Monday, 9 February 2015

Bharatanatyam Performance - Upadhye Duet- A Synopsis- Bangalore - February 2015

Bharatanatyam Performance- Duet:
Parshwanath and Shruti Upadhye:
Synopsis: 8 February 2015

Shruti and Parshwanath presenting duet Bharathanatyam recital 8th of February 2015 at Unnati centre ,Ganesha temple road,NGEF layout,SadanandaNagar (Near Bayappanahalli metro Railway station) Bangalore at 6 pm

Performance at Unnati Centre Bangalore.Rudra Namavali choreographed by Guru Shri Kiran Subramanyam Pic courtesy : Shri Sunil Gupta


The dancers open this performance with a Pushpaanjali, which literally means an offering of flowers. This is a traditional opening number, in which the dancers set the mood and the momentum for a colourful performance. The item ends with a verse in description of Lord Shiva, the God of Dance, in Indian Mythology. The various weapons and adornments of Lord Shiva are elaborately described, as he is seated with his consort, Goddess Parvati. Lord Shiva is worshipped as the greatest power in the Universe.

Pushpaanjali in Raga Kadyothkanthi and Adi Tala, a composition of Sri B.R.Sheshadri, set to music by Sri Thirumalai Srinivas. Pushpanjali will be followed by Rudram Namavali in Raga Revathi, choreographed by Sri Kiran Subramanyam.


A Ganapati Stuti is a customary number in a Bharatanatyam recital. The elephant headed god is praised for his virtues and beseeched for his grace. However, this composition, Prabho Ganapate, is treated differently. The dancers speak to Ganapati with affinity and affection as they would do to a friend. They wonder why everyone fusses about searching for Ganapathi everywhere outside, when all they have to do is to find him within themselves.

They tease the lord about his appearance while simultaneously reposing faith in him as the only saviour.

Prabho Ganapathe in Raga Thillang and Adi Tala, Choreographed by Sri. Kiran Subramanyam.


The next number in this evening’s recital is a Thyagaraja composition- Nannu Paalimpa. Thyagaraja compositions are the jewels in the crown of Carnatic music. Not only are they musical marvels, but they are so steeped in Bhakti that they elaborate extensively on the ethos of Hindu philosophy. Hence, it is also a great challenge to adapt a Thyagaraja composition for dance- which means the dramatic content that dance requires has to be added without disturbing the Bhakti quotient of the lyrics.

The poet says in this composition- O lotus eyed Rama and Sita’s Lord, have you come walking all the way to protect me?

The number has been choreographed keeping in mind it’s subtle and abstract qualities and blends Bhakti with drama. Theermanams and Sanchari sequences have been judiciously interwoven into the compositions, to enhance and embellish the beauty of the lyrics.

Nannu Paalimpa in Raga Mohana, Adi Tala- choreographed by Kiran Subramanyam.

4. We continue the recital with an energetic and vibrant song describing the cosmic dance of Lord Shiva. Lord Shiva whose body is smeared with ashes and whose neck is adorned with a garland of skulls dances along with all his Ganas by his side. As the bells on His feet ring with the rhythm of the music, the Devas and Rishis assemble to witness this divine spectacle.

Shankara Srigiri in Raga Hamsanandi, Adi Tala, a composition of Swati Tirunal, choreographed by Sri. Kiran Subramanyam

5. Shringara, the sentiment of love is called the Rasaraja or the king of emotions. No Bharatanatyam recital is complete without a piece on Sringara.

'Kandanaal Mudalai' describes how a young maiden is smitten by love after her first meeting with Lord Subramanya. She describes to her friend, the beautiful garden, where she first set her eyes on Muruga and tells her about the beautiful moments she spent with him. She tells her sakhi "I have fallen in love with him at first sight. Do you know who he is? He is the son of the great Lord Shiva".

Kandanaal Mudalai in Ragam Madhuvanthi set to Adi Talam,a composition of Sri.N.S.Chidambaram, choreographed by Smt. Sandhya Kiran.

6.The recital comes to a breathtaking climax with a Thillana. The Thillana symbolizes the joy of dance on one hand; while on the other, it is studded with intricate verses of rhythm and demands great technical competence from the dancers performing it.

This Thillana has been composed and choreographed by Kiran Subramanyam with an unorthodox approach and abounds in rhythmic complications.

Thillana in Raga Rasikapriya composed and choreographed by Kiran Subramanyam, set to music by noted flautist Sri. Mahesh Swamy.

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