Sobhamrutham – A garland of grace for a beloved guru

Recently, the hallowed stage of the Bharatiya Vidya Bhavan Auditorium blossomed into a shrine of rhythm and devotion. Here unfolded Sobhamrutham, a lovingly conceived and meticulously presented dance offering by Smt. Amrita Singh — a work that was, in every sense, a heartfelt tribute to her revered guru, the late Padmashri Dr Sobha Naidu.

Amrita Singh, a distinguished Kuchipudi exponent, choreographer, and teacher, has been shaped by years under the luminous guidance of her legendary mentor. From Dr Sobha Naidu, she imbibed not merely the intricate grammar and lyrical grace of the form, but also the intangible essence of guru-shishya parampara — discipline, humility, and a deep spiritual connection to the art. Her studies have been further enriched by a profound engagement with the Natyashastra Karanas, lending her performances an arresting blend of aesthetic refinement and spiritual depth.

In 2023, she first envisioned Sobhamrutham — a solo presentation of five timeless Kuchipudi pieces, all choreographed by her guru — as an artistic garland woven with memories, reverence, and gratitude. The success of that evening planted the seed for Sobhamrutham 2.0, an evolved tribute that saw her disciples breathe new life into her guru’s choreographies. Through this living production, Amrita ensures that Dr Sobha Naidu’s artistry continues to flow like an unbroken river, nourishing future generations.

Her institution, Kuchipudi Kalamrita, founded in 2019 at Begumpet, Hyderabad, stands as a beacon for the preservation and propagation of traditional Kuchipudi values. It carries forward her guru’s vision, nurturing students in both the rigour and joy of the art.

The evening’s repertoire unfurled like a vibrant tapestry. Kuchipudi Kalamrita’s coordinated renditions of Ganesa Pancharatnam, Swagatam Krishna, and Kuntalavarali Tillana drew warm appreciation, each a confluence of precision and charm — though the customary stage “smoking” could perhaps be set aside. Guru Sudheer Rao, who rarely graces the stage, was magnetic in his portrayal of Ravana during Bho Shambho in Revathi ragam. His abhinaya, rich in dramatic nuance, lent itself naturally to storytelling — a moment of sheer theatre when, as Ravana, he opened his stomach to play the veena with his intestines, to appease Lord Shiva. The group Natyasathpadam, with its four spirited young men, delivered Ananda Tandavam and Tillana with the unmistakable vigour and masculine dynamism of Kuchipudi. Gangadhar and Deekshitulu shone with remarkable stage presence, while Pasumarthy Kumara Datta and Chakravarthy lent additional lustre to the performance. Adding yet another layer of radiance, senior guru Kalaimamani Sailaja from Chennai and her students offered scintillating pieces, infusing the programme with colour and variety.

When Amrita herself took the stage for Kanjadalayatakshi Kamakshi by Muthuswami Deekshitar in Kamala Manohari raagam, the auditorium seemed to hold its breath. Draped in elegance, her anga shuddhi, perfection of movement, and graceful aaharya spoke of rare dedication. Each gesture was steeped in both artistry and devotion, touching the hearts of all present. In that moment, the audience felt not just the mastery of a performer, but the love of a disciple carrying her guru’s flame forward.

Though Dr Sobha Naidu no longer walks this earth, one could almost sense her invisible blessing — a gentle whisper from the heavens, urging her beloved student to keep the Kuchipudi flag flying high, as the fragrance of Sobhamrutham lingers in every soul who witnessed it.

ABOUT THE AUTHOR

Vijaya Pratap

Vijaya Pratap[email protected]