Renowned Artists Shine at Praatigya Lecture-Demonstration Event

Text By: M Bharathi

The Central Sangeet Natak Akademi, is organising “Praatigya”prestigious series of lecture-demonstration events. This initiative brings together renowned artists, scholars, and students in an immersive learning experience that highlights the depth and intricacy of Indian classical arts.

The latest Praatigya session, held on February 28, 2025, was a collaborative effort between the Akademi and Potti Sree Ramulu Telugu University. The event took place at the NTR Auditorium, Hyderabad, and was curated by Dr. Vanaja Uday, HEAD OF THE DEPARTMENT OF INDIAN HISTORY CULTURE AND TOURISM, Telugu University, who played a crucial role in shaping the event with her charismatic and dignified presence.

The session was inaugurated with an address by Vyzarsu Balasubramaniam, setting the tone for a day filled with extraordinary artistic and intellectual exchange by presenting an Invocation to Lord Ganesha.
The event commenced with a lecture-demonstration by the Mridangam maestro, Padma Shri Awardee Dr. Yella Venkateswara Rao, a recipient of the Central Sangeet Natak Akademi Award.

Dr. Rao began with a self-introduction, narrating his illustrious journey in the world of percussion. He then captivated the audience with a spellbinding demonstration of the Pranavakara Omkara on the Mridangam, showcasing his mastery over rhythm and his ability to translate spirituality into music. Dr. Rao delivered an incredible Mridangam performance, showcasing both technical mastery and deep rhythmic artistry. A half-hour of skillful percussion must have been mesmerizing, especially in the context of a classical concert where precision and improvisation go hand in hand.

A highlight of this session was his performance of a Revatī Raga Thillana composition set to Tisra Nadai, Adi Talam accompanied on vocals by Kanthi Swaroop and Talam by his grandson, Abhishek .The precision and artistry displayed in this segment received thunderous applause from the audience, reaffirming Dr. Rao’s status as a pioneer in the field of Carnatic percussion. In the end of the session , for a question asked by Dr Vijaypal Pathloth, to clarify the difference between Mugimpu, mukthayi and teerumanam , Dr Rao clearly answered that mugimpu comes between pallavi and anupallavi. Muktayi or Teerumanam comes at the end, and teerumanam is a tamil word. He also gave the clear distinction between Kutchi and Kappi Mridangam. Kutchi is used by upcoming artistes where as Kappi Mrindangam is used by the exponents.

The second session of the event featured Dr. Bhagavatula Sethuram, Retired Professor ,Telugu University and Kuchipudi exponent and recipient of the Central Sangeet Natak Akademi Award.
Dr. Sethuram provided a historical and personal narrative on the struggles and contributions of his father, Bhagavatula Ramakotaiah, who was instrumental in establishing Kuchipudi in Telangana during the Nizam era. His presentation was further enriched by a detailed PowerPoint display, showcasing rare archival material and personal anecdotes that traced his family’s legacy in dance.

A significant aspect of Dr. Sethuram’s session was his demonstration of Yakshaganam traditions in Kuchipudi, particularly focusing on Rama nataka Yakshaganam,Kshetrayya Padam ( Intha Mohamemira)and Prahlada Pravesa Daruvus. , Thunga thurthys Padam(Vintalu Vintiva)Accompanied on vocals by Smt. Indira and on Mridangam by Dr. Srikanth Ramanujapuram, his performance remained true to the traditional essence of Kuchipudi.
The above said dances performed by his disciples, Smt. Pavani Sreelatha, Dr. Bindu Abhinay, Smt. Sushma Mohanty , Smt. Keerthana Reddy, and Smt. Veena Iyer, are confined to the stage performances.The session concluded with a Demonstration by Dr. Sethuram himself, delivering a spellbinding excerpt from Golla Kalapam, the present day standard text given by Bhagavathula Ramayya. Dr Sethuram show cased the conversation between two characters Gollabhama(Milkmaid)and Vipra (Brahmin) . The conversation between an illiterate and well versed Brahmin is so beautifully brought out , where in the Vaachikabhinayam goes as “ Paaloyamma paalu” by the Gollabhama, and follows the Vipra saying Perugoyamma Perugu”. Golla bhama in a little offensive tone says “Perugoyamma perugu” and the Vipra follows saying Challoyamma challa”and goes on. The Golla bhama says how her mother warned her from not going to that street. Where a vipra stays with a small plait and a book ( panchanga) in hand , but the milk maid ultimately ends up entering that very street. This demonstration by Dr Sethuram received received a huge applause from the audience.

The event was further elevated by the presence of distinguished guests, including, Dr. Vanaja Uday, HEAD OF THE
DEPARTMENT OF INDIAN HISTORY CULTURE AND TOURISM, Telugu University, who served as the curator of the event. Her vast experience in classical dance and academic expertise played a crucial role in ensuring the lecture demonstrations balanced scholarly depth with artistic excellence. Her charismatic and dignified presence added a profound sense of grandeur to the occasion.

Dr. Nityananda Rao, Vice-Chancellor of Telugu University, who not only graced the occasion with his esteemed presence but also delivered an insightful address on the importance of preserving India’s classical traditions. Under his leadership, Telugu University has continued to thrive as a hub for classical arts and research, fostering a rich cultural environment that supports academic and artistic collaboration.
Kotla Hanumantha Rao, Registrar, Telugu University, who played a pivotal role in ensuring the seamless execution of the event with remarkable organization and coordination.

Mr . Deepak Joshi from Central Sangeet Natak Akademi, Dr S P Bharathi member of SNA from Andhra pradesh, Dr. Vijaypal Pathloth, Project Assistant Department of Dance Telugu University, Dr Kalakrishna, Andhranatyam Exponent, and Padmashree Awardee , Dr Uma Maheswari were also present at this grand event
This event was not just a gathering, but a movement—a reaffirmation that our cultural heritage is not merely to be remembered but to be lived, experienced, and passed on to future generations.