‘Cultural threads uniting nations’
| Date :01-Sep-2023 |
By Vaishnavi Pillay
“Wherever we travel, threads of culture find a common space. The power of art transcend boundaries,” said A P Nivedita, a renowned Kuchipudi dancer from Nagpur in an interview with ‘The Hitavada’, sharing her experiences of connecting cultures and the profound impact of international festivals on professional dancers. A P Nivedita performed and represented India in the Namaste Vietnam Festival 2023, a remarkable cultural exchange event. The festival, held from August 12 to 20 at Ho Chi Minh City, Vietnam, became a platform for cultural fusion. She took center stage to weave a spellbinding narrative of culture, unity, and artistry during her performances in the festival.
Nivedita candidly shared, “Kuchipudi’s vigor traditionally stems from male strength, presenting a unique challenge for female dancers. My affinity for jumps became my strength.” She fondly acknowledged her guru’s role in her journey. “My grasp of ‘nritta’ is indebted to his meticulous corrections and teachings,” she expressed. Whereas her maternal aunt infused her with the essence of ‘bhava’(expression). This dual influence now manifests in her performances.
Nivedita’s voyage into the world of Kuchipudi began with a family connection, rooted in her mother’s aspiration. Originally from Ponnur, Andhra Pradesh, she is residing in Nagpur from the age of six. It was her maternal aunt, Dr P Rama Devi, one of her gurus, who initiated her into the world of dance with Bharatnatyam. Alongside, she took training under her guru Padmashree Jayarama Rao and his wife Vanasri, who used to visit the city from Delhi. At the age of 16, she met with an accident which fractured the bones of her left leg. The initial medical intervention fell short of providing a complete remedy, leaving her in a state of distress. The overlapping of broken bones resulted in the difference of few inches between her legs. Seeking a ray of hope, she turned to Dr Narendra Saxena, whose surgical expertise became her beacon. With the doctor’s guidance and motivation, Nivedita began the arduous journey of recovery. Reflecting on her experience in Vietnam, Nivedita described it with great admiration. Her initial uncertainty faded when she realised her dance was being understood by everyone in the audience. Performing solo, she represented India alongside fellow artists.
Her retelling of the Sita Kalyanam (Sita’marriage) left an indelible mark during her performance at the festival. “One gentleman from the audience approached me, held my hand and appreciated my perfomance. He had studied about Rama, Sita and Ravana. I was really happy with the audience”,she expressed. This heartwarming incident reinforced her belief in the universal appeal of culture. The festival was ingeniously designed to honour both Indian and Vietnamese cultures, blending the vibrant hues of India and Vietnam. With performances that emphasised both nations’ cultures concurrently, Nivedita bore the responsibility of representing India through her solo performances. “I wanted to show the pride of our Indian culture,” she asserted, her determination evident in her commitment to portray India's heritage. A group from Hyderabad accompanied her in the festival. Given the Indian Council for Cultural Relations’ mandate for inviting new artists, her group largely consisted of first-time performers in Vietnam.
Nivedita’s performances had a touch of dramatisation. In one such potrayal, she depicted Lord Shiva’s separation from Sati, followed by his powerful Pralay Tandav, and the introduction of Parvati. Another performance showcased the charming innocence of Lord Krishna, as he playfully indulged in stealing makkhan (butter). The audience’s applause reverberated after each performance.
As Nivedita animatedly explained her acts to ‘The Hitavada’, one can notice with her expressions how gracefully she plays the role of Balkrishna, the innocence of a small child clearly seen on her facial expressions. Nivedita found herself appreciating a distinctive facet of Vietnamese culture. “They follow rules strictly, and people don’t go against the authorities,” she observed. Her observations showcased a society where respect for authority is a hallmark, fostering an atmosphere of cooperation and orderliness. Nivedita fervently believes that such international festivals are an invaluable platform for professional dancers, providing exposure to a broader audience. “With these kinds of opportunities and exposure, a person becomes more hardworking,” she asserted. These festivals don’t merely offer a platform to present established performances; they also serve as catalysts for growth and learning. Each performance becomes a stepping stone for improvement, a chance to refine their artistry. After completing her Bachelors of Science (BSc) she subsequently pursued MA and MPhil degrees in dance from Potti Sriramulu Telugu University, Hyderabad. Her talent also earned her the esteemed A-grade artist status in Doordarshan. The apex of recognition arrived when she was empanelled in ICCR in 2004. With her guru by her side, she participated in cultural exchange programmes across China, Japan, Malaysia, Thailand, and Indonesia. A P Nivedita’s journey in Vietnam showed that her performances were not just dance; they were a bridge that united cultures, communicated stories, and fostered connections that surpassed language.