Kuchipudi dance derives its name after its village of birth in Andhra Pradesh, India. Kuchipudi evolved from a drama tradition, and its solo repertoire features two strands of embodied history. Daruvus, excerpts from the dance-dramas historically presented by male dancers who played both male and female roles to enact stories, have entered the Kuchipudi solo repertoire as standalone pieces. Kuchipudi also shares repertoire with the hereditary women dancers of the region, as well as with Bharatanatyam’s solo tradition – jatiswarams, śabdams, varṇams, padams, jāvalīs, sankīrtanas, and tillānas are performed in the distinctive kuluku of Kuchipudi, characterized by its scintillating rhythm, quicksilver movements, and eloquent sensitive expressions.
It is an honor to present this offering to the Kuchipudi solo repertoire, inspired by composers from the 20th century. Smt. Sarada Jammi’s choreographies that are being presented today all feature works by her father and Ameya’s grandfather, Sri Tumuluri Satyagopal. For her foray into the world of choreography, Ameya has chosen compositions by the legendary Carnatic doyens Dr Mangalampalli Balamuralikrishna and Sri Lalgudi Jayaraman, selecting compositions in her mother tongue of Telugu. As they bring these bring these songs to life through the language of Kuchipudi, the choreographies use nāṭya (dramatic expression), nṛtta (abstract dance), and nṛtya (lyrical interpretation).
Sri Tumuluri Satyagopal is a musicologist, composer, and music educator who has taught in India, Singapore, and the United States. Trained as a mridangist under the late Sri Mahadevu Radha Krishna Raju garu, and as a vocalist from the late Sri Vankamamidi Veera Raghavaiah garu, he has expanded the bounds of Carnatic music through his research and compositions on derived ragas, blend ragas, and tri-sruti ragas, as well as his work extending the foundations of musical pedagogy. His research has been presented at the Madras Music Academy, as well as published. Sri Tumuluri’s keen rhythmic sense, lyrical wordplay, and melodic flourishes make his compositions particular suitable for South Indian classical dance forms, as is highlighted in today’s performance.