Meghana Khurana
August 30th, 2014
Program/Margam
Thodayamangalam
We commence with a prayer to the Lord seeking his blessings.
Mallari
Ragam: Gambira Nattai Talam: Adi Composer: Reji George & Nellai D. Kannan
This musical prelude is traditionally performed in the temples as the deities are taken in procession. In recent years, the Mallari has been choreographed as an opening number in the Bharata Natyam repertoire. The dancer offers her respect to God, Guru, and the audience.
Jathiswaram
Ragam: Vachaspathi Talam: Rupakam
A nritta, or a pure dance number, the swaras (musical notations) are set to various jathis (rhythmic syllables) in a particular talam (rhythmic cycle). The Jathiswaram essentially conveys the joy of movement along with elaborate footwork and fluid hand gestures, which amplify the grace of the composition. It is a piece that seamlessly unites music, rhythm, and movement.
Varnam: Pasuram
Ragamalika Talam: Adi Composer: Thondar Adipodi Azhwar Language: Tamil
Varnam, meaning color, is the centerpiece of a Bharata Natyam repertoire. It showcaseselements of pure dance (Nritta) with expression (Abhinaya) and drama (Natya). In this composition, the Azhwar poet immersed in love for the Divine laments that he would gladly renounce worldly pleasures and attachments to serve at the Lord’s feet. The Azhwars were devout Tamil poet-saints who espoused love and devotion to Vishnu/Krishna and His Divine forms, and wrote thousands of verses (Divya Prabandam) addressing the Lord in His many manifestations. The Bhakthi literature of the Azhwars rooted itself in devotion as a path to salvation.
Interlude
Padam: Devi Neeye Thunai (Oh Goddess! You are my Savior!)
Ragam: Keeravani Talam: Adi Composer: Papanasam Sivan Language: Tamil
The poet appeals to Meenakshi (the presiding deity of Madurai) “Oh beautiful fish-eyedprincess, the patroness of all arts, you are the embodiment of valor and strength. Be my Savior!” In this anecdote, the poet sings the glory of Meenakshi and recounts her genesis from birth through marriage. On meeting Sundareshwar, her deformity vanishes and she blossoms into a blushing bride.
Bhajan: Mayya Mori (Oh mother, it wasn't me who ate the butter)
Raag: Mishra Mand Taal: Composer: Surdas Language: Hindi
In this song, the poet captures a moment from the naughty childhood of Lord Krishna. Yashoda accosts Krishna of stealing butter as she catches him sneaking into the house after one of his romps; the song begins with Krishna feigning innocence and surprise at the accusation. In his many histrionics, he claims he is too busy running errands and chores for her and fakes outrage that she could believe silly rumors spread by others. He pretends to be offended and blames Yashodha of prejudice for she is his foster mother. In the end, he sheepishly admits his guilt.
Panchakshara Mantram: Nagendra Haaraya
Ragamalika Talam: Kantachaapu Composer: Adi Shankara Language: Sanskrit
The Shiva Panchakshara Stotram is a supreme mantra paying homage to Lord Shiva, containing the five sacred syllables, Na-Ma-Shi-Va-Ya, formed by combining the first syllable of five verses. Each verse elaborates the numerous symbolic characteristics and qualities of Shiva, and espouses the limitless and vast nature of Shiva.
Thillana
Ragam:Desh Talam: Adi Composer: Reji George
The traditional finale of the 'Bharata Natyam Margam' is a pure ‘Nritta’ (dance) item, where the virtuosity of ‘Raga’ (music) is reflected in the complex and vibrant footwork, cross-rhythmic patterns, and captivating poses of the dancer. This particular thillana is in praise of the Divine energy.
Mangalam
The dancer concludes the program with an expression of gratitude towards the Divine, the Guru (teacher), the orchestra, and the audience.
“Great dancers are great because of their passion. "
-Martha Graham
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