Mythological drama
GUDIPOODI SRIHARI
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‘Alamelu Manga Vilasam’ was a pleasing dance depiction of Annamayya’s compositions.
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Photo: K. Ramesh Babu
Divine drama A scene from the ballet.
Once the Annamayya compositions were discovered and gained popularity after some musicians composed some of them into kirtanas, there was a momentum also in dance field to take these compositions and weave them into a dance drama f
ormat. One of the persons who took initiative was the late C.R. Acharya. Alamelu Manga Vilasam is one such ballet that came into existence. Later many other dance groups began staging this subject taking these or other compositions. <
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Voleti Rangamani, Acharya’s daughter continues her father’s legacy learning all the facets of Kuchipudi art that were almost non-existent at one time. Rangamani’s students staged this ballet at Ravindra Bharati under her banner Abhinaya Darpana Arts Academy. The story also concentrates equally on Bibi Nanchari another consort of Lord Venkateswara. And the narrator like in any Kuchipudi ballet is not sutradhara, but Annamayya himself whose compositions became the t
ext of the ballet. All of them are set in Carnatic ragas and the rendition was perfect and expressive.Each of the dancers appears to have practiced well the perfect expression. The kritis being very popular, that au
dience could follow them well.
It opens with song Vinaro Bhagyamu Vishnu Katha and then pointing out at the temple of Venkateswara in the song Adigivo Alladivo Srihasri Vasamu set in Suddha Dhanyasi. But the main story line b
ases on the Sthala Charitra of Tirumala, depicting how Mahavishnu launches his search for Maha Lakshmi who left him, unable to bear the insult hurled by Bhrugu Maharshi and her husband’s silence in response. While Mahalakshmi, also known as Sridevi, took the shape of Alivelu Manga, Vishnu’s another concert Bhoodevi reincarnated herself as Bibi Nanchari, who too starts her search for her Lord. In a helpless situation, terribly tired Bibi Nanchari swoons. As she wakes up she is surprised to see the very feet of her Lord before her. Here occurs the very interesting song, frequently rendered in concerts -Brahma Kadigina Padamu rendered in Mukhari - that eulogises Lord’s feet that have role in many liv
es. As usual like in many mythological themes the role played by Narada also gains prominence in this ballet, which culminates in the statuesque posturing of symbolic union of Alamemlu Manga and Bibi Nanchari with their Lord Venkateswara - that is Mahavishnu. Of the compositions that came into rendition, worth mentioning were Atulita Sowbhagya in Surati, Garudarudhudai in Kambhoji and the popular Vinnapalu Vinavale. M.S. Raamanu
jan played the role of Venkateswara, while Rekha Madan and Sunitha appeared as his consorts Alivelu Manga and Bibi Nanchari respectively. The choreography was more active when these main roles were present in the sequences and the artistes revealed their understanding and knowledge in the art. Indira played the role of Narada, the trouble shooter as usual. Samyukta was ‘Sodamma’.The whole show was impressive, conducted and directed by Rangamani to the pleasing and expressive vocal support of N.C. Murthy. There were also some solo dances by Rangamani’s students.
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