Text
E-book Impersonations
Impersonation in Kuchipudi dance is grounded in a moment of divine inspira-tion. According to popular hagiography, the founding saint of Kuchipudi dance, Siddhendra, had a revelatory vision of Krishna and his consort Satyabhama, after which he abandoned all worldly ties and dedicated his life to singing the praises of his god. Envisioning himself as Satyabhama, Siddhendra composed Bha?ma?kala?pam (lit., “the lyrical drama of Bhama”), which features Satyabhama’s love and separation from Krishna. Siddhendra taught this dance drama to all the brahmin boys of the village Kuchelapuram (now Kuchipudi), prescribing that they continue to don Satyabhama’s ve?s?am for generations to come.This popular narrative is often cited as the critical starting point of Kuchipudi dance history, whether in dance classrooms in India or the United States. Although practitioners and scholars disagree about the exact period of Siddhendra’s lifetime, assigning him dates that span from the fourteenth to the seventeenth centuries, the existence and the influence of Siddhendra on Kuchipudi dance is accepted as unequivocal fact.1 The common belief in the hagiography of Siddhendra, however, must be framed against the backdrop of broader colonial and postcolonial inter-ventions that gave rise to Kuchipudi as “classical” dance. Elite Telugu proponents in the mid-twentieth century significantly expanded the life story of Siddhendra into a devotional hagiography of religious significance. By imagining Siddhendra as the ultimate male devotee who speaks through the female voice of Satyabhama pining for her god/husband Krishna, Telugu elite and later Kuchipudi dancers locate the life story of Siddhendra within the broader framework of vernacular bhakti traditions. Through these mid-twentieth-century innovations and expan-sions, Siddhendra transforms from the reported author of Bha?ma?kala?pam into a paradigmatic bhakti poet-saint and, arguably, the first Kuchipudi impersonator.
Tidak tersedia versi lain