https://www.youtube.com/watch?v=1ru0MX-uoTg
https://www.youtube.com/watch?v=1ru0MX-uoTg
This is one of my favorite Dance piece: - read this introduction and then watch - instead of an ordinary प्रेक्षकः you can become a सहृदयः (connoisseur) of a great art form - "भरतनाट्यम्" - enjoy...
This "भरतनाट्यम्" (bharatanaatyam) piece aptly named as "नवरसमोहनः" (navarasa mohana) - means that, श्री कृष्णः (sri. krishna) has in him, imbibed the navarasa (all the nine chief aesthetic experiences). The song starts with the second stanza of Srimad Bhagavata shloka -10.43.16 "रङ्गं विविशतु राजन् गजदन्तवरायुदौ (बलरामकृष्णौ) - "rangam vivishatu raajan gajadanta varaayudau" - this means "both (Balarama & Krisna) entered the arena, Oh King (Parikshit - the incident of slaying of Kamsa is narrated to King Parikshit by Maharshi Sukha) with the tusks of the slain elephant". Rangam means arena, world, playground, stage, etc. here it can also mean that he, Sri Krishna entered the world and thus the nine rasas (aesthetic experiences and due to which the "भावः" or various emotions), have come into play and thereby the Rasas in this world (including in our lives).
This starting (half) verse is in the "रागः" (Raaga) - नाट्टा or नाट्टै - this is a majestic raaga, male raaga, wakes up everybody and draws our attention and make us focus (dhaarana), usually used for starting traditional Carnatic music concerts, used for portraying "वीररसः" (valor) etc.
Then the for the portrayal of the Nine rasas - each one is presented in different Raaga and in between the first raaga (indicating Sri. Krishna) comes again and again to bring the audience back to the focal point - that is Sri. Krishna.
The main shloka for the Nava rasa is from Srimad Bhagavatam (10.43.17) - just in this single Shloka all the rasas are portrayed. When Sri. Krishna enters Mathura - there were various onlookers and one raga /rasa for each type of onlooker - from the warriors of Kamsa to the Young girls to Cowherd Friends to Yogis, etc. as given in the shloka - two words for each Rasa is sung with a Raaga that is suitable to that Rasa (creatively made suitable to that Rasa) with the corresponding svaras of each of those Raagas - and each Raaga merges with the Main Raaga Naatai in Manodharma style.
The choreographer /dancer, श्रीमती रमा वैद्यनाथः (Smt. Rama Vaidyanathan) is great dancer and an excellent choreographer with superb creativity. This is one of her masterpiece. I happened to enjoy the live stage performance of this master piece by her. Salutations to her for bringing out this Srimad Bhagavatam sloka so beautifully
The Nine Raagas and Rasas correspond to the following.
1) मल्लानाम् अशनिः -(Thunderbolt to the warriors of Kamsa) Raaga=Pantuvaraali, Rasa=Raudra
2) नृणां नरवरः -(Blessings to the ordinary people), Raaga=Bilahari, Rasa=Adbhuta
3) स्त्रीणां स्मरो मूर्तिमान् -(Object of memory to the young girls), Raaga=Hamsanatham, Rasa=Srngaara
4) गोपानां स्वजनः - (Friend to the Gopa people (cowherds)), Raaga=Abhogi, Rasa=Haasya
5) असतां क्षितिभुजां शास्ता -(Controller to the wrongful kings), Raaga=ATaaNaa, Rasa=Veera
6) स्वपित्रोः शिशुः -(Child to the parents - Devaki & Vasudeva), Raaga=Sahaana, Rasa=Karuna
7) मृत्युः भोजपतेः -(God of death to Kamsa), Raaga=Hindolam, Rasa=Bhayaanaka & Bibhatsa
8) विराट विदुषां -(God of the universe for the learnt), Raaga=Saaveri, Rasa=Adbhuta (Bhakti)
9) तत्त्वं परं योगिनां -(Highest principle (of creation) for the Yogis) Raaga=Mohanam, Rasa=Shaanta
The end portion of the actual Sloka in Bhagavatam is वृष्णीनां परदेवता इति विदितो रंगं गतः साग्रजः - this "पङ्क्तिः" (stanza) is not portrayed in this performance.
---------------------------------
What is so special about this performance is that some of the Ragas employed for certain Rasas are pure creativity, even though in those Ragas such Rasas are not portrayed - excellent Creativity.
https://www.youtube.com/watch?v=1ru0MX-uoTg
This is one of my favorite Dance piece: - read this introduction and then watch - instead of an ordinary प्रेक्षकः you can become a सहृदयः (connoisseur) of a great art form - "भरतनाट्यम्" - enjoy...
This "भरतनाट्यम्" (bharatanaatyam) piece aptly named as "नवरसमोहनः" (navarasa mohana) - means that, श्री कृष्णः (sri. krishna) has in him, imbibed the navarasa (all the nine chief aesthetic experiences). The song starts with the second stanza of Srimad Bhagavata shloka -10.43.16 "रङ्गं विविशतु राजन् गजदन्तवरायुदौ (बलरामकृष्णौ) - "rangam vivishatu raajan gajadanta varaayudau" - this means "both (Balarama & Krisna) entered the arena, Oh King (Parikshit - the incident of slaying of Kamsa is narrated to King Parikshit by Maharshi Sukha) with the tusks of the slain elephant". Rangam means arena, world, playground, stage, etc. here it can also mean that he, Sri Krishna entered the world and thus the nine rasas (aesthetic experiences and due to which the "भावः" or various emotions), have come into play and thereby the Rasas in this world (including in our lives).
This starting (half) verse is in the "रागः" (Raaga) - नाट्टा or नाट्टै - this is a majestic raaga, male raaga, wakes up everybody and draws our attention and make us focus (dhaarana), usually used for starting traditional Carnatic music concerts, used for portraying "वीररसः" (valor) etc.
Then the for the portrayal of the Nine rasas - each one is presented in different Raaga and in between the first raaga (indicating Sri. Krishna) comes again and again to bring the audience back to the focal point - that is Sri. Krishna.
The main shloka for the Nava rasa is from Srimad Bhagavatam (10.43.17) - just in this single Shloka all the rasas are portrayed. When Sri. Krishna enters Mathura - there were various onlookers and one raga /rasa for each type of onlooker - from the warriors of Kamsa to the Young girls to Cowherd Friends to Yogis, etc. as given in the shloka - two words for each Rasa is sung with a Raaga that is suitable to that Rasa (creatively made suitable to that Rasa) with the corresponding svaras of each of those Raagas - and each Raaga merges with the Main Raaga Naatai in Manodharma style.
The choreographer /dancer, श्रीमती रमा वैद्यनाथः (Smt. Rama Vaidyanathan) is great dancer and an excellent choreographer with superb creativity. This is one of her masterpiece. I happened to enjoy the live stage performance of this master piece by her. Salutations to her for bringing out this Srimad Bhagavatam sloka so beautifully
The Nine Raagas and Rasas correspond to the following.
1) मल्लानाम् अशनिः -(Thunderbolt to the warriors of Kamsa) Raaga=Pantuvaraali, Rasa=Raudra
2) नृणां नरवरः -(Blessings to the ordinary people), Raaga=Bilahari, Rasa=Adbhuta
3) स्त्रीणां स्मरो मूर्तिमान् -(Object of memory to the young girls), Raaga=Hamsanatham, Rasa=Srngaara
4) गोपानां स्वजनः - (Friend to the Gopa people (cowherds)), Raaga=Abhogi, Rasa=Haasya
5) असतां क्षितिभुजां शास्ता -(Controller to the wrongful kings), Raaga=ATaaNaa, Rasa=Veera
6) स्वपित्रोः शिशुः -(Child to the parents - Devaki & Vasudeva), Raaga=Sahaana, Rasa=Karuna
7) मृत्युः भोजपतेः -(God of death to Kamsa), Raaga=Hindolam, Rasa=Bhayaanaka & Bibhatsa
8) विराट विदुषां -(God of the universe for the learnt), Raaga=Saaveri, Rasa=Adbhuta (Bhakti)
9) तत्त्वं परं योगिनां -(Highest principle (of creation) for the Yogis) Raaga=Mohanam, Rasa=Shaanta
The end portion of the actual Sloka in Bhagavatam is वृष्णीनां परदेवता इति विदितो रंगं गतः साग्रजः - this "पङ्क्तिः" (stanza) is not portrayed in this performance.
---------------------------------
What is so special about this performance is that some of the Ragas employed for certain Rasas are pure creativity, even though in those Ragas such Rasas are not portrayed - excellent Creativity.
https://www.youtube.com/watch?v=1ru0MX-uoTg
Good dance.
ReplyDeleteBut the choosing kAmavardhini for raudra is not a better choice.
It is a raga that invokes pity, wrapt in sadness. when you emphasize dha and ri, you get a mystic effect, but still not compatible with raudra. But the dancer has successfully tried it to make that somewhat raudra. Still, if you close your eyes and hear, the actual sad kAmavardhani comes....
Rather, a powerful raga like vakuLAbharaNam with ri and ga emphasized could be used.
Actually, it is so disappointing that Carnatic practitioners are still limiting themselves to the middle era ragas, than the most ancient ragas and new ones.
(Vakulabharanam was actually a very old raga, but only revived after the Melakarta paddhati)
A truly worth hearing krti in kAmavardhani is that of Balamurali Krishna, the "varuga varuga mAmayileRi..". It is a haunting experience.
The use of aThANa is as per tradition, still one can explore the numerous ragas for vIra rasa.
A slow hindOLam suits shAnta, better mohanam could have been avoided. Even a multifaceted raga like mela naTabhairavi could serve the purpose.
Yes, the dancer has succeeded. Her creativity is to be appreciated, with which she brought out the rasas although they were not in the background.
This arrangement of various Raaga for those Rasa, was indeed done by Sri. Balamurali Krishna himself.
ReplyDelete:-D
ReplyDeleteMay be, but I don't care.
kAmavaRdhani in this music only invokes a complaining sadness. And that is its rasa, when used in this way.