Sri Krishna Leelalu: Vikram Kumar B R’s Interpretation of Mythological Storytelling
Mythological stories have remained an important part of Indian performing arts for centuries, providing artistes with a rich foundation of characters, emotions, philosophy and cultural values. For Kuchipudi artiste and choreographer Vikram Kumar B R, popularly known as Bathina Vikram Goud, mythology has also provided an opportunity to explore the storytelling capabilities of classical dance.
His choreographic production “Sri Krishna Leelalu” represents this aspect of his artistic journey. The production forms part of a wider body of thematic works through which Vikram Kumar has explored Indian mythology, cultural traditions and social subjects using dance and theatrical presentation.
Mythology Through the Language of Dance
The stories associated with Lord Krishna contain a wide range of episodes, characters and emotions. Presenting such material through classical dance requires more than reproducing a written story.
A choreographer must translate narrative developments into movement, expression, music and stage composition. Characters need to be established through performance, while different episodes have to be connected into a coherent theatrical presentation.
Kuchipudi is particularly suited to this form of storytelling because of its strong tradition of expressive performance and dramatic presentation.
Vikram Kumar’s work in Sri Krishna Leelalu reflects his interest in using these qualities to create a thematic production rather than limiting the presentation to an individual recital.
A Foundation in Kuchipudi
Vikram Kumar’s interpretation of mythological material is supported by his long association with Kuchipudi.
His artistic journey began during childhood with continuous encouragement from his father. He later pursued formal education in the discipline and completed a Master of Arts in Kuchipudi with distinction from Andhra University.
His academic experience also included research into the traditions of Indian dance. He undertook detailed study of Siva Thandavam and Saptha Thandavam within the Kuchipudi tradition and developed a comparative dissertation connected with the literary works of poet Puttaparthi Narayanacharyulu.
This combination of practical training and academic study gave him an opportunity to approach traditional subjects from both artistic and research perspectives.
Theatre and Mythological Performance
Another important influence on Vikram Kumar’s approach is his background in theatre.
He completed Diplomas in Acting and Direction at Andhra University and contributed to its Department of Theatre Arts for approximately ten years.
During that period, he participated in mythological, social and philosophical plays.
Theatre experience can be particularly valuable when working with mythological stories because the performer must communicate not only movement but also character, emotion and dramatic development.
The experience of acting and directing therefore complements the requirements of a thematic dance production.
Creating a Complete Stage Narrative
A production such as Sri Krishna Leelalu provides the choreographer with an opportunity to bring several artistic components together.
Dance becomes the primary storytelling language, while music, rhythm, expression, costumes and stage movement contribute to the overall presentation.
Such productions also require coordination among performers.
Unlike a solo recital, where the artistic responsibility is concentrated primarily on one performer, a thematic ballet depends on a group of artistes working together toward a common narrative objective.
This transition from individual performance to larger productions is an important feature of Vikram Kumar’s creative career.
Mythology as a Living Tradition
For Vikram Kumar, traditional stories are not simply material from the past.
He has advocated the idea that Indian classical arts should remain living traditions. That requires stories, repertoire and performance practices to continue being learned, performed and transmitted.
A production based on Krishna’s stories can therefore serve two purposes.
It can provide audiences with an artistic experience while also keeping familiar cultural narratives within contemporary public life.
This is particularly relevant when younger audiences encounter traditional stories through performance rather than solely through books or oral accounts.
Part of a Diverse Choreographic Portfolio
Sri Krishna Leelalu is one of several thematic productions associated with Vikram Kumar.
His portfolio also includes Chenchu Lakshmi Narasimha Kalyanam, Maha Visakha Vaibhavam, Swachh Ganga – Swachh Bharat, Society for Future and Youth Never Sleeps.
The range of subjects demonstrates that his choreographic interests extend across mythology, regional culture, environmental awareness and contemporary social themes.
This diversity also illustrates his belief that classical dance can accommodate different forms of storytelling.
Connecting Traditional Art with Modern Audiences
One of the challenges for traditional performing arts is ensuring that younger generations continue to engage with them.
Thematic productions can help address this challenge by presenting traditional material in a structured and visually engaging format.
Audiences do not necessarily need specialist knowledge of Kuchipudi to follow a story-based production. Narrative, emotion and character can provide an accessible entry point.
Once audiences develop an interest in the story and performance, they may become more interested in the technical and historical aspects of the dance tradition.
The Role of Cultural Institutions
Vikram Kumar’s choreographic activities have developed alongside his institutional work.
In 2000, he founded the Nataraj Music and Dance Academy, which has worked in areas including Kuchipudi, Indian folk traditions, classical music and instrumental music.
The academy has also organised cultural programmes, workshops, seminars, competitions and festivals.
Such institutional platforms are important for thematic productions because they provide opportunities for performers to train, collaborate and present their work before audiences.
Preserving the Knowledge Behind the Performance
Vikram Kumar’s cultural philosophy extends beyond presenting performances.
He has emphasised the need to preserve the wider knowledge system surrounding classical arts, including literature, repertoire, choreography, music, gurus, practitioners and performance traditions.
Mythological productions can contribute to this process when they are properly researched and documented.
Documentation helps ensure that future practitioners can understand not only what was performed but also the cultural context and artistic decisions behind the performance.
Respecting Tradition While Encouraging Interpretation
Working with traditional stories requires a balance between preservation and creative interpretation.
A choreographer must respect the cultural foundation of the narrative while making decisions about how it should be presented to contemporary audiences.
Vikram Kumar’s broader work reflects this balance.
His productions use established classical traditions as their foundation but explore different subjects and presentation formats.
This approach allows traditional art to remain recognisable while giving artistes room to create meaningful new performances.
A Broader Cultural Mission
The significance of Sri Krishna Leelalu therefore extends beyond a single dance production.
It represents Vikram Kumar B R’s continuing effort to use classical dance as a storytelling medium capable of connecting mythology with contemporary audiences.
His background in Kuchipudi, research, theatre and cultural organisation has contributed to an approach in which performance becomes both an artistic experience and a means of cultural transmission.
Through productions such as Sri Krishna Leelalu, traditional narratives can continue to find space on modern stages.
For Vikram Kumar, this is an important part of preserving Indian classical arts: keeping the stories alive through performance, allowing each generation to encounter them anew while respecting the artistic traditions through which they have been transmitted for centuries.
