Bhamakalapam

Introduction

Bhamakalapam, an incredible work of art by Siddhendra Yogi is considered to be the crown jewel in the Kuchipudi dance style. This everlasting piece of novelty has been receiving public acclaim for generations. Although lords, rulers and patrons have changed over the centuries, the ancestors zealously guarded and passed on this art with modifications as needed by the time and without compromising any of the basic tenets of Bharata. Despite the number of variants (Kelika, Nritya Natakam, Yakshaganam), the popularity of Bhamakalapam hasn’t waned and continues to engage a large number of artists globally.

The musical composition, the dialogue and the portrayal of characters stand as a marvel of storytelling in this ancient lyrical opera. Even in the literary context, the remarkable projection of stylistic elements like verses, prose, and prosody leaves the audience spellbound throughout the show.

Kalapam

The word Kalapam can assume different connotations depending on the context and circumstances of its usage. According to C.P Brown’s Telugu-English dictionary, the word kalapam means an ornament, assemblage, peacock’s tail, and quiver (usage: keshakalapam to describe the beauty of ample tresses, fine hair). Some scholarly inferences can be drawn that the word kalapam in Kuchuipudi implies the expression of agony of Satyabama due to the pangs of separation from Lord Krishna, while other scholars infer that it depicts the assemblage of all the eight states (ashta vidha nayikas) in relationship to her hero. One can find the references to this word even in the works of Kalidas (meghaduta), Sri Adi Shankaracharya’s Vishwanadha ashtakam as గంగా తరంగ రమణీయ జటా కలాపం (Gaṅgā taraṅga ramaṇīya jaṭā kalāpaṁ)  or even in the works of Alasani Peddana in Manucharitra in the poem అటఁ జని కాంచె …….నటనానుకూల పరిఫుల్ల కలాప కలాపిజాలమున్‌ (Aṭam̐ jani kān̄ce…….Naṭanānukūla pariphulla kalāpa kalāpijālamun). With time, the term Kalapam became a variant of kuchipudi dance form.

Dhruva Ganam and Pravesha Daruvu

The compositions in Bhamakalapam are known as daruvulu, which are Dhruvas in Natyashahstra.

Dhruva Ganam is the ornamentation to the play as stars are to the sky. It is a rhythmic stage song in the context of the play that adheres to the rules of syllables in a meter that reflects the sentiments and heightens the emotions of the drama. These are the songs usually sung by the actors of the play and also by the accompanying vocalists. Dhruva Vidhanam (Chapter 32) of Natyashahstra extensively deals with Dhruva songs in about five hundred slokas defining various meters and its usages. While emphasizing the importance of Dhruva Ganas, Bharata in Natyashastra termed them as the resting place of drama. In another analogy he says:  As even a well-built house does not look good without appropriate colour, so does not the drama achieve the joy of perfection without a song.

यथा वर्णाद्र्ते चित्रं शोभते न निवेशनम्।

एवमेवं विना गानं नाट्यं रागं न ग्च्छति ॥

Bharata has classified Dhruvas into five categories based on the occasion in the drama. They are Pravesiki Dhruva, Naishkramiki Dhruva, Akshepiki Dhruva, Antara Dhruva & Prasadiki Dhruva for the respective occasions of entrance, departure, diversion, transition & calming.

Pravesha Daruvu in Kuchipudi is Praveshika Dhruva mentioned by Bharata in Natyashastra. These songs introduce the nature of the prime characters (nayaka, nayika, pratinayika) of the play when they appear for the first time on the stage. These introductions can either be in first or third person. The ragas and the lyrics are aptly chosen to reflect the character that delightfully connects with the hearts of the spectators instantly.

The drama commences with Satyabhama’s Pravesha daruvu. The pravesha daruvu భామనే!సత్యభామనే ! (Bhāmanē!Satyabhāmanē!) is a composition genius of Siddhendra Yogi. The composition could have well been “stayabhamane … satyabhamane”, but that would have made him an ordinary poet. Instead, he composed the pallavi in a metaphor Yamaka Alankaram (an interesting figure of speech which has non-sequential occurrence of a word more than once, but each of its usage has a different meaning).  In Bhamane… Satyabhamane the first occurrence of Bhama means a passionate woman (youthfulness, brimming with beauty & smart) and the later occurrence of Bhama is her own self, Satyabhama. With such command over language and exquisite wordplay, he managed to strike a chord with the audience.

To appreciate the beauty of the pravesha daruvu one needs to examine the verses in a closer detail:

• వయ్యారి ముద్దుల – వయ్యారీ -సత్యభామనే (Vayyāri muddula – vayyārī -satyabhāmanē) is a self-admiration of her beauty and gracefulness. She has no inhibitions over grandiloquent praise of her own charm.
• భామనే పదియారువేల కోమలూలందరిలోన (Bhāmanē padiyāruvēla kōmalūlandarilōna) is a flamboyant expression that she is the prettiest among the sixteen thousand women, who by themselves are no ordinary.
• రామరో గోపలమూర్తి ప్రేమను దోచినదాన (Rāmarō gōpalamūrti prēmanu dōcinadāna) is an ostentatious show-off of superiority which boldly states that she has captivated her beloved lord. The word dochina –robbing—encapsulates how she deservedly won his love exclusively over others.
• వరిజక్షా ద్వారకాపుర నివాసుని కౌగిటి లోన // కూరిమి పెనుగొని రతుల తేలిన వయ్యారి (Vārijākṣa dvārakāpura nivāsuni kaugiṭi lōna // kūrimi penugoni ratula tēlina vayyāri) The nayika vividly and unhesitatingly shares her passionate expressions of love between them. This shows a person one who is skilled and matured in amorous sport and it is understandable that the nayika is pragalbha.
• అట్టహాసము చేసి సురుల ఇట్టె గెలచిన పారిజాతము // చెట్టు తెచ్చి నాదు పెరటన గట్టిగా నాటించుకున్న(Aṭṭahāsamu cēsi surula iṭṭe gelacina pārijātamu// ceṭṭu tecci nādu peraṭana gaṭṭigā) where she narrates with overbearing pride the incident of winning over Devathas  for parijatha vruksham. The emphasis on getting it planted “firmly” indicates that she is an assertive, opinionated and dominating woman. 
• కూరిమి సత్రాజిత్తు కూతురై యిందరిలోన (Kūrimi satrājittu kūturai yindarilōna) where she also introduces herself as the dearest daughter of King Satrajit, boasting that she is a princess and connected to royal family.
• లలనా చెలియా మగువా సఖియా (Lalanā celiyā maguvā sakhiyā) this verse repeats in all the stanzas and conveys that she is a cheerful woman, always in the company youthful women (friends). Her constant company with sakhis and endearment with them shows her prosperity and royal lineage.  
• గోపాల దేవుని బాసి // గోవింద దేవుని బాసి తాళజాలక ఉన్నట్టి (Gōpāla dēvuni bāsi  // gōvinda dēvuni bāsi tāḷajālaka unnaṭṭi) Even with the attributes like arrogance, dominance, overpowering nature she becomes excessively sad, sheds tears, becomes restless, finds solace in sharing with friends and her royal life perturbed and diminished to an ordinary life as she wrestled with the pangs of separation. The nayika is distressed by separation and she is virahothkantitha.

This pravesha daruvu is set to raga Anandabhairavi and taala Misrachapu. Siddhendra Yogi gave a well-defined structure to pravesha daruvu through this composition. Later this has been emulated in Yakshaganas, Natakas and even in solo form. Bhama pravesha daruvu is presented even in solo performances as a part of repertoire even today.

The Plot

There are three prime characters in the play, nayika (heroine) is Satyabhama, her ista sakhi (close confidant) and the nayaka (hero) Krishna. The characters in the play are renowned personalities from the epics but the story is a creation of Siddendhra Yogi. The play is filled with srungara rasa, specifically vipralambha srungara.

The story of Bhamakalapam begins with Satyabhama appearing in a dejected and somber mood.  On being enquired by Madhavi, she narrates the love-quarrel (pranaya kalaha) that happened between her and Krishna.  The story goes like this:

Krishna, looking into the mirror with Satyabhama asks her who among the two is more beautiful. Satyabhama, true to her character swiftly and in an axiomatic manner replies to him that it was obviously her who is more beautiful. Krishna, unimpressed by the vanity and conceit of Satyabhama and he leaves for his dwelling.

With the departure of Lord Krishna, Satyabhama descends into Virahotkanthita Nayika, agonizing over the pangs of separation. Satyabhama elucidates her plight in a letter and requests Madhavi, her confidante, to be her emissary to deliver the letter to Krishna. On realizing that Satyabhama had shelved her ahankara (pride), Krishna returns to embrace his queen.  

Bhamakalapam depicts the union of jivatma with paramatma under the guidance of a guru using the analogy of nayika, nayaka and sakhi.