‘Great dancers are not great because of their technique, they are great because of their passion.’ This quote by Martha Graham holds true for all dancers who dance from their soul to tell stories. Dance is one art-form that stimulates all senses at once. Along with being a visual marvel, it also tingles the auditory muscles, and satiates the soul with storytelling.
Ahead of International Dance Day, we speak to Kuchipudi artistes in the city who, along with excelling in the skill, speak their hearts through the form and tell important stories. Among a multitude of other forms, they have found their voice in this Telugu dance form, and use it as a tool to connect with their roots.
One of the best ways to tap into cultural consciousness is through art — fine or performing. “What is unique about an artiste is the cultural identity they have,” says Kiranmayee Madupu, a Kuchipudi and Bharatanatyam dancer.
Kuchipudi, a theatrical dance form, was traditionally performed to tell stories. Today, dancers are exploring contemporary concepts while staying true to the vocabulary of the form and their culture.
While classical forms like Bharatanatyam and Kathak have been popularised on global platforms, Kuchipudi still remains relatively confined. “One of the main reasons I switched my career from Bharatanatyam to Kuchipudi was an attempt to go back to my Telugu roots. When I was touring internationally, I realised that my art made a larger impact because of the colour of my skin, my roots, and my identity. I discovered the deep connection between an artiste and their cultural identity,” says Kiranmayee.
Kuchipudi, one of the eight classical dance forms of India, has its own distinct movement vocabulary, style, and texture rooted in a village in Andhra Pradesh — Kuchipudi.
Kiranmayee categorises classical dances into three types: one primarily done in ritualistic form in temples; the second, an elitist rendition performed by courtesans in the presence of royalty or at social events; and the third, a storytelling form purely for the common people. While many classical forms like Bharatanatyam and Kathak fall into the first two categories, Kuchipudi is performed for the people.
Originally a form purely for storytelling, it was primarily defined by dramaturgical elements like elaborate facial expressions, fluid movements, and even the use of voice (vaachika abhinaya) to make it interactive. “The form itself gives us a lot of scope to express any story, emotion, or narrative due to its dramatic and theatrical elements,” says Katyayani Kanak, a Kuchipudi dancer.
Amy Kumar, on the other hand, says she was able to find her voice in the form and began expressing herself only around 7–10 years ago, when she started understanding her emotions and how to channel them through her art. “Although Indian classical art forms are restricted in their rules and formats, to find freedom within that framework is an experience in itself. It’s like finding your wings while being firmly rooted to the ground,” she explains.
While these roots can be liberating, they also play a major role in promoting Indian culture and historical narratives. Sindhuja shares an example, “As the form was made for the people, there are some very local influences—like a step (Challa Kavam Adavu) that mimics the movement of churning buttermilk. There’s also a step inspired by the movement of ploughing. All this, once so inherently part of us, has completely left our bodies and memories. By continuing it in a dance form, we are at least passing on the essence to the younger generations.”
Similarly, the costume and jewellery are symbolic of certain beliefs and traditions. The three balls attached at the end of a braid — the jada gantalu — symbolise the stars, sun, and earth. The Surya and Chandra worn on either side of the head represent the two contrasting energies in our body. The costume, typically a nine-yard sari specially draped, has evolved into a pre-stitched version for ease. “I’ve seen many people going back to the nine-yard drape, using a regular sari in that manner,” Sindhuja adds.
“Art forms are constantly evolving — even though we like to tell ourselves it’s tradition, it’s ancient, it is never set in stone. It’s like a flowing river,” says Kiranmayee. For instance, Kuchipudi, once practiced only by men, is now female-dominated.
Although an ever-evolving art form, Katyayani notes that there was stagnation post the 1990s, after Vempati Chinna Satyam’s innovations and framework. “People stopped creating content with sensibilities that speak to the present time. Very few have managed to take it beyond the framework he created. That, I think, is a huge detriment to the popularity and understanding of the form,” Katyayni says. She cites the example of Pochampally weavers who preserve their weave but adapt colours, motifs, and garment designs to current trends. “Just like they own their weave, we must own our form for it to sustain and flourish,” she adds.
This is something Amy also follows to find her voice. “I never moved away from the format, but in my own way, I moved away from the messages it conveys,” she explains.
Speaking about the evolution, Sindhuja says the form is now more competitive and popular. “Some dramaturgy elements have reduced, and it’s become more acrobatic. Audiences also expect synchronised group performances now, which changes how a teacher or choreographer approaches it. Since every body is different, achieving synchronisation requires a different kind of training,” she says. Amy agrees about the rising competition among younger generations and notes their increasing curiosity and interest in classical forms.
In contrast, Katyayani feels that Kuchipudi still lacks enough young dancers deeply rooted in the tradition to carry it forward meaningfully. “Gurus and teachers need to give them enough fodder to chew on and enough challenges so they can push themselves and stay with it longer,” she says.
Every form, every human has evolved with time. As the saying goes, change is the only constant. Despite all changes, we must keep flowing with time and carry our legacies forward. The 21 century has brought changes faster than ever before, especially due to the technological revolution.
While some say we must adapt ourselves and our classical forms to keep them alive, others believe we must tap into old formats and nuances that have stood the test of time. Keeping a form alive is not just the responsibility of the dancers — but also of the rasikas (audiences).
Katyayani says cultivating an audience is part of a dancer’s job.While she believes the audience’s role is essential, Kiranmayee feels that not seeking validation and going deeper will help all art forms flourish. “Just like we don’t expect laymen to understand paintings or the deeper layers of music or literature in one go, why do we expect them to understand dance instantly?” she asks, adding that a certain level of maturity is needed.
Amy believes the path forward lies in learning from other forms while staying connected to who we are. “It’s important to stick to what we do without putting down another form,” she says. For her, holding on to tradition is often a beautiful, spiritual journey, “When I’m in a particular state of mind, I’m drawn to a few of Vempati master’s choreographies. After performing them, I automatically feel better.” Sindhuja also believes that we can keep Kuchipudi flourishing if we preserve the key elements — its musicality and texture.
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