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Yuva Bharati Presents Kalpana 2011

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Yuva Bharati Presents Kalpana 2011 Yuva Bharati presents Kalpana 2011 A Choreographic Showcase August 6th, 2011 , 4:00 pm at Mission City Center for Performing Arts, Santa Clara, CA Program Pushpanjali by Teja Kondapalli Dancers: Teja Kondapalli, Josna Dadi, Manvita Tatavarthy, Sriya Vutukuru, Sahi Nandyala Music : Sri S. R. Veera Raghavan Lyrics : Dr. Pappu Venugopala Rao Ragam: Gambhira Nata Talam: Adi Pushpanjali is an invocatory item that literally means offering of flowers. In this piece the dancers offer flowers to start the concert. Throughout the item they present delicate poses intertwined with intricate formations. Finally, they conclude with a prayer to Lord Ganesha and Goddess Saraswati. Bho Shambho – Vijaya Saradhi Chilakamarri Dancers: Vijaya Saradhi Chilakamarri and Smeeha Rao Ragam: Revathi Talam: Adi This item is in Praise of Lord Shiva. Dancers also depict Shiva thandavam. Panchabhoota by Snigdha Venkatramani Composer: Tanjavur R Kesavan Ragam: Ragamalika Talam: Talamalika Panchabhoota is an ode to the five elements - Earth, Water, Fire, Wind and the Cosmos. It is these five elements that regulate our lives and the activities. The Panchabhootas are represented in different forms in the human body as well. They are the principal reflection of the universe. In this piece, the dancer associatesPost Intermission each of these elements with a particular rhythmic Yashodacycle - Sankirnam Tara by (aManisha cycle of Murugde nine beats) for the cosmos, Misram (a cycle of seven beats) for Dancers:wind, Khandam Manisha (a Murgudecycle of ,five Anupama beats) forMayooranathan, fire, Tisram (a Caren cycle Thomas,of three beats)Nandini forArkalgud water, Sundar,and Vaishnavichaturasram Sridhar, (a cycle Sreevalli of four Sathyanarayana, beats) for earth. Bhanu K, Vibha Sheshadri and Sneha Bhat Musi c : Srivatsa Composer: Narsinmh Mehata Ragam:Shakti by RaagaMalika Jyotsna Vaideeshwaran Talam: Tishra Adi InMusic: this composition,Prithi Mahesh, the K.S poet Balakrishnan, narrates a Sakthivelcommon themeMuruganandam in Indian classicaland Sikhamani dance – that of the childComposer: Krishna’s Saint mischievous Agastyar pranks. The gopis complain to Yashoda, Krishna’s mother, that her sonRagam: is causing Ragamalika much chaos in Brij. He breaks butter Talam:pots and Adi steals the butter; he meddles in theirThis kriti,work Sri and Chakra messes Raja, it up. is Theydedicated ask her to theto discipline Mother Goddess. him, instead Shakti of ispampering the feminine him, energy, as they cannotthe one bear who hisis reason naughtiness for creation, anymore. the Yashodaconsort ofin Shiva.reply refuses Shakti toalso hear stands anything for inner bad aboutstrength her belovedthat one son.needs She to saysgive thatup world he hasly attachments no need to steal and ego.butter Th anywheree choreography else since explores her pots these are full ofinterpretations delicious butter of Shakti.and yogurt. A song She that tells starts the gopisin praise to go of awaythe Goddess since her then son describes is truthful. the journey of a human soul as it is rescued from this cycle of life. The lyrics are interspersed with Jathis. In Kaavadithis item equalChindu emphasis & Mayil i sVah givenana to by the Bhuvana Nritta and Venkatesh Abhinaya aspect of BharataNatyam. Subramanya Bharathi, Sri Papanasam Sivan PunnagavaraliSivoham by Deepa & Mohanam Mahadevan and Shirni SurapaneniTalam: Adi ( various Nadais) KaavadiMusic: Madurai Chindu Muralidharan,are lyrical compositions Ananta Narayanan, in Tamil Veeramanimostly in praise Kannan, of Lord D A MurugaSrinivas - the tamil godRagam: of Valor, Ranjani beauty and knowledge . They are popularTalam:Chathusra for their distin cAtat rhythmic tempo, siThismplicity piece andportrays melodious the di appeal.fferent attributesIn this Kaavadi of Siva chindu and the ‘Villinai dichotomy otha’ inthe them poet. Thedescribes forceful the yet contrastingfluid dance, charactersthe fearsome of Lordyet enamoringMuruga – theattributes, brave and the thedestructive romantic yet one playful who wonrole theof Siva heart is of Valli.brought This out w ilthroughl be followed the joint by Mayilenergies Vaahana of the an two item dancers. where Thisin Lord piece Muruga would is be described preceded as b ythe a oneshort who nritta has sequence. the peacock for his mount , six-faced, 12 armed and omni-present. The composer (rAmadAsan) pleads the lord to come, accept and grace the humble devotee. Kathak by Richa Shukla The music for this piece is a medley of songs taken from various films. Although the songs are from films, the choreography is pure Kathak technique and expression. The dancer depicts the fear, ambivalence and joy that Radha feels when Krishna is around her. This is a typical story that is acted out in Kathak dance. Aside from story telling, the piece also consists of fast choreography, spins, and footwork. Thillana by Mallika Malleswaran Dancers: Anjali Devakumar, Priyanka Chary, Meera Jayaraman and Mallika Malleswaran Musician and Composer: M. Balamuralikrishna Ragam: Brindavani Talam: Adi This Thillana in ragam Brindavani explores group and partner formations by incorporating traditional dance movements in various patterns. The sahityam describes the beauty and mesmerizing qualities of Lord Krishna's melodious flute music. The dancers describe how gopikas and various animals such as peacocks and deer dance joyously while listening to Lord Krishna's flute. Tarana by Santosh Lakkaraju & Shalini Bathina Dancers: Shalini Bathina and Neha Kidambi Music : Madurai Muralidharan Ragam: Mahathi Talam: Adi This item describes Goddess Shakthi. It is set in the Jugalbandi format and incorporates both the North and South Indian forms of Instrumental music and aids in showcasing the different aspects of Kuchipudi. While it demonstrates the grace that is typically associated with Kuchipudi, it also illustrates the precision in footwork that forms an integral part of the dance form. ******* Yuva Bharati programs are supported in part by Art Council Silicon Valley and Alliance for California Traditional Arts. .
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