Yuva Bharati Smt

Total Page:16

File Type:pdf, Size:1020Kb

Yuva Bharati Smt Suganda Sreenath trained in Kalakshetra style hails from a family of artists and the ever present mix of Music and Dance in the house enticed her to learn Dance from an early age. Suganda learned Bharatanatyam from her older sister and Padma Shri awardee Yuva Bharati Smt. Ananda Shankar Jayant, Kuchipudi from Sri. Pasumarthi Ramalinga Sastry and Kathak from Sri. Anji Babu. She continues to study under the celebrated duo Padma Presents Bhushan Awardees Smt Shantha and Sri V. P. Dhanajayan. Suganda Sreenath and her Sankeertana school Jayendra Kalakendra (established in 1989) have performed at various Pada Sankeertanas of Annamacharya and Purandara Dasa organizations in India and here in the US winning Critical acclaim. Jayendra Kalendra By holds weekly classes in the Traditional Kalakshetra Bani at San Jose, Santa Clara and Shreelata Suresh, Suganda Sreenath, Vidhya Fremont. Subramanian and Jayanthi Sridharan Orchestra January 25th, 2014, 4:00 pm Vocal : Sindhu Natarajan hails from a family of musicians and started singing at a very Mission Center of Performing Arts, Santa Clara young age. She initially had her Carnatic vocal training under her aunt, Smt. Vasanthi www.yuvabharati.org Kannan and later learned under her grandfather, Sri PV Natarajan. She is currently receiving advanced training under her other aunt, Smt Raji Gopalakrishnan. Sindhu has also learned Bharatanatyam under Smt. Mythili Kumar of Abhinaya dance company in Pushpanjali & Sharanu Siddhi Vinayaka By Vidhya,Suganda,Shreelata,Jayanthi San Jose. She works as a 4th grade teacher in Palo Alto. Ragam: Nattai & Sourashtram Talam: Adi & Misra Chapu Composer: Madurai R. Muralidharan & Purandara Dasa Mridangam : Dr. Rohan Krishnamurthy a student of mridangam maestro Guruvayur Choreographer: Vidhya Subramanian Dorai, has performed in hundreds of concerts in North America and India since the age Pushpanjali is a traditional offering by the dancer to the Almighty and omnipresent. In of nine with leading musicians and dancers. He has presented Indian percussion summer Sharanu Siddhi Vinayaka, the dancers subjugate to Lord Ganesha, the son of the three camps, workshops, and academic lecture-demonstrations at several institutions and is eyed Shiva and Parvathi, the one with the curved trunk and giant belly. the recipient of national and international awards. Rohan is multifaceted as a performer, composer, educator, researcher, and entrepreneur. He performed for the Chandra Chooda By Shreelata Suresh President of India, Dr. Abdul Kalam, at the presidential office. Rohan earned a Ph.D. in Ragam: Ragamalika Talam: Adi musicology from the prestigious Eastman School of Music at the University of Rochester Composer: Purandara Dasa Choreographer: Shreelata Suresh as a Provost Fellow. The saint Puranadaradasa says –‘ I offer my prayers to you, O Lord Shiva, the one who wears the moon on your head. You are the one who carries the Ganges in your matted Flute : Ashwin Krishnakumar was trained in Carnatic classical flute by Sri A.V Prakash in locks, you are the angry one who burnt Cupid to ashes, you are the one who protected Mysore and by Late Sri. B.N Suresh in Bangalore and recognized with a scholarship from young Markandeya from death, you are the blue necked one who drank the poison. You the Central Govt. of India (CCRT) to pursue advanced training in flute. His accomplished are the greatest of Vaishnavites and dearer than life to Lord Vishnu.’ musical career includes several solo concerts and he has accompanied various classical dance, light music productions and fundraisers in India and the US. Muddugare Yashoda By Vidhya Subramanian Ragam: Kurinji Talam: Adi Violin : Krishna Parthasarathy began his formal training in Carnatic music from Smt. Composer: Annamacharya Choreographer: Vidhya Subramanian Shanthi Narayan and Sri. P.V. Natarajan at the age of 13. He has since had the good In this lovely song Annamaiah describes the beauty and the various deeds of Krishna, fortune of learning from eminent artists such as Sri. Mullaivasal G. Chandramouli, Sri. comparing him to various precious gems like ruby, sapphire, diamond etc. Destroying Neyveli R. Santhanagopalan, Smt. Padma Narayanaswami, and Sri Hemmige V. Kamsa, lifting Govardhana mountain and dancing on Kaliya serpent are well depicted in Srivatsan. Krishna is a violinist and vocalist and also has initiation into Hindustani music. this item. Nattuvangam : Sowmya Sridharan is daughter and disciple of Smt. Jayanthi Sridharan Mangambudhi Hanumantha By Jayanthi Sridharan and has performed her arangetram in year 2013. She is currently a senior in High School. Ragam: Dharmavati Talam: Adi Composer: Annamacharya Choreographer: Jayanthi Sridharan Seeking the grace of Lord Hanuman of Mangambudhi, the poet describes the greatness of the Lord in this composition. A multitude of tales describing His various adventures - from crossing the ocean to find Sita, to reaching for the sun - depict his limitless virtues . Purandara dasa depicts different antics of Krishna as a little boy. In this item Krishna Bhavayami By Suganda says, “Amma carry me won’t you, don’t heat the water, I do not want to take a bath. Ragam: Yamuna Kalyani Talam: Khanda Chapu This food is too spicy for me, let me eat dates and butter instead. Amma, please bring Composer: Annamacharya Choreographer: The Dhananjayans the stars and the moon, they are too far for me to reach. Purandara Dasa expresses his The Devotee meditates upon the feet of Baby Gopala who is served by her mind. His desire to be in Yeshodha’s place just once so that he can hug and cuddle little Krishna as jewel studded belt glitters and shines, his bells ring back and forth as he dances and she does. plays. He is the one who eats the butter, the one who lives in Thirupathi hills as Lord Venkatesha. Thillana By Vidhya, Suganda, Shreelata & Jayanthi Raagam: Bowli Talam: Adi Intermission Composer: Asha Ramesh Choreography: Vidhya,Suganda,Shreelata,Jayanthi Tillana, comprising of complex rhythmic patterns and poses, creates an aura of joy Namo Namo Raghukula Nayaka by Shreelata Suresh bringing the concert to a close. This tillana offers a salutation to the great composers Ragam: Nattai Talam: Roopakam showcased today. “Whether it is Lord Venkateshwara as praised by Saint Composer:Annamacharya Choreographer: Shreelata Suresh Annamacharya, or Lord Krishna of Udupi as worshipped by Saint Purandaradasa, they Salutations to the hero of the Sun dynasty who is bowed to by all the Gods and deemed both forms to be Lord Hari himself. Let us praise these great poets through worshipped By Shiva and Parvathi. He is the protector of rightiousness and is son of this offering of music and dance . Dasaradha. He is the annihilator of the demons' race and the protector of Vishwamitra’s vedic sacrifice. He earned eternal fame by destroying Ravana and blessing Vibhishana. Artists He dwells in all splendor at Tirupathi as the lotus eyed Sri Venkatachalapati. Salutatios to Him (“namO namO”). Jayanthi Sridharan is a disciple of guru Padmashri Shri Adyar K. Lakshman. Nurtured under his tutlege, in the Kalakshetra tradition. Jayanthi has toured throughout the Alarulu By Suganda world, performing and conducting lecture demonstrations on the art of Bharatanatyam. Ragam: Shankarabaranam Talam: Adi Her performances have won press and public acclaim not only as a solo dancer, but also Composer: Annamacharya Choreographer: Suganda Sreenath as a choreographer and director. She founded Bharathakala Kutiram, an academy for Annamacharya praises the beauty and grace of goddess Alamelu manga. As she dances Bharathanatyam in San Jose in 1992. and sings to the rhythm of her anklets in the garden where the flowers shower on her. Lord Venkateshwara is mesmerized by her graceful movements. Vidhya Subramanian known for her bold, modern themes and strong choreography has given as much as she has received from her background in the traditional Vazhuvoor Jagododharana By Vidhya Subramanian style. She began her early training with the inimitable Dr. Padma Subrahmanyam and Ragam: Kapi Talam: Adi enriched it under the eminent Guru Sri S.K.Rajarathnam and abhinaya exponent Smt. Composer: Purandaradasa Choreographer: Vidhya Subramanian Kalanidhi Narayanan. Her superb artistry has earned appreciation all over India as well He may be the savior of the world, but Yashoda plays with him deeming him her son. in countries such as Germany, France, UK, Russia, Afghanistan, Kenya and USA. She has This gem among children, more minute than an atom, greater than the greatest, been awarded the 'Singar Mani', 'Natya Arasi', 'Yuva Kala Bharati', 'Nadanamamani', and unmeasurable, is her beloved child. is an A graded artist on Doordarshan. As founder and artistic director of Lasya Dance Company she has choreographed and directed several full-length as well as short Jaganmohanane Krishna By Jayanthi Sridharan ensemble and solo pieces, expanding the outreach of Bharatanatyam through Ragam: Ragamalika Talam: Adi collaborations with artists representing other styles of dance. Composer: Purandaradasa Choreographer: Krishnaveni Lakshman Purandaradasa praises Lord Krishna as the enchanter of the universe. The lyrics Shreelata Suresh , an accomplished exponent of Bharatha Natyam and Kuchipoodi, has highlight the Vaamana avatar, describing how Lord Vishnu curbed the pride of King carved a place for herself among the leading artistes in the United States today. Her Mahabali. The great qualities of the Lord are beyond comprehension to the Devas and performances are “marked by freshness, dynamism and vigor” and are “outstanding in mankind. terms of both learnt material and her own input.” As Director of Vishwa Shanthi, Shreelata plans to realize her vision of unification of the artiste’s skill and devotion to achieve an integrated development of the individual, the community and the world. Her Yeshode Amma By Suganda Sreenath attractive style, expressive movements and fleeting footwork have won her many Ragam: Sindhu Bhairavi Talam: Adi awards and titles. Composer: Purandara dasa Choreographer: Suganda Sreenath .
Recommended publications
  • The Music Academy, Madras 115-E, Mowbray’S Road
    Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type­ written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages.
    [Show full text]
  • Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
    The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang.
    [Show full text]
  • Fusion Without Confusion Raga Basics Indian
    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
    [Show full text]
  • Adv-Aug-For-Web-3598
    Aug 2018 | Vol 4 | Issue 5 www.advantagekarnataka.in Frames Bangalore Fostering of its Startup Potential Glory NGMA Exhibits Jitendra Arya’s Ouevre August 2018 ADVANTAGE KARNATAKA 2 August 2018 August 2018 3 ADVANTAGE KARNATAKA EDITORIAL angalore, the Startup Capital of India, is scaling new heights among world Content cities by providing the ideal ecosystem for startups to nourish. According to a report published recently by US venture capital and startup database, B 6 Bangalore Fostering its Startup Potential Bangalore ranked first among Indian cities to have highest number of startup investment rounds greater than $100 million since 2014. The report also states that 8 Major Event for Aerospace Manufacture Bangalore runs ahead of foreign cities like London (19), Boston (13), and Tel Aviv (2), which are often regarded as strong startups hubs around the world. 10 Creating Priorities for Digitisation Moreover, Bangalore has been selected for the launch of Defence India Start Up Govt. Aims to Make State Future-Ready: K J George Challenge, an initiative of Defence Innovation Organisation (DIO) under the aegis 12 of Department of Defence Production, Ministry of Defence. The Defence India Start 14 Focus on Making Transport Corporations Profitable up Challenge, aimed at supporting innovators to create prototypes, commercialise Editorial Advisory Board products or solutions based on advanced technologies in the area of national 16 Toyota Aims High in Diesel Engine Manufacture security, will further the startup potential of the city which is already home to several Dr. C.G. Krishnadas Nair startups in aerospace and defence sector. 20 Boeing’s HorizonX India Innovation Challenge Dr.
    [Show full text]
  • Analyzing the Melodic Structure of a Raga-Based Song
    Georgian Electronic Scientific Journal: Musicology and Cultural Science 2009 | No.2(4) A Statistical Analysis Of A Raga-Based Song Soubhik Chakraborty1*, Ripunjai Kumar Shukla2, Kolla Krishnapriya3, Loveleen4, Shivee Chauhan5, Mona Kumari6, Sandeep Singh Solanki7 1, 2Department of Applied Mathematics, BIT Mesra, Ranchi-835215, India 3-7Department of Electronics and Communication Engineering, BIT Mesra, Ranchi-835215, India * email: [email protected] Abstract The origins of Indian classical music lie in the cultural and spiritual values of India and go back to the Vedic Age. The art of music was, and still is, regarded as both holy and heavenly giving not only aesthetic pleasure but also inducing a joyful religious discipline. Emotion and devotion are the essential characteristics of Indian music from the aesthetic side. From the technical perspective, we talk about melody and rhythm. A raga, the nucleus of Indian classical music, may be defined as a melodic structure with fixed notes and a set of rules characterizing a certain mood conveyed by performance.. The strength of raga-based songs, although they generally do not quite maintain the raga correctly, in promoting Indian classical music among laymen cannot be thrown away. The present paper analyzes an old and popular playback song based on the raga Bhairavi using a statistical approach, thereby extending our previous work from pure classical music to a semi-classical paradigm. The analysis consists of forming melody groups of notes and measuring the significance of these groups and segments, analysis of lengths of melody groups, comparing melody groups over similarity etc. Finally, the paper raises the question “What % of a raga is contained in a song?” as an open research problem demanding an in-depth statistical investigation.
    [Show full text]
  • Annamacharya Aaradhana
    2018 అన#$%ర' ఆ)ధన Annamāchārya Ārādhana 2:00pm - 7:00pm on September 30th, 2018 Revere High School, 3420 Everett Road, Richfield OH 44286 Vision Annamacharya Aradhana endeavors to pass India’s rich cultural heritage to our next generation, encourage us to love more consciously and with abundance and excel in personal growth and social engagement. Saint Tallapaka Annamacharya (1408 - 1503) Annamayya is widely regarded as the Padakavita pitaamaha (grand old man of song writing) of the Telugu language who strongly influenced the structure of Carnatic music compositions that we hear today. Annamacharya considered his compositions as floral offerings to the Lord of the seven hills, Sree Venkateswara. Annamacharya composed close to 36,000 sankeertanas (songs) out of which only 12,000 are available today. Based on the Vishishtadvaita school of thought, his songs are classified into Aadhyaatma (spiritual) and Sringaara (romantic) genres. Many of his compositions are in Telugu language. Every year in the month of September/October, NEOTA conducts the Annamacharya Aradhana, to celebrate the life and works of Saint Annamacharya of Tallapaka, as a humble tribute to the supreme devotion of the poetic genius that continues to captivate us to this day! !1 of !5 Annamacharya Sankeerthanalu by Cleveland Annamacharya Group " (taught by Gurus Sri Srivishnu Pasumarthy & " Sri Sreekrishna Pasumarthy)" Bhakti Koladhi Vaade Rāgam: malayamarutham Tālam: Adi Anthayuneeve Rāgam: Anandabhairav Tālam: Adi Iddarigunambulive Rāgam: Kapi Tālam: Adi Kantimineedide Rāgam:
    [Show full text]
  • SACHI,Society for Art & Cultural Heritage of India
    SACHI, Society for Art & Cultural Heritage of India in collaboration with The Department of Religious Studies and Center for South Asia at Stanford University Invites You to Join an Illustrated Talk cum Dance on Thyagaraja Ramayanam presented by Ananda Shankar Jayant India's eminent Bharatanatyam dance artist and leading choreographer Thursday, Nov. 13, 2014, 7 p.m. Cummings Art Bldg., Classroom ART 2 435 Lausen Mall, Stanford University (corner of History Bldg., and Lausen Mall) Free Admission and Open to the Public; Recommended parking, around the Oval ‘As long as the mountains stand and rivers flow on earth, so long shall remain the legend of Ramayana.’ Sri Rama and the Ramayana have inspired seers and scholars across eons and centuries. It is a story that transcends space and time - a tale of love, devotion, and sacrifice. Rama's story has been written, interpreted and commented upon by mystic sages, poets and musicians, and by the Bhakta (devotee) with utmost reverence and ecstatic devotion. Telling and re-telling the Ramayana has not tired the storyteller, the listener or the viewer! While the essential story of the Ramayana remains the same, its various interpretations through the ages, represent a great diversity in the way the story and its characters are presented. In 1986 the artist Ananda Shankar choreographed and performed the Thyagaraja Ramayanam which explored the character of Rama through the vision of the poet saint Thyagaraja In an all time favorite work for the artist, Ananda will introduce and discuss select episodes/songs from the Ramayana as visualized by Thyagaraja and portray some in visual dance format set to Thyagaraja's music with select Valmiki Ramayana shlokas in enacting roles from the epic story.
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • Okapari Kokapari Ragam: Kharaharapriya (22Th Melakartha
    Okapari Kokapari Ragam: Kharaharapriya (22th Melakartha) ARO: S R2 G2 M1 P D2 N2 S || AVA: S N2 D2 P M1 P G2 R2 S || Talam: Adi Composer: Annamacharya Version: Ram Kaushik (Orig: Nedanuri Krishnamurthy) Lyrics Courtesy: Rani (www.karnatik.com) Link: http://www.karnatik.com/c1567.shtml Pallavi : okapari kokapari oiyaaramai mokamuna kaLalella molicinaTluNDE (oka) CaraNam 1 jagadEkapati mEna jallina kaTpoora dooLi jigigoni naDuvanga cindagaanu mogi candramugi uramuna nilipEgaana pogaru vennela deega pOsinaTliNDE (oka) caraNam 2 meRaya shree venkaTEsu mEna singaaramugaanu sarasaina sommulu dhariyimcagaa meruputoTi alamElu mangayu daanu merupu mEghamukooDi merasinaTluNDE (oka) Meaning : In this song, Annamaacaarya praises the beauty and charm of Lord VenkaTEshwara. When the Lord walks gracefully, the camphor on his body sprinkles and as the goddess sits on his lap it seems as if he is covered by moonlight. The glittering ornaments worn by the Lord join the charisma of the goddess and seem like a lightning joins hands with the glitter and charisma. Meaning (word-word): Adapted from Tenneti Rao’s Blog: http://tenneti-rao.sulekha.com/blog/post/2010/09/meaning-of-okapari-kokapari-song-annamayya-kirtana.htm Time and again (“okapari- kokapari”), when the Lord is gracefully (“oyyaaramai”) walking, it seems that in his face (“mogamuna”), many beautiful rays (“kaLalenni”) have sprouted (“molaci”) and existed thus (“natlunde”). okapari = once; kokapari = a different time; oyyaaramai = with grace, gracefully; mogamuna = on the face; kaLalenni = many a ray, many beauties (cf. moon has sixteen distinct phases of beauty, sixteen degrees of beauty); molaci = as if sprouted; natlunde = exist thus; When the Lord of the world (“jagadEka -pati ”) walks gracefully, the camphor dust (“karpuura-dhuLi”) on his body (“mEna ”) sprinkles (“callina ”) and spreads sparkling light (“jigigona ”) on all four directions (“naluvanka”).
    [Show full text]
  • AITS :: TIRUPATI Created 3000 Jobs and 45% Newsletter of Them Are Women
    Volume 3, Issue - II Quarterly April 2016 to August 2016. p5 Volume 3, Issue - II Quarterly April 2016 to August 2016. p6 S p e a k i n g o n t h i s o c c a s i o n , P r i n c i p a l , Mr. Vishal Khanna, Volume 3, Issue - II Quarterly April 2016 to August 2016. p1 Dr. C. Nadamuni Reddy stated that it is very important for Senior Assistant Director, Civil Engineering Students to learn structural designs of F e d e r a t i o n o f I n d i a n offshore constructions since this gives a very good career Chambers of Commerce & opportunities. Industry (FICCI), New Delhi, told that 448 innovators AITS :: TIRUPATI created 3000 jobs and 45% Newsletter of them are women. He gave instances of students who had innovative ideas, submitted their ideas and been funded with rupees from 10 lakhs to 10 crores. The Students and Hod of H&S Dept. Listening Principal's speech MBA, Hod and faculty members with MBA students Government of India and Andhra Pradesh, initiative of HELPING HANDS Make in India will be a success only if we think beyond and The Department of Management Studies has take a step by show casing it in India Innovative Program, organised “Helping Hands” Programme on 26th August which will help Government to know about us and our 2016 to help the poor and needy and to inculcate research. philanthropic attitude in students. Faculty members & S r i .
    [Show full text]
  • Annamacharya Keerthana Lyrics Telugu Pdf
    Annamacharya keerthana lyrics telugu pdf Continue No comment: Post a comment. Go Haak Soubanya 16. Posted by Annamacharya Keerthanalu at 08:20. What is visible and invisible at the same time is drama. Enta Maayala Wadu 11. You may have to sign up... Annamacharya Keerthana Lyrics in Telugu If this is your first visit, be sure to check out the frequently asked questions by clicking on the link above. Answers. Annamacharya Keerthana Condalalo Nelakonna Lyrics Keerthana : Condalalo Nelakonna Ragam : Hindolam Talam : Aadi pallawi kondalalo nelakonna koneti raadu vadu kondalamta varamulu guppedu vadu.... Charanam1: kummara dasudaina kuruvaratinambi yimmanna varamulella yichhina vadu dommulu sesina yatti tonda man chakkura varti rammanna chotiki vachhi nammina vadu.. ... Aaraginchi Kurchunna - Annamaya Sankeerthana Lyrics Annamacharya Sankeerthanalu: Aaraginchi Kurchunna - Annamayya Sankeerthana Lyrics Annamacharya Sankeerthanalu Posted by Annamacharya Keerthanalu at 07:40. Annamaya Kirtana as Krzyrabdi Kinakaku Value: Niraadjanam Daughters of the King of the Ocean Milk; Nirajanam Sri Mahalakshmi, the divine wife of Lord Vishnu; Neerajanam to the one who was born on the Golden Lotus! Here is a site that has a lot of Annamacharya songs with the word ... I don't even know how I ended up here, but I thought this post was... All the lyrics presented on this site are only for training and promotional purposes. Answer. Labels: Letter (V) - Keerthanas. Cannada Lyrics Tamil ... Lakshman Communications: 12307 Joined: 10 Feb 2010 13:22 x 10. A place to go if you want to ask someone to identify Raga, Tala, composer, etc. or ask for s'hitya (lyrics) or notation or translations. Answer Delete. Cell : 09393021360 Price : ..
    [Show full text]
  • Carnatic Music Theory Year I
    CARNATIC MUSIC THEORY YEAR I BASED ON THE SYLLABUS FOLLOWED BY GOVERNMENT MUSIC COLLEGES IN ANDHRA PRADESH AND TELANGANA FOR CERTIFICATE EXAMS HELD BY POTTI SRIRAMULU TELUGU UNIVERSITY ANANTH PATTABIRAMAN EDITION: 2.6 Latest edition can be downloaded from https://beautifulnote.com/theory Preface This text covers topics on Carnatic music required to clear the first year exams in Government music colleges in Andhra Pradesh and Telangana. Also, this is the first of four modules of theory as per Certificate in Music (Carnatic) examinations conducted by Potti Sriramulu Telugu University. So, if you are a music student from one of the above mentioned colleges, or preparing to appear for the university exam as a private candidate, you’ll find this useful. Though attempts are made to keep this text up-to-date with changes in the syllabus, students are strongly advised to consult the college or univer- sity and make sure all necessary topics are covered. This might also serve as an easy-to-follow introduction to Carnatic music for those who are generally interested in the system but not appearing for any particular examination. I’m grateful to my late guru, veteran violinist, Vidwan. Peri Srirama- murthy, for his guidance in preparing this document. Ananth Pattabiraman Editions First published in 2009, editions 2–2.2 in 2017, 2.3–2.5 in 2018, 2.6 in 2019. Latest edition available at https://beautifulnote.com/theory Copyright This work is copyrighted and is distributed under Creative Commons BY-NC-ND 4.0 license. You can make copies and share freely.
    [Show full text]