HYDERABAD: Bringing the forgotten dance forms of the Kakatiya dynasty to the stage at Ravindra Bharati, Kakatiyam 3, a dance ballet by Padmashri and SNA awardee Dr Gaddam Padmaja Reddy, featured her grand entry as Rani Rudrama, raising the bar of audience expectations. Her entrance was marked by children in the dance troupe welcoming her with dance and lights in hand offstage.
Known for her dance series Kakatiyam 1 and 2, showcased in front of thousands across India and the USA over a decade, Dr Padmaja Reddy performed different dance forms from Nrtta Ratnavali, written by Jaya Senapati (Rani Rudrama Devi’s uncle), in Kakatiyam 3. This book mentions 15 dance forms, which were adapted for the Kakatiyam series. These dances are rooted in the traditional and regional styles of Telangana. They incorporate local folklore, rituals, and the daily lives of people. The dances are characterised by their earthy movements, vibrant costumes, and lively music.
With 85 dancers on stage performing various styles, the audience was transported back to the Kakatiya dynasty. The Kakatiyam series predominantly involved desi dance styles such as Perini, Suda, Rasakam, Natya Rasakam, Danda Rasaka, Charcari, Shivapriyam, Chintu Nrttam, Kanduka Nrttam, Bhandika Nrttam, Ghatisani Nrttam, Charana Nrttam, Bahurupa Nrttam, Kollata Nartana, and Bhramari, adapted across the three parts of the Kakatiyam ballet.
Asked about the unique presentation, Dr Padmaja Reddy said, “The presentation of Kakatiyam Part 3 was unique due to its integration of historical research and findings into the choreography, providing an authentic representation of the dance forms. Visual storytelling was enhanced with multimedia elements such as projections and lighting, enriching the narrative aspect of the performance. The collaborative effort involving scholars, historians, and dance experts ensured accuracy and depth.”
Additionally, she mentioned that the team collaborated with scholars such as Papu Venugopal to gain insights into the historical and cultural context of the dances. Field research was also conducted at the Warangal Rammapa Temple and the Thousand Pillars Temple in Telangana, where traditional dance sculptures and contexts were observed and documented.
The process of creating Kakatiyam Part 3 faced several challenges. Dr Padmaja Reddy mentioned , “Accessing ancient texts and manuscripts was difficult due to their rarity and preservation issues. Balancing the authenticity of traditional dance forms with the need to appeal to a contemporary audience was another significant hurdle. Coordinating with multiple experts, scholars, and performers required meticulous planning and management. Limited resources and funding constrained the extent of research and the quality of production elements. Finally, ensuring cultural sensitivity in the adaptation and presentation of traditional dance forms was crucial to preserving and respecting cultural heritage accurately.”
At the end of the performance, the dancers performed to the Telangana state song, adapting Kakatiyam dance forms. “The adaptation of these dance forms into the Telangana song involved incorporating the essence and elements of traditional Kakatiyam dances while aligning them with the modern and contemporary rhythm of the song. The choreography blended classical movements with contemporary flair, ensuring the dance was both rooted in tradition and appealing to a modern audience.”