Uma Murali celebrates 50 years in dance with an iconic Kuchipudi production

Uma Murali dance performance at Narada Gana Sabha.
| Photo Credit: RAVINDRAN R

Celebrating 50 years of her dancing career, Uma Murali, Kuchipudi and Bharatanatyam dancer, organised a day-long event recently in Chennai.
The morning convention focused on various aspects of Kuchipudi, with well-known dancers sharing their knowledge and insights.

Uma Murali’s ‘Sri Krishna Parijatham’, dance performance at Narada Gana Sabha.
| Photo Credit:
RAVINDRAN R

Certain songs or thematic stories in Kuchipudi have captured the audience’s imagination to such an extent that they have come to be identified with a particular artiste or institution. One such story is ‘Sri Krishna Parijatham’, which is associated Vempati Chinna Satyam, who presented it on stage decades ago. Most of the leading dancers of this style, have at some point or other in their career, performed the main roles in this iconic production. Uma, chose to revisit this production in collaboration with students of Kuchipudi Arts Academy (founded by Vempati Chinna Satyam), to mark this special moment in her journey.

Simple and straightforward

The storyline of this production is simple and straightforward, but it is the drama and emotions which resonate with the rasikas each time it is performed. Sage Narada, known for his mischievous intent and actions, gives a special flower parijatham to Krishna, asking him to give to his favourite wife. When he gives it to Rukmini, send Satyabhama into a rage. To console her, Krishna gives a parijatham tree whose flowers fall in Rukmini’s courtyard. The ego clash between the two wives, Krishna’s efforts to pacify them, and finally, the women realising the essence of total devotion and surrender are what the dance production is all about.  

Graceful presentation

Swapna as Narada set the mood for the performance. Vempatti Lakshmi Kameshwari as Rukmini brought out the beautiful shades of the character through her graceful movements and stances and variations in expressions. The sequence ‘Neela megha sharira’ was particularly impressive, where the dance looks admiringly at her own reflection in the mirror. Equally endearing were the expressions of Varshitha, playing the role of Krishna. The two dancers jointly performed the Tharangam (dancing on brass plates), a popular piece of the Kuchipudi repertoire, in perfect coordination.

‘Bhamane satyabhamane’, the popular Pravesha Daru composition, was the introductory song for Uma’s entry as Satyabhama. Her portrayal of arrogance, anger, coyness, love, jealousy, sorrow and remorse showed her vast experience as an artiste.

The production establishes a connect with the audience for its engaging story and relatable emotions. Even without lavish sets or props, the four dancers kept the interest alive.

The orchestra

The musical ensemble contributed in large measure to the impact of the presentation. Weilding the cymbals and having total control over every aspect of the musical arrangement was Aditya Anukula. Reminiscent of the celebrated singer Ghantasala, the bhava-laden singing was by Nalla Chakravatula Koushik Kalyan brought out the mood of each sequence. Pavani Mutnuri’s singing complemented his voice. Sreedhar Acharya on the mridangam, C.V. Sudhakar on the flute, Krishna Subrahmanyam on the violin and C.N. Praneeth on the veena provided excellent support.