 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
Like all Indian classical dance forms, it is based on the Natya Shastra, a 2000
year-old treaty on dramatics, which gives a very precise and highly developed
codification of dance, music and theater. It was in the 14th century, however, that
the ascetic Siddhendra Yogi appeared on the scene and gave Kuchipudi a new
definition and direction by training male
Brahmin boys with great dedication
Kuchipudi is a perfect blend of Nritta, Nritya and Natya and has all important
aspects: pure dance and expressive dance. Pure dance is rhythmic and abstract. The
footwork executes the complex rhythmic patterns of the accompanying music, while
the rest of the body, from the head to the tip of the fingers, follows, sometimes with
or abhinaya, is a narrative aspect where each part of the body is used to bring the
text to life, poem or story, recited in the song. The hand gestures - mudras - are
codified into a very specific language. The facial expressions are stylized so as to
convey a wide range of complex and subtle sentiments and feelings. The whole body
comes alive to communicate the emotions which arise from the song.
The Kuchipudi performance is accompanied by a traditional music based on the
Carnatic system of Indian music and the orchestra consists of the Nattuvanar
(conductor) with his hand-held cymbals, the vocalist, mridangam (drum), violin, flute
and veena.
Late Lakshminarayana Sastry was a pioneer in introducing the dance form to
women, which till then was restricted only to men.
Padmabhushan Dr. Vemptai Chinna Satyam sublimated and systematized Kuchipudi
without sacrificing its pristine purity and gave it a more classical and sophisticated
look. He developed and redefined Kuchipudi bringing it completely within the
boundaries of Natya Sastra and gave it a new perception in every respect
year-old treaty on dramatics, which gives a very precise and highly developed
codification of dance, music and theater. It was in the 14th century, however, that
the ascetic Siddhendra Yogi appeared on the scene and gave Kuchipudi a new
definition and direction by training male
Brahmin boys with great dedication
Kuchipudi is a perfect blend of Nritta, Nritya and Natya and has all important
aspects: pure dance and expressive dance. Pure dance is rhythmic and abstract. The
footwork executes the complex rhythmic patterns of the accompanying music, while
the rest of the body, from the head to the tip of the fingers, follows, sometimes with
or abhinaya, is a narrative aspect where each part of the body is used to bring the
text to life, poem or story, recited in the song. The hand gestures - mudras - are
codified into a very specific language. The facial expressions are stylized so as to
convey a wide range of complex and subtle sentiments and feelings. The whole body
comes alive to communicate the emotions which arise from the song.
The Kuchipudi performance is accompanied by a traditional music based on the
Carnatic system of Indian music and the orchestra consists of the Nattuvanar
(conductor) with his hand-held cymbals, the vocalist, mridangam (drum), violin, flute
and veena.
Late Lakshminarayana Sastry was a pioneer in introducing the dance form to
women, which till then was restricted only to men.
Padmabhushan Dr. Vemptai Chinna Satyam sublimated and systematized Kuchipudi
without sacrificing its pristine purity and gave it a more classical and sophisticated
look. He developed and redefined Kuchipudi bringing it completely within the
boundaries of Natya Sastra and gave it a new perception in every respect
