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Kuchipudi declined and was a dying art in 17th-century Andhra, [52] but in 1678, the last Shia Muslim Sultan of Golkonda, Abul Hasan Tana Shah, saw a Kuchipudi performance and was so pleased that he granted the dancers lands around the Kuchipudi village, with the stipulation that they continue the dance-drama.
Chinna Satyam sublimated and systematised Indian Kuchipudi dance, giving it a more classical basis. He refined the art form, bringing it closer to the standards of Natya Shastra and introduced new elements, e.g. chari (leg movements) of Natya Shastra that are significantly different from the interpretations of other dance authorities, such as Padma Subrahmanyam.
Being an artist from Kerala and travelling to Kuchipudi village to learn the classical art form of Andhra and to master it takes a lot of hard work, dedication and perseverance. The art form to her is like second skin. Sreelakshmy Govardhanan [5] is widely acclaimed for her ability to bring alive the charm and beauty of Kuchipudi. [6]
Traditionally it was done by men and female temple dancers. Women did not dance it in public, and men played female parts in Kuchipudi ballets. As time went by, women began to learn it as an art as well. This started when women danced in kings' courts. Kuchipudi is the best-known classical dance form of Andhra Pradesh.
In Bharatanatyam, the classical dance of India performed by Lord Nataraja, approximately 51 root mudras (hand or finger gestures) are used to clearly communicate specific ideas, events, actions, or creatures in which 28 require only one hand, and are classified as `Asamyuta Hasta', along with 23 other primary mudras which require both hands and are classified as 'Samyuta Hasta'; these 51 are ...
The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others. Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya .
While Bharatanatyam, Odissi and Kuchipudi are the orthodox styles that claim to preserve the knowledge of the Natya Shastra most faithfully, Kathak is different from other styles as it is a mixture of the Persian dance and the Indian folk dance movements. It derives its name from the community of Kathaks, who are custodians of the art.
The drama was created by Siddhendra Yogi in the 17th century for the devotional use of Kuchipudi performers. The theatre is performed by several troupes in Andhra Pradesh and is a fine example of the feminine movements in dance (lasya) as opposed to the masculine tandava movements of Kathakali and Yakshagana.