"Classical
arts have maintained
our identity abroad"
IF dance is considered to be a
poetic expression of life's variegated moods, Kuchipudi
performances of Raja and Radha Reddy, with their melodic
gestures, evocative facial expressions and manifold
rhythmic patterns, create them effortlessly. Their dance
is unfolding of a world of ecstasy and ethereal
existence. A perfect combination of lasya and tandava.
Raja Reddy, inspired by
the Bhagvatam performers in his village, resolved to be a
dancer at an early age. Slyly, he started taking part in
dance dramas. When discovered, he was despatched to a taluka
for studies. But nothing hampered his strong resolve.
Married to his first cousin, Radha, who eventually also
began to share his resolution, he found the possibility
of his dream coming true when Guru Vedantam Prahlada
Sharma accepted him as his disciple.
The duo, the only
couple-dancer after Uday Shankar and Amala Shankar, with
their vibrant and versatile stage presence earned a lot
of popularity after a few performances both among the
common people and the connoisseurs. Today, they have
carved a distinctive niche for themselves as incomparable
stylists. Having given a new dimension to the age-old art
of Kuchipudi, they are instrumental in elevating this
dance form to its present status. They perform each item
with rare excellence and technical perfection. While
retaining traditional grace and subtlety of Kuchipudi
dance form, Raja and Radha Reddy have given this dance
form vigour and range of a ballet. In interpreting
Kuchipudi into its modern, full-length recital form, they
have not sacrificed any of its traditional poetry and
dramatic sensibility.
Together, Raja and Radha
represent lasya and tandava, the twin
pillars on which the edifice of Indian dance rests.
Radhas femininity with all its lyrical charm and
softness combined with Rajas vigour and masculine
power portrays a sense of identity with classical
characters from Hindu mythology like Shiva and Parvati,
Rama and Sita, Krishna and Radh-- a revelation of the
twin concepts of Prakriti and Purusha.
The couple has popularised
Kuchipudi dance form not only in India but across the
globe. Having performed in the USA,the UK, Japan, South
Africa, France, Germany, Sweden, Switzerland, South -
East Asia, Cuba, and Bangladesh, they are now recognised
as the cultural ambassadors of the country. Recipients of
the Padma Shree Award in 1984, they were honoured with
the Sangeet Natak Akademy Award in 1991 for their
contribution to Indian classical dance. The couple
maintains the tradition of the guru shishya parampara by
teaching Kuchipudi in a more systematised manner to
promising young students in a beautiful mandapan they
have constructed in the backyard of their Kaka Nagar
house in Delhi called Natya Tarangini. In an
exclusive interview with Vandana Shukla, Raja
Reddy along with his two wives -- Radha and Kaushalya --
delineates the finer nuances of Kuchipudi dance form as
compared to Bharatnatyam and the sensitivity of
relationships in his personal life.
Reddys are supposed to
be rich landlords from the South. How is that both you
and Radha decided to become dancers?
Yes, the Reddys are rich
landlords but we are not. We are Kshatriyas and we are
not supposed to dance and sing. In fact, my family was
made an outcaste when the village folk learnt about my
being a dancer.
I belong to a very small
village in Telangana region and, since my childhood, I
had a great fascination for Bhagvatam. The Bhagvatam
performers narrate mythological tales in dance form for
three to four nights at a stretch. Their performance has
a very strong impact. It has a lot of drama, rhythm and
movement. Bhagvatam got into my system and I wanted to be
a dancer. I started enacting small parts without my
fathers knowledge. When discovered I was sent to taluka
for studies.
There I was exposed to
cinema. I saw Nagin seventeen times.
Vaijayantimalas dance strengthened my passion for
dance. Then I went to Hyderabad for my pre-university
course. There I saw the performance of Uday Shankar, and
once again I resolved that I will only be a dancer. Uday
Shankars dance had mesmerised me.
I joined a music college
and learnt Kathak for two years there. All my visits to
great gurus of Kuchipudi turned futile. They did not
accept me as their discipline as they found me too dark
and masculine to be a dancer. Then, there was the caste
factor. I was not a Brahmin. Most gurus are Brahmins.
Radha and I are first
cousins. We were married when she was five and I was 11.
While I was learning Kathak, Radha used to watch me dance
and in my absence she used to imitate me. When I decided
to learn dance, she supported my decision. She was also
keen to learn. So, finally when I approached my guru
Natyacharya Vedantam Prahlada Sharma, he accepted us and
decided to teach all the feminine items, with lasya to
Radha and masculine items with tandava to me. My
guru was from the traditional village of Bhagvatam, or
what we call Kuchipudi Yakshaganam.
I went to Kalakshetram at
Eluru and learnt Kuchipudi dance for three years. Then we
came to Delhi on a scholarship from the Andhra government
to learn choreography. Initially, it was difficult to get
programmes. The Tamil Nadu Sabha gave us a break. Then Dr
Karan Singh saw us perform and recommended us for
programmes. Thereafter, there was no looking back.
Initially I used to dance with Indrani Rehman but it did
not last long. Then Radha and I used to practice for 8 to
12 hours daily. We worked very hard to perfect our
performances.
How is Kuchipudi
different from Bharatnatyam? What are its special
features?
Kuchipudi is basically a
dance drama of Nritta, Nritya and Natya. The
Nritta consists of teermanams and Jatis the
Nritya of Sabdams, and the Natya of
acting with mudras for the songs. Kuchipudi is a
complete dance drama as conceived by Bharata Muni in Natya
Shatra.
The Kuchipudi dancer is a
multiple person on stage. The multiplicity is
accomplished by the swift change of mime. There is
dynamism of movement and emotion. Unlike Bharatnatyam
there is vachikam in Kuchipudi. That means speech
is combined with mime and pure dance. In Bharatnatyam it
is a third person narrative, but here the dancer is the
narrator.
Do you have some young
students keen to learn this intricate classical art? Are
they committed and sincere?
Yes, I have many students,
sincere and willing. In fact, many of them are Punjabis.
Before I accept a student, I see him/her dance for about
a month. I do not accept students who are looking for
short-cuts to stage performances. Because without
developing an understanding of the language and the
literature, they cannot enact. One has to meditate on the
concepts of Shiva, Krishna. One has to develop a deep
understanding of these characters.
How do you synchronise
your dance with Radha? What are your individual strengths
and weaknesses?
Radha is very hard
working. For the first two years I used to dance with
Indrani Rehman. Radha would get small roles but in those
small roles she was noticed and received good reviews.
Her abhinay had been very natural from the
beginning. I used to get conscious of my expression but
her expression would always be perfect and natural.
At the personal level,
artistic aspirations are aimed at spiritual growth. How
does art become relevant for social growth?
Art follows philosophy. It
transports you to a different, higher world. But it also
gives a message. The stories show how to live in relation
to society. Most mythological tales aim towards
purification of the human mind. Ashtapadi is full
of devotional aspect. There is a message for the Lokbhakta.
In Bhama Kalpam, Rukmani provides a broader
outlook of life to Satyabhama, who was very proud
of money and beauty. Krishna says that unless you are out
of pride and ego, you are not worthy of love. Mahabharata
relates more to modern life. The consequences of
breeding greed are seen everywhere around in todays
world. These stories teach how important it is to correct
oneself, how important it is to surrender to divinity.
Fine arts purify the self.
How do you strike a
balance between the pure art form and the popular stance
of art?
I cant change the
steps I learnt from my guru, but how to use those steps
can be important. The training in choreography helped me
a lot in this regard. Maya Rao taught us how to make use
of the stage. The entrance, the exit, the beginning and
the climax are significant in todays concept of
dance.
What have you done to
popularise this dance form in northern India?
After our successful tour
of France for Avignon Festival we decided to stay back in
Delhi to popularise our art in the northern region.
Before us, only Indrani Rehman and Yamini Krishnamurti
used to do a few pieces in Kuchipudi along with
Bharatnatyam. To promote and popularise this dance form
we conducted lecture-demonstrations, produced many dance
dramas and we continue to teach many students at home.
After retirement we plan to start an institution on the
line of guru shishya parampara. Many students from
the U.S.A. and other countries are very keen to come here
and learn dance.
Do you think the
government can do more to preserve our heritage?
Yes. Arranging festivals
of India is good but I think it would be better if the
government could invite the best people from all art
forms and work out a programme for promotion of art.
Abroad, people know India only for its art and culture.
We have our distinct identity only on the strength of our
classical arts. The ICCR should see that traditional arts
should not die, security should be offered to the
artiste. In the South, there is so much to be preserved
but good things are dying. My gurus sons are bus
conductors and others are doing such odd jobs. With
traditional means of livelihood disappearing, how can
they sustain art?
Despite having a dance
companion like Radha, why did you feel the need to marry
again? And that, too, to Radhas sister?
Radha is from a village.
When we came here she used to feel very lonely. So she
got her sister from the village when Kaushalya was only
four. Since then she has been with us. In 1979, the
Indian Council for Cultural Relations asked us to tour
South East Asia. Our preparations were on when at the
11th hour our natvanar backed out, saying he was
accompanying some other dancer to Europe. We were in a
fix. Kaushalya was around 13-14 then. We decided to give
her a try. She did well, and after a few performances she
became a master natvanar. She decided to devote
her life only to dance. Nobody could dissuade her. There
was not much resistance. Radhas grandfather also
had two wives. It is quite common there.
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