HYDERABAD: Kuchipudi dance dramas have been gradually fading, prompting dedicated artists like (Vempati) Bala Tripura Sundari, daughter of Padmabhushan Dr Vempati Chinna Satyam, to embark on a mission to preserve this art form. She initiated Vempati Natyamedha, a celebration honouring her father’s legacy in Kuchipudi dance drama. We had the opportunity to sit down with her at her dance studio, exploring her journey and the upcoming presentation of her choreographed dance dramas scheduled for January 8-9, Ravindra Bharathi.
Describing her journey and her initiation into the art form, she shared, “I hail from a lineage deeply rooted in Kuchipudi, being the daughter of Padmabhushan Dr Vempati Chinna Satyam. Raised in Chinna, I grew up amidst my father’s Kuchipudi dance academy, observing his classes from a very young age. However, in our traditional household, there were strict norms against daughters pursuing dance. Women weren’t encouraged to learn or perform.
My father, concerned about societal perceptions affecting our marriage prospects, initially deterred us from dance. Yet, our passion for the art form persisted. Whenever my father was absent, my siblings and I would secretly observe the classes, positioning ourselves at the back rows. If caught, we were forbidden to dance, prompting us to practice discreetly. This clandestine learning process allowed us to grasp the fundamentals and advance in our training. For 25 years, this was our journey of learning and evolving in Kuchipudi.”
In addition to dance, she delved into her artistic pursuits. “While clandestinely learning dance, I pursued a diploma course in Veena and pursued a BA in Music from Madras University, supplementing it with a private diploma. At 25, I embraced marriage and settled in Vijayawada, eventually relocating to Muscat where I commenced my teaching career in 1996, post-marriage. Initially, I didn’t perform, respecting my father’s reservations. Fortunately, with the unwavering support of my in-laws and husband, we convinced my father, and I began teaching with his approval. For seven years, I taught dance in Muscat, concurrently engaging with a Tamil Sangam organisation, occasionally performing in Bharatanatyam roles due to my height, often cast as the hero.
In 2002, we returned to Hyderabad and established ourselves here. I started conducting private music and dance classes. Juggling frequent relocations and prioritising my children’s education, I was approached by parents of my long-term dance students, requesting classes. Subsequently, I left my existing institute to heed the parents’ requests, formally establishing Abhinaya Vani Nritya Niketan School in 2009, a dream realised after years of effort, predating the onset of COVID-19. Although my childhood ambition was to become a dancer, health constraints redirected me towards teaching, a suggestion echoed by my husband. In doing so, I’ve followed in my father’s footsteps, finding immense joy in imparting knowledge to my students,” she shares.
Expressing her desire to honour her father’s legacy through her students, she says, “I aimed to bring forth my father’s dance creations, made possible only through my students. Thus, I initiated a trust programme via my school. My younger brother, the late Vempati Ravi Shankar, a Kala Ratna Awardee and a remarkable dancer, played minor yet impactful roles in my father’s dance dramas. He was an immensely talented individual, even though younger than me, and contributed significantly by choreographing numerous dramas.
Following my father’s passing, I sought his guidance as an advisor.” Adding, “In an effort to showcase these dance dramas and solo performances, I began engaging other dance artists through this trust. Our annual event, Sadhana, brought together both seasoned and new students, culminating in a festival dedicated to my father’s dance repertoire. In this upcoming festival, named Rukmini Kalyanam and Ksheerasagara Madhanam, I aim to spotlight two of my father’s significant works. My goal is to involve former students of my father, preserving and perpetuating his invaluable legacy.”
Describing the two-day festival and its performances, she elaborated, “Rukmini Kalyanam involves characters spanning different age groups, requiring a blend of seasoned performers and youngsters. I’ve included some of my father’s former students, particularly those of varying ages. There has been a significant gap in showcasing my father’s choreographies. While there’s a renewed interest in dance now, his style remains distinct.
He revolutionised Kuchipudi by introducing pivotal changes. Originally a male-dominated art form, he defied norms by teaching women and orchestrating dramas where females portrayed male roles, garnering immense attention and acclaim for these performances. Fortunately, my father entrusted me with tapes of these choreographies, which I’ve used to instruct my students. Hence, I’ve named this festival in his honour, aiming to spotlight his unique choreographic legacy, uniting both his former disciples and my current students.”
She imparts a message to aspiring young dancers, emphasising the significance of dedication and time in learning the art form, “For those passionate about dance, remember to set a time limit. Today’s generation is engaged in numerous activities, often losing focus on dedicating ample time to one pursuit. Art demands patience and commitment; there’s no shortcut in mastering it. It requires substantial time and effort. Parents play a crucial role in guiding their children to find competent teachers and ensuring they learn the art authentically. Rushing through training just for the sake of it won’t suffice. Approach learning with your entire being — heart, mind, body, and soul. Invest time to master it thoroughly.”