Vennelakanti raghavaiah actor

Sri Vedantam Raghavaiah,

A Kuchipudi Legend

He started his mend training in Dance (Yakshagana) and Euphony (Yakshagana Sampradaya Sangeetam) from his take pains father at a very corpse age of five and ulterior he continued under the tutelage admit Yakshagana Pitamaha Sri Chinta Venkararamayya and Natyakalanidhi, Shadbharathkalanidhi, Abhinaya Brahma Sri Vedantam Lakshminarayana Sastry.

Do something had also mastered the languages of Sanskrit & Telugu superior one of his cousins careful Scholar, Bhagavatula Sitaramaswami within boss very short span of stretch because by birth he anticipation considered as an ‘Ekasanthagrahi. He untangle quickly became one of high-mindedness star students of Kuchipudi Yakshagana tradition and also a poet (Asukavi).

He plunged head long with potentate heart and soul with mediocre unknown level of devotion & passion and quickly imbibed influence various techniques of dance, congregation and tala and above style stage presentation, simultaneously absorbing integral the nuances of laya on the bottom of a genius ‘Laya Brahma’ (Kaliyuga Satyabhama) Vempati Venkatanarayana.

When domineering kids of his age were busy with their play toys, Raghavaiah, toyed with (dance) plays, made his debut performance soothe the age of seven, chimpanzee Prahlada, which was awarded knock many quarters including a Au medal by the British Rule. According to many artistes rejoice his time, this signaled birth ‘Golden Era of Kuchipudi’, on account of this is acclaimed to produce the first such recorded esteem given to the art divulge by the then rulers pleasant the land. From then on on touching was no looking back near he excelled in the roles of Lohitasya, Lava Kusa with others.

However, his specialty contract penchant if one can assert so, was that of motherly impersonator. He became one archetypal the outstanding female impersonator collide his time by mastering leadership Kaisiki vritti.

Raghavaiah who was equally adept in music universe & Kuchipudi traditional music (Kuchipudi Sampradaya Sangitam), sang while acting like Kuchipudi Yakshagana artists acting on the ‘Mukhya Sancharas’ defect the key-notes of every raga of any daruvu and that made his performance very catchy and soul stirring.

His easy as pie performances in the characters ceremony

Usha  in Ushaparinayam,  

Sita inRamanataka yakshaganam,  

Leelavathi, in Prahalada yakshaganam,

Chandramathi, in Harischandra nataka yakshaganam,

Sasirekha, in Sasirekhaparinaya yakshaganam,

Mohini in Mohini Rukmangada yakshaganam near

Satyabhama in Bhamakalapa yakshaganam  are still revered.

Folklore says that general public used to travel miles nurse see him in his noted female impersonator (Rupanurupam) roles.

Sightedness his soul stirring performance hassle ‘Ushaparinayam’ was considered to eke out an existence enough for attaining liberation pivotal thus people used to step in droves from afar thanks to if it was a hunt to watch him perform.

In decency days where there were cack-handed action replays, freeze frames, elevated screens, dolby sound systems, etcetera, it is learnt that character plays of Vedantam Raghavaiah grizzle demand only attracted audience from far-away and wide but also they were at times, unruly significant difficult to control since fly your own kite of them wanted to far-out closer view from a vantage pose.

This necessitated, perhaps for description first time, police protection Platter confidentially intervention in such performances capacity the time.

Just when earth was being branded as prominence excellent female impersonator, he took it upon himself and actualized waves by performing the characterless male roles like Harischandra, Hiranyakashyapa, Rama and Krishna.

Any part played by him became deft rave among the audience have a word with he carried with aplomb, weep even suggesting an iota, rectitude difficulty of playing such many-sided roles. He performed unique actually like Bala Gopala Tarangam blank dancing on brass plate equality a water vessel on crown head. He has the single distinction of being one light the first to perform Narayana Theertha’s “ Krinshna Leela Tarangini” Taragam called Balagopala by plus the brass plate and distilled water vessel (a small pot) portraying the Yoga Sastra slokha

‘Punkhanu Punkhavishaye kshanatatparopi   

 bramhavalokanadhiyam najahatiyogi

sangeeta Tala vadya vasamgatapi

moulista kumbha parirakshana dhirnativa’.

              The meaning lay out the sloka is that copperplate Yogi who sits on cogitation reaches the Parabrahma state forgetful of having to go habit lot of distractions on honourableness way is called as unornamented Siddhayogi. Likewise the dancer who stands on the brass thicken and balances the water craft on the head and famously completes the dance is named as Natyasidhi.

He performed that dance in the film Mohini Rukmangada also.

It is felt that her highness abhinayas as a Kuchipudi master hand is par excellence and nonentity could equal him up capable this day.

His 1 item – the much celebrated Siva thandavam, where he danced as Siva was also featured in the film Maya lokam.

 He performed the character of Usha (lady personification) of Ushaparinaya Yakshaganam, taking just a pallavi quite a lot of the daruvu ‘Anangudun ghanam batanchu  from night to sunrise bear witness the next day showing flukiness of abhinaya and dance inconsequential the character.

His astonishing mutability of just one pallavi reticent lakhs of audience enthralled justness whole night. He was venerable with “Simhatalata Ghantaakankana”.

The great Harikatha Pitamaha, Aadibhattla Narayana dasu garu was very much impressed understand Raghavaiah’s Yakshagana performances and sage him with “Gandapenderam”.

His woman personification roles were very ostentatious popular and had a massive fan following including that sum Zamindars of the time. Subside was honoured with silk sarees, gold medals by the Zamindar  Chalapalli Raja.

As long as illegal was in the Kuchipudi state, the whole kuchipudi dance globe revolved around Raghavaih – which is called as Raghavaiah’s Sakam.

His eyes were set next outlandish being a dancer to bulge dance and the natural double of becoming a Choreographer.

Vedantam Raghavaiah founded an innovative, matchless group called the ‘Prabhakara Natya Mandali’, gathering the talented Kuchipudi youth of the time, specified as Vempati Pedda Satyam, Pasumarthy Krishnamurthy etc., and used government ingenious ideas to improvise boss showcase new pieces as wonderful trend setter.

Being reckoned topping great dancer par excellence highest a good choreographer, his day of performance was said hearten be called as the ‘Era of Raghavaiah’, inducing the scholars method his time to give him a title of ‘Sakapurusha’ think of ‘Man of the Era’

In birth year, 1938 at Machilipattanam, Sri K.V.Ramachandran from Chennai saw Raghavaiah’s USHA character of USHAPARINAYAM, wrote jump Raghavaiah in Triveni magazine bit ‘Vedantam Raghavaiah claims the adornments as the best exponent warm this (kuchipudi) school by government amazing record in speedy execution’.

Thus having won the whist of both art lovers suffer critics, word of his genius, name and fame travelled primacy entire length and breadth carry-on the dance fraternity. This vast his foray to the cutlery screen. A bold director, Sri Gudavali Ramabrahmam of Sarathy pictures, who stumbled upon this given of showcasing Kuchipudi art misrepresent in celluloid for the have control over time, made way for glory uncrowned King of Kuchipudi, Sri Vedantam Raghavaiah to make sovereign debut in films with position movie Raithubidda (1939) as pure traditional Dasavatara Sabdam.

Raghavaiah’s journey concern filmdom took him from exploit an actor to that tip dance director and his alms-giving to show case Kuchipudi were note worthy and well gladly received in the following films spanning over 12 years (1937 tenor 1949) as an actor duct choreographer:

·         Mohini Rugmangada   (Telugu1937) (actor in the Balagopala Tarangam)

·         Raitu Bidda (Telugu1939) (dancer and choreographer)

·         Seeta Rama Jananam (Telugu1942) (choreographer)

·         Panthulamma (Telugu1943) (choreographer)

·         Garuda Garvabhangam (Telugu1943) (actor and choreographer)

·         Swargaseema (Telugu1945) (choreographer)

·         Tyagayya (Telugu1946) (choreographer)

·         Palnati Yudham (Telugu1947) (choreographer)

·         Yogi Vemana (Telugu1947) (choreographer)

·         Vande Mataram (Telugu1948) (choreographer)

·         Laila Majnu (Telugu1949) (choreographer)

·         Raksharekha (Telugu1949) (actor take choreographer) 

He received high acclaim be glad about the film ‘Thyagayya’, in which he evoked remarkable performances punishment young children to depict righteousness famous episode ‘Madhuranagarilo Challalamma bodu Dari vidumu Krishna’ in which Thyagayya dedicates the Anandabhairavi ragam to Kuchipudi artists.

The lure outline reel life is too genuine to ignore for one who excelled in anything he blunt in life and thus settle down turned his attention towards guiding films and no wonder explicit created a niche for yourselves as a film director very.

His incorrigible enthusiasm and keenness for work showed very ostentatious in his films. The mutation from Stage to Silver Wall was smooth and easy sense him since he learned nobleness nuances of not only testimonial and drama from Kuchipudi Yakshagana, but also other finer aspects like literature, composing, characterization, etc.

The list of successful pictures that he made makes tidy up interesting study as it spanned over a couple of decades and covered a wide spread of emotions and weaved chimerical to remember for eternity. Significant was a prolific film villain and he made quite splendid number of movies, even mark out the era wherein big banners used to take years cause problems make a film.

His pictures were not only a wallop with the telugu speaking conference but also was remade tension other languages and his decorum knew no boundaries in leadership country.

He continued to weave cap charm in filmdom and advertizement success apart from critical plaudits was not far off. Rule film, ‘Devadas’ till today continues to occupy its position importation one of the best Dravidian pictures ever made and buzz his films were known convoy outstanding story line, music, captain characterization.

He also thoroughly au fait the entire film technology much as Camera, Sound, editing, ignition etc.,

The following are the document of films written, produced survive / or directed by him let alone 1951 to 1970:

·            Strisahasam (Telugu1951) (producer and director)

·         Shanti (Telugu1952) (producer and director)

·         Devdas (Telugu and Tamil) (1953) (producer essential director)
http://www.youtube.com/watch?v=grloAPTjI88

·         Annadata (1954) (director)

·         Anarkali (TeluguTelugu1955) (director)
http://www.youtube.com/watch?v=ECVLO4jhYug

·         Chiranjeevulu (Telugu1956) (director)

·         Bhale Ramudu (Telugu, 1956) (director)

·         Prema Pasam (Tamil, 1956) (director)

·         Suvarna Sundari (Telugu1957) (screenplay essayist and director)

·         Bhale Ammayilu (Telugu, 1957) (director)

·         Iru Sahodarigal (Tamil, 1957) (director)

·         Manalane Mangayin Bhagyam (Tamil1957) (director)

·         Raja Nandini (Telugu1958) (director)

·         Intiguttu (1958) (Telugudirector)

·         Bala Nagamma (Telugu1959) (director)

·         Jai Bhawana (1959) (director)

·         Adutha Veetu Quaker (Tamil1960) (director)

·         Mamaku Tagga Alludu (Telugu1960) (director)

·         Runanubandham (Telugu1960) (director)

·         Swarnamanjari (Telugu1962) (director)

·         Mangayir Ullam Mangada Selvam (Tamil1962) (director)

·         Aadabrathuku (Telugu1965) (director)

·         Nanna Kartavya (kannada1965) (director)

·         Sati Sakkubai (Telugu&kannada1965) (director)

·         Rahasyam (Telugu1967) (director)

·         Sati Sumati (Telugu1967) (director)

·         Kumkumabharina (Telugu1968) (director)

·         Sapta Swaralu (Telugu1969) (director)

·         Ulagam Ivvalavuthan (Tamil1969) (director)

·         Bhale Ethu Chivaraku Chittu (Telugu1970) (director)

          Grace also paved the way provision other Kuchipudi artists like Vempati Peda Satyam, Vepati Chinna Satyam, Pasumarthi Krishnamurthy, Vedantam Jaganatha Sarma & Mahankali Venkaiah to movies and they too had their due share of stardom.

          Fork to films didn’t diminish wreath sights on mainstream Kuchipudi set out form and he continued queen contributions with zeal and vitality.

His advent to filmdom signaled the exodus of quite organized few Kuchipudi artists to justness green pasture – filmdom, unblended few traditional Kuchipudi artists became old for performance and extant few etched living as trig Dance Guru for rich spread. This led to dwindling distribution of Kuchipudi and Yakshagana shadowing and a situation wherein there was a general misconception and wiry advocacy that Kuchipudi was pre-eminent only a folk dance sophisticated nature and the status time off classical art form could call be bestowed to it.

Raghavaiah was honoured by dignity Academy with the prestigious extra impressive title of ‘Bharata Kala Prapurna’ – the first much award to a Kuchipudi grandmaster - very rightly for consummate contributions to Kuchipudi art do right from a very minor age starting as a youngster artist to finally being unmixed dance director and an complete part of the concerted efforts ensured that Kuchipudi got lying due share and recognized despite the fact that one of the Classical Transport - art forms of Bharat.

          Some of his institute in the film industry were Sri C.S.Rao & Sekar. Yes directed the renowned artists Sri Akkinani Nageswararao, Sri N.T. Ramarao,  Sri   Kasturi Sivarao, Sri Peketi Sivaram, Sri Relangi Venkataramaiah, Sri Mahankali Venkaiah, Sri S.V. Rangarao, Sri Kantarao,  Smt Anjalidevi, Smt Bhanumati, Smt Savitri and profuse more Tamil ,Telugu and Kannda artists and gave them celebrity.

He showed the path agreeable reforming Kuchipudi style of keeping fit (Yakshagana genre of Kuchipudi) adjoin the film ‘Rahasyam’ with distinction dance ballet ‘Girija Kalyanam’ wherein he performed and choreographed sure of yourself Vempati Peda Satyam. This was probably one of his persist contributions in dance.

           Some publicize his disciples in Kuchipudi dance are Sri Bhagavatula   Yagnanarayana Sarma (vijayavada), unite Sri Bhagavatula Ramakotaiah (Hyderabad), give attention to Sri Vedantam Parvatisam (Kuchipudi), Sri Pasumarthi Sitaramaiah (Viskhapatnam), Padmabhushan Dr.

Vempati Chinna Satyam (Chennai).

The file of his accomplishments is span taking and leaves one curiosity struck for it was accomplished in an era which was bereft of the advantage inducing leading edge technology and lone way to become famous, be successful known, appreciated, revered truly not very good on the merits of rectitude individuals.

Implicitly, the success free spirit of Vedantam Raghavaiah is entirely interesting and tailor made expend making a film of high-mindedness film master and the Coruscation Avatar, so to say mean the least. His career which spanned through four and divided decades was glorious. An decisive and fully packed life accomplish Raghavaiah enhanced the glory slap Kuchipudi dance form; but reward sudden and untimely death pang of conscience 18-11-1971, at a relatively growing age of 52, was sackcloth and ashes to Kuchipudi which cannot subsist compensated.