HYDERABAD: Among the medley of classical-dance programmes that happen in the city regularly, every now and then connoisseurs are treated to an interesting conceptual presentation. One of these is the upcoming event The Sensual and Sublime in The Telugu Padam being presented by Anupama Kylash.
It is going to be staged on April 20 at 6.30 p.m., at Saptaparni as the Fourth Edition of the Ramachar Memorial Concerts, in memory of Gayatri and R. Ravi Prakash. It will be a solo-dance performance and an abhinaya-based presentation. Entry is free and open to all.
Anupama Kylash is a well-known classical dancer, teacher and researcher trained in both Kuchipudi and Vilasini Natyam. She performs regularly in both styles. She has over 600 performances in India and abroad to her credit and has received appreciation from critics and laypersons. Anupama also has a doctorate in dance. She is also one of the few Indian dancers who has also trained systematically in classical music and holds a Vishaarad in Hindustani music. She is the author of a book titled Nayikas in Kshetrayya Padams.
In the forthcoming programme, The Sensual and Sublime in The Telugu Padam, she will present lesser-known compositions of Annamacharya, Kshetrayya, Sarangapani, Munipalle Subramanya Kavi, and Pothuloori Veerabrahmam. Thus, it focuses on the Padakavitha era of Telugu literature between the 15th and 19th centuries. Anupama has chosen the Vilasini Natyam dance style for articulating these compositions in a pure abhinaya format.
We caught up with the dancer a week before the programme to ask her what was in store for viewers.
What is the concept of this programme?
The concept is to highlight the kind of literature that was composed in the Padakavitha era of Telugu literature. Shringara and Bhakti were used as two mediums to achieve the same goal, that of oneness with the beloved deity.
Why have you chosen the dance form of Vilasini Natyam to perform these compositions?
I chose Vilasini Natyam, because it is essentially a solo system, meant for elaboration of ideas through a single female body.
Why is it a pure abhinaya presentation? Why no nrtta?
There is no nrtta in this performance, as I want to bring back the importance of Manodharma or spontaneous Abhinaya, based on images and motifs which we are gradually losing in our forms.
Why did you choose these very composers? What was the rationale or criteria?
I admire these five poets because they were trendsetters and game changers of their period. The other poets and composers followed the path shown by them.
Is this the first time you are presenting these items in this format?
Yes, indeed this is the first time I’m presenting this set of padams in this particular format. I am also planning to take it to different cities in the future.
You have made many thematic presentations so far. What inspires you?
My beliefs. I think it is necessary to do more and more creative work in the field of dance as we need original thought and interpretation. Research backed programmes enhance the quality of work in any field of art.