to the core". For her every performance is a dream project and the most memorable one.

(Narrative by Aparaajitha)

Shobha Natarajan

Kuchipudi dance is a performance art that requires rigorous practice and meticulous planning to execute on stage. Kuchipudi being a dance drama has many elements that have to be orchestrated to perfection to captivate the audience. The elements include a story, lyrics, music, rhythm and importantly the choreography.

Ms. Shoba celebrated her Guru’s 80th birthday by choreographing a completely new Kuchipudi mArgam with some innovative ideas. She spent some time in India getting the music recorded and was able to plan a US tour and called it ‘Samarpan.’ The inspiration for this dream project was her Guru Dr. Vempati Chinna Satyam. She very fondly remembers the unconditional support she got from her Guru’s son Shri. Vempati Ravishankar and her dance colleague Shri. Madhavapeddi Murthy.

Her team gave about 12 performances in various cities. The finale weekend was in Chicago and St. Louis. Her long cherished dream of performing a group Tarangam with many dancers, came to life in Chicago! They had 8 dancers performing on the plate. A quick glance at Ms. Shobha Natarajan’s routine for her dream project tells us the amount of hardwork that went into their performances.

Next she plans to work on teaching Kuchipudi to non-Indian students. In the summer of 2016, Ms. Shoba toured Brazil and taught a group of highly dedicated Brazilian students. She was thrilled to have them join in her performance. She also likes to share the beauty of Kuchipudi with children

with special needs, as they would respond enthusiastically to the lilting music and the vigorous movements.

In order to make Kuchipudi more accessible to a non-Telugu audience, Ms. Shoba tried to choreograph songs in different languages and next plans to choreograph some Kuchipudi items for abhangs and Western instrumental music.

Background:

Ms. Shoba Natarajan got initiated into Kuchipudi quite by chance. She was learning Bharatanatyam since she was 5 years and completed her arangetram at 8 years. During the December Dance and Music festival her parents would take me regularly to watch/listen to dance and music concerts. When she was nine years, she attended a Kuchipudi performance by Sobha Naidu at the Music Academy, Chennai. The dance, the lilting charm of the dance style and the lively music enchanted her so much, that she started bugging my parents to teach me Kuchipudi. The following year, on Vijayadasami day, her parents took her to the Kuchipudi Art Academy. She found myself standing in front of Dr. Vempati Chinna Satyam. She still vividly remembers her first day of class. After the customary pooja, Master himself took her first class. He immediately told her mother, that he predicted a very bright future in dance for the young Ms. Shoba. Reminiscing that unforgettable first dance class with the Master, she still feels that she was in a trance that day, as if she saw Lord Nataraja himself.

Under the watchful eye of her mother who herself was a dancer and musician, Ms. Shoba could fine tune her technique and go well prepared for the next day’s class. Although the dance classes ran all 7 days of the week, her mother ensured that she practiced every single day.

Recalling what kept her motivated all these years, Ms, Shobha says that Dance and Music have been an integral part of her life since childhood. She had the opportunity to watch legends like Balasaraswathi, Vyjayanthimala, her guru Kamala Laxman, Yamini Krishnamurthy, Sobha Naidu, Swapnasundari, Padma Subramanyam, Chitra Visweswaran, the Dhananjayans, and many others. Dance and Music enriched her life and the constant process of learning, practicing, conceptualizing, choreography, and teaching kept her highly motivated. She also feels that she is an important thread in the fabric of art and culture.

Recollecting cherished moments of her days of learning Ms.Shobha says that, being a student of great Gurus like Kamala, Swamimalai Rajaratnam, and Dr. Vempati was itself a great blessing. She remembers almost every dance class vividly - learning and refining my dance pieces under the meticulous training of her Gurus. The most valuable aspect that she cherishes was that, her classes never had a time limit - she danced for hours as if the clock did not exist. As her focus was only on learning well she never bothered about awards. They were just a natural consequence as she respected every opportunity and accolade that she received. To name a few Ms. Shoba’s career has been thus far decorated with,

An invitation by the Russian government for a dance tour at the age of 16. Her Guru Dr. Vempati Chinna Satyam and his orchestra accompanied her on that memorable tour. 75

Received the ‘Top Grade’ artist ranking for Kuchipudi.

Toured the US with her Guru and his troupe playing the lead role of ‘Vishnu,’ ‘Srinivasa,’ and ‘Krishna’ in his magnum opus dance-drama ‘Srinivasa Kalyanam.’ They toured over 45 cities in four months in a Greyhound bus.

Performing for the Winter Olympics in Salt Lake City.

Being conferred the ‘Presidential Best Teacher Award’ for Kuchipudi from the US Department of Education in 2003.

Passing on the art to future generations:

Ms. Shobha started teaching since she was in heer early twenties. At Nrithya Deepika , her dance academy In Chennai, she trained several students in Bharatanatyam and presented dance-dramas with them.

Despite being at the peak of her career and having a busy performing schedule in India moving to the United States in 1993 was a really tough life decision she had to make. The first few months were really difficult. Practicing without a Guru was especially challenging and performing opportunities in the US were not on the same scale as in India. But starting her dance academy and starting full-fledged teaching, she derives immense satisfaction in passing on the art to the next generation.

Since then, she has been teaching Bharatanatyam, Kuchipudi, and Carnatic Music to aspiring students. She also established Samskriti Foundation in Chicago in 1996. Through Samskriti, she has been able to do a lot of meaningful work in spreading the beauty of Indian traditional art forms.

On managing multiple disciplines apart from Kuchipudi, Ms. Shoba feels that she was able to do that as she was blessed to have a large repertoire of items both in Bharatanatyam and Kuchipudi. Having trained in Carnatic Music from a young age, she was also deeply involved in practicing and performing music. Although practicing so many items was a challenge, she planned her practice schedule to cover as much as she could. I used to allocate some time every day to practice the old items and also to choreograph new items for herself and for her students

Good ‘anga shuddam’ (perfection in body lines), perfect footwork, and a deep involvement in the abhinaya aspect are focus areas in Kuchipudi. Her early training in Bharatanatyam helped to accelerate her Kuchipudi training. Having a family background in the arts and in Sanskrit has definitely been a great advantage to Ms. Shoba.

In her own words on what is it about Kuchipudi that made a part of herself, Ms. Shobha says “Kuchipudi gives me immense positive energy and a great sense of joy. The dance items that I have learnt from my Guru Dr. Vempati Chinna Satyam are all masterpieces of choreography. I am truly blessed to have come under his tutelage and guidance. “

(Narrative by Anand Bandi)

Srilatha Suri

On a summer mid-day cute little Srilatha attentively following the story of Meera which was narrated by her mother Premalatha who is a Bharatha Natyam dancer. Srilatha imprinted Meera's character in her heart. At that time Srilatha was undergoing the tutelage of Pandanallur style of Bharatanatyam with Smt.Jayalakshmi Narayan. The seven years of training on Bharatha natyam bestowed her with discipline, great moves, a diploma in Bharatha Natyam, an arangetram, a recognition certificate from Andhra Pradesh Government.

Turning to Kuchipudi dance: Her father Doraiswamy who was an art-loving parent and Income Tax Commissioner had an invitation for a cultural fest. There Srilatha and her father were overjoyed with the scintillating performance of Sri Sobha Naidu's Kuchipudi dance. In the year 1980 her father instantly admitted Srilatha in Sri Sobha Naidu's dance institute in Hyderabad. The academy was her second home, there she was initiated with music, Sanskrit, theory classes also. The academy was administered in the footsteps of revered Guru Sri Vempati Chinna Satyam. Those are the days which were cherished by Srilatha till now, if given a chance to re-live she would chose those golden days. Guru Sobha Naidu's daily routine was galvanized by Srilatha. It was like a celebration for Srilatha when she had an international tour for two and half months in 1985. She performed in eighteen cities throughout the U.S.A. and Trinidad and Tobago with all other dance buddies. It was the divine satisfaction of spirituality, the respect and love from the audience keeping attached her with Kuchipudi dance. She felt little discouraged that there is no financial support from the organizations and Governments to uplift the lavish Kuchipudi dance in those days. At this moment there are some noble persons and art loving people are giving their support in all ways.

Srilatha's strongest points that keeps her exceptional from others are her abhinaya, creativity, and quality of presentation. Her motivation is her Guru Sobha Naidu’'s passion for the Kuchipudi dance. For every stage performance, she has the feeling of divine transmission of spiritual power, enormous delight, contentment with the affection and reverence of audience.

Exceptional works:

Srilatha choreographed enormous dance dramas like, Kalyanasrinivasam, Jagadanandakaraka, Sarvam Saimayam, Navarasanatabhamini, Amuktamalyada, Ugadi, Seeta Kalyanam, Krishna Saranammama, Telugu Tejam, Kumara Sambhavam and many more She had done over and above 500 performances and 200 with her students. Srilatha's daughters Pranamya and Pranhuti are also Kuchipudi dancers. She had in her credit ‘Sri Ramanuja’, which was organized by her wholly from script to presentation and was highly appreciated by Jeeyar Swamy garu.

Srilatha once heard a comment that Kuchipudi is only related to Sringaram. She decided to do a form which will mainly focus on Bhakti. On the very thought of Bhakti, she cherished her childhood fascinating Meera character. Meera is the drama which is close to her heart till date. It is also helping her to raise money for her non-profitable organisation. Through this organization she had planted sixteen water purification and few medical camps in rural areas. She successfully accomplished another dream project on water titled 'Siva Ganga' on river Ganges, focusing mainly on "if we protect nature, nature will protect us".

Fusions:

Srilatha theorize that fusions will make dancer energetic and pristine. She had done Cherishnu which has thundurous applaud. She had done fusions on rain, raaga rhythms, chants, bhajans with various dance forms like Bharatha Natyam, odissi, Kathak. She is willing to do more fusions in future. In Colorado, she is collaborating with other masters and doing great foot works. Some of the thoughts expressed in her own words...

What’s your most cherished memory: I cherish the respect I earned through this art, twice when we performed parijatham. I had audience come and take my blessings which made me humble, my first title in usa nritya bharati followed by Many. It was blessing to organize my gurus workshop as well as programs and was able to perform along side of my guru as srinivasa and me as Lakshmi or my guru as saibaba and me her sister baijju bai where she lies her head on my lap ,that was a great memories, I gained lot of friends because of dance. I was able to get lot of prime time opportunities on invitation and performed all over usa, which feels very rewarding to be invited to perform.

What distinguishes you from everyone in the field? I focus on presentation on whole and I’m very particular with my presentations. I think abhinaya is my forte and the quality of presentations and my creativity are my strongest ability that distinguishes me from others also the knowledge and the opportunity to observe a stalwart so close 78

is a definite advantage for me. As we learnt all the skills required with observation and opportunities we were exposed to in of training for number of years. I have started summer camps back in 2003 when I moved giving opportunity to the artists from india as well as exposing my students to new teachers who may give them their prospective thus moulding the student in all aspects,I also organize programs of eminent artists and scholars to support artists. Did you have a chance to perform in a dream project of yours? If so, How did you make it possible? I had number of opportunities to choreograph guide and learn to put my thoughts in my productions or choreography but I would enhance my music knowledge and also learning Sanskrit and telugu literature to understand the subject better. I have done many productions but my very first one siva ganga and my own production of meera are my favourites and performance by my guru as Lakshmi was one more blessed event. My dream is to advocate for youth talent, especially from USA, as they need great support in taking this art forward. As group productions have taken over solos and quality had taken over quantity for various reasons and economical challenges in our society, special attention need ot be taken to help nextgen embrace the tradition in pristine form.

Did you have any new innovations in technique, presentation aspects of Kuchipudi? Please elaborate on this. Using the modern proscenium and technology, I have created backdrops for my sri Krishna presentation which instantly won praise. Using many other costumes makeup of today in our dance dramas and I choreographed a fusion piece the famous charishnu song including dancing on plate technique in 2005 which may not be accepted by traditionalists but I got instant appreciation amongst Kuchipudi community and had spread its awareness. I love to design my costumes,jewellery and the backdrops. It worked on various moments and I did my choreography of steps and Jathis and presented them in various occasions as this is part of our teaching.

Awards and Recognition: Srilatha had crowned with many awards. Some striking bestowals are - Natya Visarada in the year 1985 by her Guru Sri Sobha Naidu. Appreciation award in the year 2012 by Sri Akkineni Nageswar Rao. TANA Recognition award in the year 2012. Natya Kala Choodamani in 2012. Acharya Siromani 2011. Natya Kalaprapoorna in the year 2011. Recognition Award in the year 2010 by State Council & Department of Culture, Andhra Pradesh, India. Nritya Bharathi in the year 2002 by Siliconandhra.

(Narrative by Aparaajitha)

The Guru tradition - Various facets

Dr. Anupama Kylash

" Everyone is my teacher, some,

I seek, some, I subconsciously attract.

Often i learn simply by observing others,

Some may be completely unaware that,

I'm learning from them,

yet, I bow deeply in gratitude. "

The concept of a guiding force, giving direction to man's thought and deed, is an age old one. In the Vedas, the human agency is minimal. The Rigveda personifies forces of nature as Gods and guiding beacons. Agni and Indra are the most important Godheads in the Vedas, who lead aspiring souls through the inner continents of , ' Bhur ', ' Bhuvah ' and ' Svaha '. The foremost Guru on this path of self knowledge has always been eulogised as Agni, therefore, the tradition of offering oblations to Agni for fulfillment of desires, as he is considered to be the direct carrier or messenger, to the ultimate energy which resides in the womb of the Universe or the ' Hiranyagarbha ', as it is termed inVedic parlance.

It is in the Upanishads, or when Vedanta took firm root, that we find the beginnings of a concept, which in conventional terms, we now understand as, a teacher, or guide. Between the Vedic and Upanishadic age, the science of understanding the self, had transited from free seeking to the method of systematic enquiry, codification and the intervention of an informed or enlightened human agency. The Upanishads mention illumined guides like, Satyakama, Shwetaketu, etc. Throughout the Puranas, we find numerous examples of characters who gained knowledge directly from the Gods, like Nachiketa, who receives answers to his questions from Lord Yama directly, or, from a Guru, whose process of identification is predetermined and destined.

With that as a context, a Guru is one who has acquired knowledge of the selfand it's goings on, or , is the very power/ consciousness that we aspire to. The Advayataraka Upanishad defines the Guru as " One who leads you from darkness to light ". Gu, meaning darkness, the Ra, shabda denotes light and the sound ' u ' indicates moving forward. This ' Guru ', is actually within you and you are introduced to it through the ' Acharya ' or teacher. There is a World out there that the mortal consciousness is incapable of comprehending without guidance. Lord Krishna says in the Bhagavad Gita,

" Na tad bhaasyate Suryo,

na Shashanko, na Pavakaha,

yad gatva na nivartante,

tad dhaama paramam mama. "

That abode of mine is not illumined by the Sun, Moon or Fire. One who reaches it, never returns to the material world. The Guru, is the force that guides you to reach this ' World '. Lord Krishna also says,

" Sarva dharman parityajya,

maamekam sharanam vraja,

aham tvaam sarva paapebhyo,

mokshayishyaami ma shuchaha. "

Casting aside all duty, take refuge only in me, do not grieve, for, rid of sin, true salvation, you shall see.

In all these above examples, we see references to the Guru, in connection with one's spiritual journey. By about the 1st C millenium C. E, we find Archeological and Epigraphical evidences that suggest that, large institutions or ' Gurus ' existed in India, mainly around the Hindu temple areas, where, the Guru- Sishya tradition helped preserve, create and transmit various fields of knowledge like, Hindu scripture, Buddhist , Jaina texts, grammar, philosophy, martial art, music, painting and theatrical arts. The Guru is a concept common to several religions, faiths and philosophical streams like, Hinduism, Jainism, Vajrayana Buddhism and Sikhism. In all faiths, the Guru has been given a place akin to that of God. The Shvetashvatara Upanishad says,

" Yasya deve parabhaktih, yatha deve tatha gurou, tasyaite kathita hyarthaha prakaashante mahatmanaha ".

He who has the highest devotion for a God, so for his Guru. To him who is high minded, these teachings will be illuminating.

The Guru gita, from Skanda Puranam, deal extensively with Guru principles. Sanatana Parampara recognises three varieties of Gurus. 1) The Adi Guru, who are our parents, our first source of knowledge. 2) The Shiksha Guru, who teaches us various disciplines of Science, Art, Literature, Language or other allied fields of study. 3) The Diksha Guru, who is the one who leads us on the path of self realisation and imparts knowledge on the transcendental and esoteric aspects of our life and existence. Here, in this regard, it is very important for us to understand a significant distinction. Guru, is an extremely personal term. It mirrors our inner selves. It is subjective and unique to every human soul. The spiritual or educational leaders who pioneered streams of philosophy, or those who taught subjects, were therefore, always termed as ' Acharyas '. Even the teacher in whose Gurukul, one spent their entire adolescence acquiring knowledge, skill sets and training ,were called Acharyas, ex Dronacharya. The preceptors of philosophical movements like Advaita, Dwaita and Vishishtadvaita, were also termed as Acharyas, Shankaracharya, Madhwacharya, Ramanujacharya and so on. Therefore, there is a distinct difference between the connotations and import of the two words, ' Guru ' and ' Acharya '.

When we come to a definite field of specialisation like Performing arts, and more particularly, Dance, the term ' Guru ' takes on different connotations.

Bharata Muni says in the Natya Shastra that, a ' Nati ', or dancer, who balances a pot on her head and dances with the utmost concentration, in spite of the distraction caused by the music and rythm, is greater than a ' Yogi '. We have heard many a time, that one who practises music or dance have no need to seek any other medium to achieve self realisation. Song and Dance are intense forms of meditation, which, if practised with sincerity and devotion, can lead one on the path of salvation, as effectively as ' Dhyana ', or ' Mantroccharana '. This is probably why, the term Guru, has been applied unflinchingly to the teacher of the arts. Here, the distinction becomes somewhat hazy and blurred, since the teacher of Dance is not just imparting a technique or a skill, but also opening up an entirely new world of spiritual possibilities which can be reached through the exploration of literature, music and movement, as mediums.

The 8thC text, ' Upadeshasahasri ' of Adi Shankaracharya discusses the role of the Guru in assessing and guiding students. " When the teacher finds, from signs, that knowledge has not been, or wrongly grasped by the student, he should remove the causes for non comprehension in the student. This includes the student's past and present knowledge, behaviour, such as unrestrained conduct or speech, courting popularity, vanity of parentage and other related ethical flaws. " This can be done only when the Guru himself possesses exemplary qualities as described by Adi Shankaracharya. " The teacher is one who is endowed with the power of furnishing arguments, pro and con, of understanding questions and remembering them. The teacher must possess tranquility, self control, compassion and a desire to help others. He must be well versed in texts, unattached to pleasures, knows his subject and is established in that knowledge. " Over the centuries many saint poets have used this same refrain in all their songs, while describing the Guru - Sishya bond, be it Tulsidas who says, " vastu amoulik di mere satguru, kirpa kar apnayo ", or Mirabai when she says, " milta jaa guru gyani, teri surat dekh lubhani ", or Thyagaraja when he says, " Guruleka etuvanti guniki teliyaga ledu ", or Chinna Tirumalayya, the grandson of Annamacharya, when he reiterates, " Eetade mukti dova, eetade maa Acharyudu. ".

Even in the Arts, the ideal system of acquiring knowledge has always been considered to be, training under a Guru, who can impart every nuance of the chosen subject. Today, in the modern world, we see institutionalization of the Arts. Diplomas, Degrees and Doctorates are being given in the fields of Music, Dance, Theatre, Painting and Sculpture. Let us look at some significant aspects regarding the Gurukula and institutional systems of training.

The Gurukula system is related to quest studies. Here, the participants gain knowledge by residing with the teacher and his family. The most important aspect of this system was, development of the body, mind and soul. The Gurukul system taught simple living, loyalty to duty and quest for learning. It equipped the disciple to deal with the challenges of life and not merely to gain tools to take up a lucrative vocation. This root principle itself, unfortunately, is not applicable in the modern world, even if one is training from a single Guru. Education was free in the Gurukula and one had to pay a ' Gurudakshina ' or a fee, at the end of the prescribed period of study, as per the social and financial status of the student. Coming to University education, unlike modern perception, the University system of education was not a new concept in India, which came from Western influences. Nalanda, Ujjain, Takshashila and Vikramshila had universities that imparted higher education during the 1st millennium B. C, and a few centuries preceding it! Astronomy, Art, Painting, Architecture, Logic, Mathematics, Grammar, Philosophy, Literature, Hinduism, Buddhism, Economics, Law and Medicine were among the many subjects taught at

these universities. Here i would like to quote a very interesting piece of information regarding the impact of the Indian system of education on the Western methods. In the pioneering work by historian, Dharmapal, titled ' The Beautiful Tree ', we come across a report dated 1823, by the Ballari district collector which mentions a curious fact. " The economy with which children are taught to write, in the native schools and the system by which more advanced scholars are taught to teach the lesser advanced ones, at the same time confirming their own knowledge, is certainly admirable and well deserved the imitation it has received in England...... the economical method of teaching in the private schools for the poor in India became translated into a method that transformed education in Victorian England and beyond! "

As a person who has trained under a Guru for several years, and who has also trained in an educational institution right up until a Doctoral programme, certain points come to my mind, which I state below.

Training from a Guru for a long period of time, develops a personal bond and an engagement with, not just the form that we are training in, but with the trials, tribulations, and joyful moments experienced by both the Guru and the student. One does not simply learn only that which is uttered or imparted verbally by the Guru, but also by observance of the personality, character, temperament and working methodology of the Guru, the people and events surrounding that zone of activity. In an institution, the teaching is more formal and impersonal. It is restricted to the transferance of subject matter from the teacher to the student. Going beyond what is taught and adding new dimensions and perspectives to the subject, depends completely upon the intellect and research ability of a particular student. In a way, it encourages one to analyze different points of view before coming to a conclusion. On the other hand, it takes away the chances of a long standing inter personal relationship.

In modern times, the Guru, is as mortal and fallible as anyone else. Under the circumstances, complete ' surrender ' to the Guru, may have positive as well as negative effects. We see many instances of the Guru, exploiting loyal students and also suppressing those who may have the ability to surpass their own knowledge and prowess. The impersonal atmosphere and answerability which a large institute accords, can in a small way, subvert this phenomenon, though not always, as we see rampant favoritism in organised institutions as well.

In an institutional set up, the student gets to learn other related subjects through a systematically arranged syllabus. This may not be possible under one single Guru. On the other side of the coin, it is also true that, one only gets to skim the surface of these subjects in this system, not truly plumb the depths. In a longstanding Guru- Sishya education system, the technique, intricacies and nuances of the subject can be explored completely and in depth.

Our dance systems, whether they are solo, Temple and Court related traditions or the Bhagavatha, Veedhi Nataka, theatrical traditions, were all imparted either in a hereditary manner or to a certain community. Here, by community, I don't mean, a caste, or sect, but a section of people who were identified for that task. There are many instances in our Mythological and Religious lore where men of high birth learnt valuable lessons from someone from the lower strata of society. Some important examples of this phenomenon are the dialogues between Adi Shankaracharya and a Chandala, which gave rise to his Manisha Panchakam, and the ' tarka samvada ', or philosophical discussion between a

Brahmin and a milk maid , which is the theme for the very popular dance opera of both, the Kuchipudi Bhagavathas and the Telugu Devadasis.

Our dance forms laid emphasis on the development of the creative abilities of the individual. Each person has a unique body structure, mind set, intellect level, skill set and perspective. The stress was on identifying these and honing them to produce artists of exceptional calibre and individuality. Today, with more demand for big group presentations, are we, in some way, losing out on the actual purpose and intent of Indian dance forms? Is institutionalising an art form, responsible for producing many prototypes of the same kind, in the process, killing individuality? Is it ,then, the duty of the Gurus, to identify the strengths and weaknesses of each of their disciples and utilise them accordingly, even if a group presentation becomes imperative?

These are questions which must be given thought to ,especially in the context of Indian dance traditions.

In today's mileu, we have only the vestiges of the original Gurukula system, since modern lifestyles do not permit the student or the teacher to spend more than a few hours per day with each other, which is also subject to several other considerations. Under such circumstances is it required for us to dismiss the theory of Black and White, Right and Wrong, and address the grey areas? Is it better to try a method which enhances the individual skills and perceptions of truly committed students of the arts, combining the benefits of systematic and codified study of the theory and practice of dance, as well?

Do we need to rethink concepts like, learning from only one Guru and imbibing one single tradition alone? If the intent and commitment of the student is honorable, then , is it wrong to seek different teachers, each with their own special skills and attributes? This does not mean, we condone, frivolous or fickle ,' shopping ' for items to add to one's ' cart '. Must a genuine interest to imbibe unique elements from different teachers, be condemned or encouraged? Does a true seeker, see only one perspective?

The Guru - Sishya concept is a unique gift of this incredible land called India. Only a land like this, which has seen so much wisdom and knowledge can comprehend a relationship, so intense, complex and sensitive.

In the modern mileu, it is very necessary to understand and redifine the parameters which would govern the successful continuation of this beautiful tradition, with, maybe, a modified set of rules, based on the same age old principles of ethics and loyalty, because, after all, ' surrender ' cannot be forced upon anyone, just as, respect, must be ' earned ', not ' demanded '.

BHAVA RASA NISHPATHI IN BHAGAVATHAMELA NATAKAS Dr.P.Rama Devi

Bhagavatha Mela comes from several places – Kuchipudi, Melattur (Achyuthapuri), Thoothkudi, Soolamangalam and Kerala. In these melams all the roles (including female roles) are portrayed by males because the art was treated as worship of the divine and ladies are not eligible to perform any religious duties during their monthly periods, which was a hindrance for uninterrupted worship. In Nrtta, Nrthya, Lasya and Tandava male dancers who adopt the female roles are called “Bhrukunsuvu”. This is defined in Natya section of the first canto in Amarakosha of Amarasimha. The tradition of males donning the female roles goes back to several centuries and is found in the dance forms of Kathakali, Karnataka Yakshagana, Andhra Yakshagana, Melattur Bhagavatha Mela, Toorpu Bhagavatha of Bobbili and Kuchipudi.

Satvikabhinaya depicts inner emotional and mental states and psychological communication. It is the subtle, expressive or internal elements of acting. It is through the face and particularly through the eyes, supported by breath or life-spirit that the artist expresses and communicates to the audience which is internal and subtle, the emotional and psychological states of mind of the character portrayed on the stage.

Bhava, with reference to Angikabhinaya, is integral to Satvikabhinaya. Bhava translates as feeling, mood, and a state of mind, being or disposition. It refers to the emotional states, and the actor's embodiment of a character's state of being or emotion, or the emotive states expressed in a performance towards the evocation of rasa, the aesthetic experience. Bhavas are the innate emotions that are within all sentient beings. Let us see how the rasa is created. Bharata says:

"Vibhavanubhava Sanchari samyogaad rasa inspathi".

-The emotion (bhava), with the combination of the cause (vibhavas) and the transitory mood (Sanchari), creates an aesthetic experience or rasa.

There are three kinds of bhavas. Sthayi bhava is the stable, permanent, enduring state or emotion. Every Sthayi bhava is complemented by several secondary psychological states, called Sanchari bhavas. These are transitory, fleeting emotions. An involuntary or spontaneous reflection or expression of the mind is called Satvika bhava. Vibhavas is the cause which provokes the evocation of the bhava. It is of two types - alambana, that is, people, living creatures or objects that cause or evoke the bhava and Uddheepana, the circumstances which help to enhance or inflame the bhava. Anubhavas is the reaction or reflection of the bhava created by the onset of vibhavas. There are three avasthas or stages in the process of development of bhavas. They are 'beeja avastha' (seed stage), 'ankuritha avastha' (sprout stage) and 'pallavitha avastha' (flourishing stage). The process of this evocation is called bhava

(that which has just happened), hava (that which is suggested) and hela (that which has developed in clear form). (The word bhava as used here not the same 'bhava' that relates to emotions and internal feelings).

As mentioned earlier, each sentiment being has all the emotions (bhavas) stored within the self. Among these bhavas, only Sthayi bhava develops into rasa, with the support of the other bhavas. When circumstances intervene, the particular bhava is evoked. When the person reacts according to the situation which is called vibhava; that particular sthayi bhava flourish. Bhava may be viewed first as the Sthayi bhava, those that have the inherent potentiality of transformation in to rasa, as follows:

Bhava Rasa

Rati (love) Sringara

Haasa (laughter) Hasya

Soka (sorrow) Karuna

Krodha (anger) Raudra

Utsaha (energy) Vira

Bhaya (fear) Bhayanaka

Jugupsa (disgust) Bibhatsa

Vismaya (amazement) Adbhuta

A ninth, Sama (tranquility), is also admitted as the sthayibahva of Santa rasa. These doable bhavas are defined as the conditions that neither those akin to them, nor those opposed to them, can over power, Such a bhava, when delineated in a play, poem or any other art form, pervades the heart of the sympathetic spectator, reader, or connoisseur.

When the Sanchari or secondary bhavas embellish the Sthayi bhava, it will be more clearly enjoyable. And that which is enjoyed or 'relished' by the audience is rasa. To better understand this, let me state an example of a lady walking through a deep forest. Suddenly, a wild lion appears before her. She is full of fear and terror. She trembles and tries to run away in horror. In this situation, the fear or Bhaya is the Sthayi bhava within her. The lion is the Alambana vibhavas (the creature that cause the fear) and the thick forest and the action of the lion (the animal's roaring) is Uddheepana vibhavas (the circumstances which enhance the fear). Her actions (crying, trembling, and trying to flee) are the anubhavas (the reaction of the fear). Her looking around for help, feeling of helplessness bordering on paralysis and so on, these transitory states or emotions is the Sanchari bhavas. The rasa that the audience experiences in this situation is "Bhayanaka" - fear, terror. To summarize the above, bhava is that which is expressed by a creator through literature, a dramatic performance, singing,

painting and sculpture. Rasa is that which is experienced by the spectator. Moreover, the bhava must be fully developed, for only then can it be experienced as rasa.

"Sringara Hasya Karuna Raudra Veera Bhayanaka

Bheebhathsadbhutha santhasya navarasa prakeerthithaha"

- There are eight rasa mentioned in the Natya Sastra. They are Sringara (romantic love), Hasya (humor), Karuna (grief), Raudra (fury), Veera (heroism), Bhayanaka (terror), Bibhatsa (disgust) and Adbhuta (wonder). The ninth rasa is Santa (tranquility of mind), which is an addition to the original text.

Satvika Bhava: There are eight Satvika bhavas.

1. Sthambha (still like a pillar): with the shock of the emotion, one can become immobile or paralyzed.

2. Sweda (sweating): over-emotion can make a person wet with sweat.

3. Romancha (exhilaration or horripilate): the excitement or horror evokes a physical thrill in the body.

4.Swarabheda (breaking of the voice): when a person is in a very emotional situation, he cannot express himself with words

5. Vepadu (trembling): from horror or wonder or anger.

6. Vaivarnyam (change of color): going pale when effected by a particular bhava

7. Asru (tearful): from joy or sorrow

8. Pralaya (confusion): lose the sense of action.

Sanchari Bhavas are 32.

There are, in addition, four mukha raagams (the color or state of the face). They are Swabhavika (natural), Prasanna (pleasant, radiant), Raktha (blood red), and Shyama (dark). The actor can create these mukha raagams with the support of breath control attained through a special training process. When the Sthayi Bhava is enhanced by Satvika bhavas and mukha raagams, the effect will be more vital and alive. The color of the face, as such, will not change in color, but the intensity of the feeling will indeed reflect upon the face. A face that has been imbued with appropriate emotion, say, of amorous feelings, will convey vividly this effect in spite of the makeup.

There are eight Rasa drusti (the glance or look for the rasa), Sthayi drusti (glance corresponding to the Sthayi bhava), Sanchari drusti and also each rasa has a Devatha (the associated

deity), the corresponding color - , Varna, even a corresponding musical note - Swaram and also Mukha Raagam (the color or state of the face)

Taking one rasa - Sringara - as an example, we will see how the rasa is established. Sringara means bright, beautiful, pure and adorned. When a boy and a girl of the appropriate age, appearance and quality are attracted to each other, the Sthayi bhava – Rathi (desire, attraction) arises within them. The boy is the alambana for the girl and the girl is the Alambana for the boy. Alambana vibhavas is the cause for evoking Rathi. A beautiful garden, the full moon, a gentle breeze, the song of cuckoos and the humming of bees are the Uddheepana vibhavas (circumstances which enhance the Rathi) and all help the bhava to flourish. The boy's and girl's action and reactions, such as their amorous glances, blushing, smiling, laughing, their speaking of sweet words to each other, their touching, kissing, embracing, all these anubhavas (the reactions) develop the bhava into rasa.

Sringara is divided into two categories. The first category of Sringara is Sambhoga Srigara (the union of lovers-which is pleasurable). The second category of Sringara is Vipralamba Sringara - the state of separation of the couples - which is sorrowful. To find the SringaraRasaprakarana one can watch the dance dramas in Kathakali, the Sringara between Nala and Damayanthi in "NALACHARITHAM" or In Kuchipudi dance drama we can take the example of Usha and Anirudh in "USHAPARINAYAM". The following lines from the Natya Sastra describe the rasa srusti - Kantha - for Sringara rasa. Kantha here means 'radiant'.

"Harsha prasasa janitha kantha athyartham sa manmadha

Sa bru kshepa kataaksha cha sringare drishti rishyath"

- having a joyous, pleasurable mood with a radiant face, with yearning, amorous feelings, the gentle quivering of the eyebrows and side-long glances makes the rasa drishti Kantha. Bharatha Muni starts with Harsha (happy, joyful mood). To get this mood one should sit comfortably, in a state of happiness. Slowly develop a special force in the face, with the control of breathing. This develops the Prasanna mukha raagam (the pleasant, bright, radiant state of face). Next, imagine seeing something very attractive and try to create strong desire for that. Slowly vibrate the eyebrows gently and keeping the same feeling look sideways to the corner. In this way, the bright and amorous bhava is expressed. The depiction of the same bhava differs from character to character. When an actor/dancer is ready with his makeup and costume, he meditates upon and analyzes the character he is to portray. He looks in to the mirror, the superhuman image reflected in the mirror helps him to identify fully the character and he becomes the character. This transformation is called "Parakaya pravesham" or "Thanmayathvam" or "Becoming one with".

Satvikabhinaya is, indeed, the soul of abhinaya in "Bhagavatha mela tradition". There is a close link between Satvika and angikabhinaya in Bhavabhinaya . Angika and Satvika cannot be separated from each other. Both are inseparable parts of the whole. Bharata defined it as “Samanyabhinaya”.

Natya Sastra illustrates this in these following verses: 88

"Kroora rooksharuno vritta nishtabdha puta taaraka

Kutila bhrukutir drishti rakta raudre prakeertita"

- cruel, with piercing red, widely opened round eyeballs , struck in one spot, with eyebrows lifted and curved, is called Rakta drusti and is used for Raudra (anger). Here, the first word 'cruel' is used to express the inner emotion. The other descriptive refer to the outer facial reflections of this inner state and are expressed through the facial expressions. Angika and Satvika are inextricably linked to each other with regard to characterization in a dance drama. Aharya, the makeup and costume, is the externalization of the internal qualities of the character and as such also plays an important role in supporting Angika and Satvika.

Satvikabhinaya may generally describe as the part of the performance score where an actor may have a great degree of freedom of interpretation. In this situation the dancer speaks with hand gestures and expressions to himself or to another character without the support of vocalist or verses. In this performance only selected gestures are used by the actor to convey the bhava or emotional content of the context for the particular character he is acting. The actor uses his understanding of the internal condition of the character i.e. his/her emotional state of being at that point of the play, as well as the manifestation of that state or condition through facial expressions and movement of the eyes, to convey the 'Bhava'. The mudras selected for interpretation and performance accentuate the character's state at that moment. Traditionally the roles of women were being performed by the male dancers.

Satvikabhinaya (expressions) plays an important part in Bhagavatha mela natakas since it is one of the fine art (Lalitha kala) and belongs to drama tradition. To expertise in Satvikabhinaya all that required for the artist is the imagination, visualization, appropriate technical knowledge according to the Sastras, skill and concentration. The progress of any art depends on its practice, its worshipers and sincere performers. The visual perception of the "Rasa Nishpathi"(emotional enjoyment) of any art depends upon the artist and the visual or audio logical vehicle of expression. The fundamental laws governing the production of the Rasa are quite obvious in these dance forms.

Whatever be the dance form, the dancer must keep in mind the artistic point of view as also the realistic nature of it. The actor or dancer should suppress her/his own identity like their own mental condition, their way of actions, their own way of speech and walks; and then acts, behavioral gestures and assumes the character that he/she portraying is themselves on the stage, and talks and behaves totally like that of the character in whichever situation he or she acting. He should personify himself with the artistic representation and keep the mind engaged in hand, facial and body gestures, literature, bhava, raga, tala and Satvika, Angika, Vachika, Aharya Abhinayas, which are life centers of the art because Dance is not a mere physical exercise. “Bhava Rasa Prakarana” is explicitly seen in BhagavathaMela Natakas because of the dominance of Natya than the Nrutya in this tradition.