DOCSLIB.ORG

Yuva Bharati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yuva Bharati Thillana Ragam: Revathi Talam: Adi Yuva Bharati Composer: Madurai N Krishnan Choreographer: Sweta, Teja, Ganesh Presents Bharatanatyam and Kuchipudi Recital Orchestra by Ganesh Vasudeva, Vocal : Snigdha Venkatramani Tejaswi Kondapalli and Sweta Ravishankar Nattuvangam : jayanthi Sridharan February 2nd, 2013, 4:00 pm at Cubberley Theater, Palo Alto Mridangam : Suriya Subramanian www.yuvabharati.org Violin : Susheela Narasimhan Program Flute : Ashwin Krishnakumar Mallari & Aadi Kondar by Sweta Ragam: Gambira Naatai and Mayamalava Gowla Talam: Khanta Ekam and Aadi Composer: Aadi Kondar Choreographer: Smt.Padmini Radhakrishnan Mallari is a traditional song sung in the temples before the procession of of the Lord. This will be followed by Aadi kondar which describes the dance of lord Shiva in the golden temple of Chidambaram with goddess ***** Kaali. This concert is supported in part by Arts Council Silicon Valley and Alliance for California Traditional Arts GaneshaKautvam by Tejaswi Ragam: Arabhi Talam: Adi Choreographer: Vempati Chinna Satyam This item is an invocation in praise of Lord Ganesha; the Lord with a pillar like body, elephant face, broad stomach and wounded tusk. The dancer executes a series of elegant movements that are inspired by the gait of an elephant. The dance ends with a salutation to the Lord who removes obstacles and fulfills his devotees’ desires. Thaka Thaka by Sweta Ragam: Shivashakthi Talam: Adhi Composer: Subramanya Bharathi Choreographer: Padmini Radhakrishnan A Tamil song by Mahakavi Subramanya Bharathiar in praise of Goddess Shakthi. As per Bharati, Shakthi is the state where there is nothing called sorrow. Shakthi is the embodiment of power; the power to In this song the dancer narrates the divine deeds of Krishna. First, is the understand, the power to cross over hurdles, the power to drive out story of Putana, the demon who disguises herself as Yashoda and darkness. Such a state of mind and life is what anyone wishes. Thus attempts to gives poisonous milk to baby Krishna. The baby is not Shakthi is the most wanted, in everyone’s life. poisoned but Putana ends up being killed. The second narration shows an older Krishna waking up and getting ready to tend to the cows. As Aadidano Ranga by Ganesh the cows graze the fields, a demon disguises himself as a snake and Ragam: Arabhi Talam: Adi lures the cows and cowherds into his mouth. When the cowherds cry Composer: Purandara Dasar Choreographer: Ganesh Vasudeva out for Krishna, he jumps into the snake’s mouth and expands his body In this keerthana, Purandara Dasar describes the dance of Krishna on till the snake bursts open. The dance item climaxes with the dancer the head of giant serpent Kaliya. Kaliya, the evil snake, inhabited river dancing on the rims of a brass plate, while balancing a pot of water on Yamuna near Vrindavana and troubled all inhabitants of Vrindavana. her head. Young Krishna seeks out the serpent and subdues it. He dances on its head and banishes it from the waters of Yamuna. Netrandhi Nerathilae Ragam: Huseni Talam: Rupakam Sankara Sri Giri Composer: Vaideeswaran Koil Subbaramiyer Ragam: Hamsanandi Talam: Adi Choreographer: Smt.Saroja Vaidyanathan Composer: Swati Tirunal Sweta potrays the lamenting voice of the Nayika on how He has gone Choreographer: VempatiChinna Satyam, and RevathiKomaduri for the other girl. “Only the day before yesterday when we met you had The item begins with slokams that describe Lord Siva as the one with a promised me so many things. Alas, yesterday you were totally lost to third eye and four hands, the one who wears a moon, crocodile and the other girl. I was a mute spectator to the whole episode. Oh Lord, snake as ornaments and the one who has ashes smeared all over his behold and come back to me.” body. This is followed by Sankara Sri Giri, which describes Siva’s vigorous dance that is performed in the ChitraSabha. The celestial Javali Marulu Konnane beings watch as Indra plays the flute, Vishnu the drums, Lakshmi sings, Ragam: Senjurti Talam: Misra Chapu Bramha plays the cymbals, Saraswati the Veena and Lord Siva dances. Composer: M. Bala Murali Krishna Choreographer: Ganesh Vasudeva Varnam (Poorvanga) Maaye Manam Kanindarul by Ganesh In this male oriented Javali, hero tells his beloved to not leave him Ragam: Simhendra Madhyamam Talam: Adi saying she will come back tomorrow. He says you have bewitched me. Composer: Madurai Muralidharan Choreographer: Ganesh Vasudeva At a time when moon is shining bright and flowers are blooming how In this Varnam poet describes Madurai Meenakshi as the can you leave me? Stay and let me fill my eyes with your beauty. When compassionate one. She is the one who dances beautifully and makes I am with you my heart soars high in the sky with happiness. Oh my Shiva happy. She is the daughter of King of the Mountains. She is the friend, please stay. one who killed the daemon King Mahishasura. In this choreography, thisra nadai is used to bring out the Lasya, or extreme feminity, of Abhang Parvathi’s dance. The item also depicts Mahishasura mardhana. Ragam: Dharbari Kanada Talam: Adhi Choreographer: Smt.Padmini Radhakrishnan BalaGopalaTarangam by Tejaswi Next item is a Marati Abhang. Ease of language and richness of culture Ragam: Mohana Talam: MisraChapu&Adi are symbolic of any Marati Abhang. Sweta’s choice of today’s Abhang is Composer: NarayanaTeertha in praise of Natya Ganapathy. Choregrapher: Dr. Uma Rama Rao .
Load more

Recommended publications
  • Yuva Bharati Guru Nookala Chinna Satyanarayana, Sh
    Orchestra Vocal : Snigdha Venkataramani is an accomplished Carnatic vocalist and has undergone training under various senior teachers, prominent among them being Padmabhushan Yuva Bharati Guru Nookala Chinna Satyanarayana, Sh. K. Vageesh and Smt. K. Sudha, Smt. Sarada Presents Subramanian and Guru Smt Radhakrishna. She is currently training under vocal duo - Sh. K.N. Shashikiran and Chitravina P. Ganesh, popularly known as the Carnatica Brothers. Contrasts and Parallels She also learnt Theory in Music and Dance from musicologist [Late] Sh. T. S. By Parthasarathy. She received the Junior Scholarship from the Center for Cultural Indumathy Ganesh, Jyothi Lakkaraju, Radhika Shankar and Resources and Training (CCRT), Government of India, and is a graded artiste of the All Nirupama Vaidhyanathan India Radio, New Delhi. She has released two music albums - "SAMARPANAM", of Carnatic music compositions and "NATYA MANJARI", which comprises a repertoire for Bharatanatyam. January 24th, 2015, 4:00 pm Mission Center of Performing Arts, Santa Clara Flute by Ashwin Krishnakumar was trained in Carnatic classical flute by Sri A V Prakash www.yuvabharati.org in Mysore and by Late Sri B N Suresh in Bangalore and recognized with a scholarship from the Central Govt. of India (CCRT) to pursue advanced training in flute. His accomplished musical career includes several solo concerts and he has accompanied Pushpanjali and Slokham various classical dance, light music productions and fundraisers in India and the US. Ragam Revathi Talam: Adhi Composer: Dr. Uma Rama Rao Mridangam : Balaji Mahadevan had his initial training from Shri K.S.S.Mani (Chennai). Ardhanareeswarar stothram He continued to learn from Shri Madhu Sudhanan, Chennai (disciple of Shri Karikudi Ragamalika Talam: Kantachapu Composer: Adi Sankara Mani).
    [Show full text]
  • Academic Catalog 2020
    Academic Catalog 03/01/2020 – 12/31/2020 University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2020 Table of Contents INTRODUCTION: ............................................................................................ 5 Mission Statement ........................................................................................................................................................................................................................... 5 Vision Statement ..............................................................................................................................................................................................................................5 Institutional Learning Outcomes ............................................................................................................................................................................................. 5 Notice to Current and Prospective Students ......................................................................................................................................................................... 6 Academic Freedom Statement .................................................................................................................................................................................................. 6 Notice to Prospective Degree Program Students
    [Show full text]
  • Academic Catalog (January 1, 2018 – December 31, 2018)
    Academic Catalog (January 1, 2018 – December 31, 2018) University of Silicon Andhra Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle, Milpitas, CA 95035 1-844-872-8680 www.universityofsiliconandhra.org University of Silicon Andhra, Academic Catalog- 2018 TABLE OF CONTENTS INTRODUCTION: 5 MISSION STATEMENT 5 VISION STATEMENT 5 OBJECTIVES 5 NOTICE TO PROSPECTIVE STUDENTS 6 ADDITIONAL IMPORTANT FACTS ABOUT THE UNIVERSITY 6 ORGANIZATION AND MANAGEMENT 8 BOARD OF DIRECTORS AND GOVERNING COMMITTEES 9 FACULTY 14 PROGRAMS OF INSTRUCTION 16 METHOD OF INSTRUCTION EXPLAINED 16 LANGUAGE OF INSTRUCTION 17 APPROVAL DISCLOSURE STATEMENT 17 QUESTIONS OR COMPLAINTS 17 LIBRARY AND LEARNING RESOURCES 18 LEARNING MANAGEMENT SYSTEM 19 ACCREDITATION 20 HOUSING 21 STUDENT SERVICES 21 FACILITIES AND EQUIPMENT 21 PROGRAMS OF INSTRUCTION: COURSE OUTLINES 23 SCHOOL OF MUSIC: 23 1. MASTER OF ARTS IN CARNATIC MUSIC 23 GCM 501: MUSICOLOGY 1 23 GCM 502: RAGAM-TANAM-PALLAVI 24 GCM 503: IMPROVISATIONAL (MANODHARMA) ASPECTS OF COMPOSITIONS (KRITIS) AND DEVOTIONAL MUSIC 24 GCM 504: ALLIED RAGAS AND VIVADI RAGA COMPOSITIONS, RAGA MALIKA, VARNAMS 24 GCM 505: COMPOSITIONS OF TYAGARAJA 24 GCM 506: MUSICOLOGY-2 25 GCM 507: COMPOSITIONS OF MUTHUSWAMY DIKSHITAR AND SYAMA SASTRY 25 GCM 508: CONCERT (PERFORMANCE) 25 GCM 510: THESIS 25 GCM 515: VOXOLOGY 25 2. DIPLOMA IN CARNATIC MUSIC 26 DCM 301: ADVANCED THEORY-1 26 DCM 302: ADVANCED THEORY-2 27 DCM 303: MANODHARMASANGITAM (CREATIVE ABILITY) 27 DCM 304: MUSICAL COMPOSITIONS 27 DCM 305: GHANA RAGA PANCHARATNAS 27 3. CERTIFICATE IN CARNATIC MUSIC 27 CCM 101: BASIC AND TEXTUAL THEORY 28 CCM 102: MUSICAL COMPOSITIONS-1 28 CCM 103: MUSICAL COMPOSITIONS -2 29 SCHOOL OF DANCE: 30 1.
    [Show full text]
  • Alekya: Spilling Ink at Dance Place by Rachael Appold
    REVIEW: “Alekya” Spilling Ink at Dance Place REVIEW: Alekya: Spilling Ink at Dance Place by Rachael Appold Intertwining spirituality, poetry, and dance can prove to be a significant task, as these three categories manifest in ways which are unique to each person. Spilling Ink took on this task using Classical Indian dance as their medium. I witnessed this collaboration of ideas, titled Alekhya: Spilling Ink, at Dance Place in Washington, D.C. on Sunday, January 29th, 2017. As the lights dimmed in the theater, a male dancer, Vijay Palaparty entered from upstage right. He moved onto the stage almost undetected; his walk was so soft that it would more accurately be described as a glide. Palaparty floated downstage right where six ceramic jars (five small and one large) awaited him. As he knelt down and executed water-like motions with his arms, a poem was recited through the speakers. The poet spoke of learning his own truth, your truth (the audience’s), and our truth (everyone’s); these truths presented the concept of religion and spirituality. This immediate collaboration of dance and poetry became a motif which would be used to preface each piece in the performance. Each time Palaparty would return to his jars, the other dancers would leave the stage and a new element was added. The third time around, the poet’s words were scrawled in subtitles on the stage floor with a projector, lending itself to the idea of writing in ink. The fourth time, the other dancers stayed onstage, swaying their arms and torsos as Palaparty hovered over his jars.
    [Show full text]
  • A Thematic Production in Bharatanatyam a Thematic
    “Krishna as child, lover and God ……. … … . p l a y f u l , r o m a n ti c a n d a w e - i n s p i r i n g b y tu r n s … … . …….evoking wonder in Yas hoda, enchantment among the Gopis, devotion in Andal, yearning in Meera, ageless love in Radha, and unswerving dedication in Rukmini” A Thematic Production in Bharatanatyam presented by students of Shree Bharatalaya, Chennai, India and Silambam, USA An internationally acclaimed Bharatanatyam production, Krishnam Vande Jagatgurum was originally conceived and choreographed in 1989 by Prof. Sudharani Raghupathy, with music scored by Vidwan Madurai N. Krishnan, for the Madras Chapter of the International Dance Alliance. Since its premiere, Krishnam Vande Jagatgurum has been performed widely to packed audiences, and had a most successful tour of the United States in 1992. Fifteen years later, Padmashree Prof. Sudharani Raghupathy’s senior disciples, now performers and teachers in their own right, based in various locations in North and Central America, have come together to bring this premiere production back to the stage in the United States. Krishnam Vande Jatagurum takes the audience on a two-hour journey through the life and exploits of Krishna. Beginning with an invocation, the dancers depict the Dashavataram of Jayadeva, which presents the concept of Krishna as the Avatari. The narrative begins with the poet Andal as the Sutradhari or Narrator. Andal describes the baby Krishna with indulgent love and joy, and the audience is treated to the scene of the baby Krishna playing with Yashoda and the Gopis.
    [Show full text]
  • Veena Souvenir
    düs¡« <˚e eTsT÷ ‘·kÕàB«DÒj·TyéT düs¡« eT+>∑fi≤ Ã| tzƒ ™F| oÀ™Á˚ymzÆ™ Ã| ™lTpÁ |ü⁄Hê‹ $Á|üVü≤‘ê´~ bÕ‘·¬ø’' |ü‹‘êdt »Hêdt úÏåÁuo uƒü“nÆÁut úÁoN{˛: úuooÁà \åÁà Ç+~sê |üÁ‹ø± ÁãVü‰à ‘·TeTT“sêï_Û' düs¡dü«r FÊut∫Á úufiN˛Á §¿—™Á oÏ©§ÏåÁ|uß: Ã∫Àƒoy <√]ø√ yêdüTøÏsY Je' düT<Ûë+X¯ó' kÕ]ø± s¡$' tÁzu∫N˛Áz ƒÁÃÏuN˛∫ \yƒ: ÃÏáÁÊÃÏ: ÃÁu∫N˛Á ∫uƒ: XÊs¡»„ <˚e ` dü+^‘· s¡‘êïø£s¡ ÃÁ∫r tzƒ - ÃÊTyo ∫nåÁN˛∫ Sarva deva mayee tasmaadweeneyam sarva mangala punaati viprahatyaadi patakai patitaas janaas indiraa patrikaa brahmaa tumburnaabhi saraswatee doriko vaasukir jeeva sudhamshu sarikaa ravi Sarajna deva - sangita ratnakara Why are you restless, o manasa? You are a boat this is the sea, all is as it is to be, so why the restlessness, o manasa? Waves roll too high, the shore is too distant. Listen to the ebb and flow of notes, float on shapes of melodies. Through tides and fog, gales and storms, strings will anchor you, sruti will show you north, so why be restless, o manasa! - Satya Gummuluri This Veena Festival is dedicated to the legends of the Veena Universe z Challa Subbaiah z Pappu Someswara Rao z Muluku Sivananda Sastry z Veena Dhanammal z Vasa Krishnamurthy z Dr. S Balachander z Kavirayani Joga Rao z Karaikudi Sambasiva Iyer z Kambhampati Akkaji Rao z Kalpagam Swaminathan z Dr. Emani Sankara Sastry z Dr. S Ramanathan z Dr. Chitti Babu z Rajeswari Padmanabhan z Tirumala Nallan z Veena Seshanna Chakravartula Narayanacharya z Veena Subbanna z Manchala Jagannadha Rao z R K Suryanarayana z Ayyagari Someswara Rao SAPNA endeavors to continue this legacy by embracing …..and many other great Vainikas who inspired the younger Veena traditions and generations to experience the blissful sounds of the Veena.
    [Show full text]
  • Student Hand Book
    Dr. Hanimireddy Lakireddy Bhavan 1521 California Circle Milpitas, California 95035 (844) 872-8680 www.universityofsiliconandhra.org STUDENT HANDBOOK September 2019 2 TABLE OF CONTENTS I. Introduction 4 A. The University of Silicon Andhra: An Introduction 5 B. Notice to Current and Prospective Students 7 C. Academic Freedom Statement 7 D. Diversity and Inclusion Statement 7 E. Accomodation for Disablity Statement 8 F. UofSA Programs of Study 8 II. Calendar, Faculty, and Staff Support 52 A. Calendar 52 B. Information on Assignments and Papers 57 - UofSA Style Guidelines 58 C. Working with your Faculty 60 D. Completing Your Program Online 61 E. Staff Support 64 III. Academic Procedures and Requirements 65 A. Evaluation of Instructors and Classes 65 B. Evaluation of Students 65 C. Incomplete and Continuation 66 D. Remediation Policy 66 E. Academic Probation and Dismissal 66 IV. Additional Academic Matters 67 A. Ethics Policies 67 B. Confidentiality 68 C. ADA Policy/Procedures 68 D. Access to Official Student Files 68 E. Transcript Fees 69 F. Enrollment Categories: 70 V. Administration and Faculty 71 A. Who’s Who at UofSA 71 B. Programs Faculty 72 VI. On-line Required and Recommended Books Ordering 75 3 WELCOME TO THE UNIVERSITY OF SILICON ANDHRA Dear Students: It is with great pleasure that I welcome you to the University of Silicon Andhra (UofSA). The information contained in this Student Handbook is designed to assist you as you navigate through various aspects of your educational experience at UofSA. The information contained in this Student Handbook will be useful to you throughout your stay at UofSA.
    [Show full text]
  • June 2018 Classical Indian Dance Forms
    Classical Indian Dance Forms June 2018 Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text NatyaShastra. The Natya Shastra is the foundational treatise for classical dances of India, and this text is attributed to the ancient scholar Bharata Muni. The text Natya Shastra describes the theory of Tandav dance(Shiva), the theory of Rasa, Bhava, expression, gestures, acting techniques, basic steps, standing postures- all of which are a part of Indian Classical Dances. This ancient text states that dance and performance arts are a form of expression of spiritual ideas, virtues and the essence of scriptures. While the Natya Shastra is the revered ancient text in the Hindu tradition, there are numerous other ancient and medieval Sanskrit dance-drama related texts that further discuss and expand on the classical repertoire of performance arts, such as the Abhinaya Darpana, Abhinaba Bharati, Natya Darpana, Bhava Prakasa and many others. The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas. They are as following: 1. Shringar: Love 5. Veer: Heroism 2. Hasya: Humorous 6. Bhayanak: Fear 3. Karuna: Sorrow 7. Bibhats: Disgust 4. Raudra: Anger 8. Adbhoot: Wonder As time passed, artists improvised many classical dances which resulted in the present day forms. Today, Indian classical dances are very popular all over the world. These dances are being performed inside temples, as dance festivals in archaeological sites, or even on stage in large public theatres.
    [Show full text]
  • Units Kuchipudi
    UNITS KUCHIPUDI Structure 8.1 Introduction 8.2 Objectives 8.3 Kuchipudi - the dance drama 8.4 Briefhistory ofKuchipudi 8.5 The influence ofVaishnavism and the Bhagvat Puraana. 8.6 Technique 8.6.1 Nritta 8.6.2 Nritya 8.7 Music in Kuchipudi 8.8 Repertoire 8.9 Some Wellknown Exponents and Performers 8.10 Self Assessment Questions 8.1 INTRODUCTION It is a totally different experience to witness a Kuchipudi performance than any other classical dance style. You must have noticed that in all the other six styles that you have been introduced, the vaachika abhinaya has been rendered by the singers who accompany the dancers. In very exceptional instances like in Kathakali certain characters emit some specified sounds or in Kathak where the dancer recites the bols (padhant) the dancer does not speak. Of course, you might have that some dancers are accomplished singers and sing the song during the nritya portions but there is always an accompanist. In any case in no dance style the dancers indulge in speaking dialogues just as in a drama. But in Kuchipudi you find the dancers breaking into spoken dialogues in between dance sequences. One can classify Kuchipudi as a "dance-drama". It is from the southern state of Andhra . Pradesh. It is one of the oldest performing arts from this region. Earlier it was also known as Kuchipudi Bhagavatam, Kuchipudi Yakshaganam and Kuchipudi Bharatam. Until a few decades ago the enactment of both, the male as well as female roles, was done solely by male dancers. In this aspect it resembles the other dance-drama style of the south - Kathakali.
    [Show full text]
  • Classical Dances of India: Everything You Need to Know About
    Classical Dances of India: Everything you need to know about India is known for its rich cultural legacy. Performing arts like classical dances are integral parts of Indian culture. This is a mega-post which cover the details of all classical dances in India. Origin of classical dances Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are the same. The roots can be traced from the Sanskrit text – ‘Natya Shastra’. The first compilation of Natya Shastra is dated between 200BCE and 200CE. As time passed, artists improvised many classical dances which resulted in the present day forms. Today, Indian classical dances are very popular dance all over the world. Rasanubhuti: The 8 Rasas The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas. They are as following: 1. Shringar: Love 2. Hasya: Humorous 3. Karuna: Sorrow 4. Raudra: Anger 5. Veer: Heroism 1/17 www.arihantcareergroup.com 6. Bhayanak: Fear 7. Bibhats: Disgust 8. Adbhoot: Wonder Note: Later Abhinav Gupta added a ninth one to it, Shanta: Peace. What are classical dances? Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra forms the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava etc). There are Nine Classical Dances as recognized by Ministry of Culture, Government of India. Let’s have a look at these classical dances – one by one.
    [Show full text]
  • Latest Nartanam 17-4.Pmd
    ISSN 2455-7250 Vol. XVII No. 4 October-December 2017 A Quarterly Journal of Indian Dance G. M. Sarma (1936-2017) A Tribute Nartanam Conclave-2017 Burra Venkatesham, Secretary to Government of Telangana Youth Advancement, Tourism & Culture Department (extreme left) making a point; with him, Mandakranta Bose & Upendro Singh, Director, JNMDA L to R : K.K. Gopalakrishnan, Leela Venkataraman and Sunil Kothari A scene from Keibul Lamjao by JNMDA Madhavi Mudgal and Arushi Mudgal Manjari Sinha: A Critic's take Photos Courtesy: Avinash Pasricha A Quarterly Journal of Indian Dance Volume: XVII, No. 4 October-December 2017 Sahrdaya Arts Trust Hyderabad RNI No. APENG2001/04294 ISSN 2455-7250 Nartanam, founded by Kuchipudi Kala Founders Kendra, Mumbai, now owned and Late G. M. Sarma published by Sahrdaya Arts Trust, M. Nagabhushana Sarma Hyderabad, is a quarterly which provides a forum for scholarly dialogue on a Chief Editor broad range of topics concerning Indian Madhavi Puranam dance. Its concerns are theoretical as well Patron as performative. Textual studies, dance criticism, intellectual and interpretative Edward R. Oakley history of Indian dance traditions are its Chief Executive focus. It publishes performance reviews Vikas Nagrare and covers all major events in the field of dance in India and notes and comments Advisory Board on dance studies and performances Anuradha Jonnalagadda (Scholar, Kuchipudi dancer) abroad. Avinash Pasricha (Former Photo Editor, SPAN; SNA Awardee) The opinions expressed in the articles and the reviews are the writers’ own and C.V. Chandrasekhar (Bharatanatyam Guru, Padma Bhushan) do not reflect the opinions of the editorial Kedar Mishra (Poet, Scholar, Critic) committee.
    [Show full text]
  • Ugc - Major Research Project Final Report
    UGC - MAJOR RESEARCH PROJECT FINAL REPORT THEATRICAL WORKS OF SHAHAJI Submitted by Prof. A. ANURADHA HOD, Dept. of Music & Dance DEPARTMENT OF MUSIC & DANCE COLLEGE OF ARTS & COMMERCE ANDHRA UNIVERSITY VISAKHAPATNAM JANUARY 2021 This Project is Dedicated to the Maratha Rulers who have done Tremendous Service to the South Indian Culture and Arts, Particularly to Telugu Language. INDEX Pg. No. PREFACE ACKNOWLEDGEMENT INTRODUCTION 1–2 CHAPTER 1: NATYA SASTRA AND DASA ROOPAKA-S 3–9 CHAPTER 2: VISUAL ART FORMS OF INDIA - MARGA AND DESI DIVISION 10–15 CHAPTER 3: FOLK DANCE DRAMAS OF SOUTH INDIA 16–38 CHAPTER 4: YAKASHAGANA-S OF SOUTH INDIA 39–49 CHAPTER 5: NAYAKA AND MARATHA RULERS OF 50–52 THANJAVUR CHAPTER 6: KING SHAHAJI AND HIS CONTRIBUTION TO 53–61 MUSIC CHAPTER 7: THEATRICAL WORKS (YAKSHAGANA-S) OF KING SHAHAJI 62–176 CHAPTER 8: YAKSHAGANA PRESENTATION IN AUDIO & VIDEO FORMATS 177–182 CHAPTER 9: PROJECT REPORT 183–192 CONCLUSION 193–195 BIBLIOGRAPHY 196–198 APPENDIX 199–202 LIST OF PLATES List of Plates Page No Plate 1 Rasleela in Kuchipudi Dance style 13 Plate 2 Rasleela in Odissy Dance style 13 Plate 3 Rasleela in Manipuri Dance style 14 Plate 4 Rasleela in Kathak Dance style 14 Plate 5 Rasleela in Bharatanatyam Dance style 14 Plate 6 Shadow Puppetry 17 Plate 7 Chekka Bommalaata 18 Plate 8 Kuravanji Therukoothu play 20 Plate 9 Theru koothu Dance Drama 21 Plate 10 Kuravanji nadanam 22 Plate 11 ‘Kurutti’ character in a Classical Kuravanji Natakam 22 Plate 12 Traditional Ganesha paatra pravesam in Melattur Bhagavata 23 Mela Naatakam Plate 13 Prahladha Charithram – Melattur Bhagavatha Mela Natakam 25 Plate 14 Veedhi Naatakam-1 26 Plate 15 Veedhi Naatakam-2 26 Plate 16 Pagati veshaalu 27 Plate 17 ‘Erukulasaani’ role in Kalyana Sreenivasam – Kuchipudi Dance 28 drama Plate 18 Bhama Kalaapam – Thurpu Bhagavatham-1 32 Plate 19 Bhama Kalaapam – Thurpu Bhagavatham-2 33 Plate 20 Dr.
    [Show full text]