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Yuva Bharati Disturbed by the Conflict of the Elephant King Gajendra and Crocodile

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Yuva Bharati Disturbed by the Conflict of the Elephant King Gajendra and Crocodile lines in the end depict the incident of Gajendra Moksha from Bhagavatham. The dancer describes the beauty of the nature that surrounds the pond including the various flora and fauna. The peace and tranquility of the lake, is Yuva Bharati disturbed by the conflict of the elephant King Gajendra and crocodile. The frogs Presents in the pond are the witness to the fight between a crocodile and Gajendra. Sabda Manjari – A Collection of Sabdams By 8. Krishna Janana by Anjali, Bhavya, Meena, Savita Talam: Adi Ragam : Ragamalika Anjali Vemuri, Anusha Kuchibhotla, Anvitha Mona Pillati, Composer: D S V Sastry Choreography : Jyothi Lakkaraju Bhavya Malladi, Mangala Maddali Denduluri, Meena Vemuri, The lyrical content of this Sabdam refers to important events in Krishnavatara Pranavi Chamarthi, Sahiti Reddy Vedire, Savita Sastry, from birth to being eternal savior of the troubled people. The episodes Sriya Vutukuru, Tejaswi Kondapalli and Vedya Spurthi Konda depicted are Poothana trying to feed the baby Krishna with poisoned milk, his child pranks ( stealing butter, teasing milk maids), suppressing the poisonous Choreography – Revathi Komanduri and Jyothi Lakkaraju snake Kaliya, lifting the mountain Govardhanam and killing his maternal uncle Kamsa. The Sabdam ends with lines indicating one surrendering to the supreme Program inspired by the book “Sabdams – The lyrical dance compositions in power. Kuchipudi Repertoire” by Dr. Rajyalakshmi Seth 9. Dasavataram by Anvitha, Mangala, Pranavi, Sahiti, Tejaswi, Spurthi October 15 2017, 4:00 pm Talam: Adi Ragam : Ragamalika Composer: D S V Sastry Choreography : Revathi Komanduri Cubberly Theater, 4000 Middlefield Road, Palo Alto, CA 94303 Dasavatara Sabdam describes the ten incarnations of Maha Vishnu. www.yuvabharati.org Traditionally this Sabdam is performed as a solo. In this concert this sabdam is presented as a group dance highlighting the dramatic aspects and role play in various avataras. The item ends in salutation to Lord Varada Raja of Sabdam in Telugu denotes a sound or a word, and in Sanskrit means “Yasogiti” Vyaghrapura. or a song praising one’s fame. Often written in Telugu, Sanskrit, Tamil, sabdams are in praise of Gods or ruling kings and are categorized as devotional or 10. Siva by All historical. Sabdams trace their origin to the Yakshagana tradition, where they Talam: Adi Ragam : Mohanam were presented as a bridge between various storylines. Since then, they have Composer: D S V Sastry Choreography : Sahiti Reddy Vedire been performed in royal courts and palaces known as “Kacheri Ata” and solo Lyricist : Hemadri Chidambara Dikshitulu performances known as “Kelikas”. The modern Sabdam traces its evolution to In this Sabdam, Lord is described as the one who has abode on the mountain of the Nayaka and Marata rules of Thanjavur though they have also inherited snow, as the one who knows the science of all arts and as the supreme God of Islamic influence including repeating of words like “Salam” and “Namostuthe” Dance. The text ends with lines addressing Siva who is worshipped as to please the king to whom it is presented. These pieces are also known as Ramalingeswara in the temple Kuchipudi village. Salam Jathis or Salam Daruvus. A defining factor of Sabdams is that once the lyrical lines start, there is no repetition of the pallavi. The Kuchipudi dance Orchestra repertoire is resplendent with many such Sabdams. Some of them are in praise Vocal & Nattuvangam : DSV Sastry Ghatam : Vempati Lakshmana of a Lord as in Kirshna Sabdam and the others tell story such as Ramayana Mridangam : K.Rajagopalacharya Kumar Sabdam or Krishna Janana Sabdam. Violin : R.Dinakar Tabla & Percussions : Veena : V.L.Narayana D.Jayakumaracharya 1. Kuchipudi Charita by Anusha,Anvitha,Mangala,Pranavi,Sriya,Tejaswi Flute : V.B.S.Murali Sound Engineer : Danala Srinivas Talam: Misra Chapu Ragam : Ragamalika Studio : Amritavani studio Composer: D S V Sastry Choreography : Revathi Komanduri This Sabdam describes the events that lead to the origin of Kuchipudi dance tradition and its development. The narration refers to the village that is on the banks of the River Krishna where Siddhendra lived reciting Vedas. Considered having handsome features. In the other, it is performed praising the qualities of the founding father of Kuchipudi dance tradition, Siddhendra took initiative to King Pedda Venkatendra. The lyrics depict the story of the nayika trying to woo compose Bhamakalapam and teach the dance technique to the Brahmin boys Krishna in many ways. She offers him Paan, applies sandalwood paste, and of his village. Kuchipudi Bhagavatulu as the dancers are referred-to, went to garlands him. This piece portrays the Sringara rasa and the nayika is Shankaracharya to clarify if men could take the female roles in dance. For vasakasajjika nayika. which, Sankaracharya of Kanchi assured that dance is a Panchama Veda and it can be performed by men. When the artists presented Bhama Kalapam to Abul 5. Mahishasura by Anjali, Mangala, Meena, Pranavi Hasan Tanisha, he was pleased with their performance and gifted them with Talam: Khanda Chapu Ragam : Rajamalika land - that is the present Kuchipudi Village. As per the instruction by Composer: D S V Sastry Choreography: Revathi Komanduri Siddhendra, the Brahmin families got their boys’ nose pierced as a mark of Lyricist : Hemadri Chidambara Dikshitulu dedicating their lives to the dance form. This Sabdam describes elaborately the series of events that led to the killing of the demon Mahishasura by Goddess Durga exhibiting her power. This is a rare 2. Mandodari by Anjali, Meena, Savita sabdam that has been revived as part of the Sabda Manjari production. Talam: Misra Chapu Ragam : Ragamalika Choreography: Jyothi Lakkaraju The buffalo-headed demon king Mahishāsura unleashes a reign of terror, aided Mandodari sabdam is dedicated to king Krishna Deva Raya of Vijayanagara. It is by the power of boon not to be defeated by any male. To end the destruction the story of Ravana the demon King of Lanka, who wished to possess Goddess caused by Demon, Goddess Parvathi, on the request of Lord Vishnu, takes the Parvati for himself. Fearing this, Narada, the celestial musician directs him to a energy of all the Gods and takes the form of Goddess Adi Shakthi. lotus pond where a frog in the pond is magically transformed by Lord Brahma Choreography presents that her face is radiant with Siva’s Tejas. Her black hair into a beautiful maiden called Mandodari. Ravana mistakes Mandodari for represents Yama the god of death. Her arms represent Vishnu. While her eyes Parvati and besotted with her, carries her away to Lanka. The tempo and represent Agni – the god of fire. The Sabdam, through the remaining jathis, rhythmic variations in this item show case the beauty of Kuchipudi. effectively depicts the fierce war between Goddess Adi Shakthi and Mahishasura and ultimate slaying. Consequently, Goddess Adi Shakthi becomes 3. Prahlada by Sahiti known as Mahishasura Mardhini. Talam: Misra Chapu Ragam : Khamboji Composer & Choreography : D S V Sastry INTERMISSION This Sabdam revolves around the limitless anger that Hiranyakasyapa, the demon king feels for Lord Vishnu and the boundless bhakti, his son Prahlada, 6. Ramayana by Bhavya, Savita, Sriya, Tejaswi has for Vishnu. Beginning with the boon that the rakshasa king asks of Brahma, Talam : Adi Ragam : Mohanam the song describes the way in which the father blinded by his hatred for Vishnu, Choreography: Dr Uma Rama Rao and adapted by Tejaswi for group tries to end the life of his son. The encounter of Hiranyakasyapa and the presentation ferocious Narasimha Swamy avatar that Vishnu takes to end the rakshasa is This Sabdam, referred as Rama Pattabhisheka Sabdam recounts the incidents dramatized and the piece concludes with Prahlada being anointed as the King from birth to coronation of Lord Rama. In Ramayana sabdam the narrative by Vishnu himself. The depiction of the characters Hiranyakasyapa and flows without any break in the tempo demanding the dancers ability to use Narasimha have been inspired by the Yakshagaana style and the sound pattern gestures in quick succession and facial expression to suit the mood and various of the Sabdam has been consciously deviated from characteristic repetitive characters depicted. The special feature of this presentation is end piece called form. Konagolu, an elaborate rhythmic pattern at the end of an item. 4. Krishna by Tejaswi 7. Mandooka by Mangala Talam: Adi Ragam : Mohanam Talam: Misra Chapu Ragam : Ragamalika Choreography: Dr Vempati Chinna Satyam Composer:Sri Patrayani Sangeetha Rao Composer : C R Acharya Choreography : Dr Vempati Chinna Satyam This Sabdam is depicted in two ways. Nayika praises her Lord as a heart stealer, This is a dance composition having word play to represent sounds made by patron of the arts and destroyer of enemies, well-versed in Bharata Sastra and frogs in a pond on a rainy day. Thus the name Mandooka Sabdam. The lyrical .
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