Suddha Nrittam - Duet by Bhairavi Venkatesan & Kameshweri Ganesan - SDN - Bharathanatyam Dance
HTML-код
- Опубликовано: 4 июн 2024
- Suddha Nrittam was performed by Bhairavi Venkatesan & Kameshweri Ganesan on February 24, 2024 under the auspices of Sri Parthasarathy Swami Sabha.
Suddha Nrittam
Adi Talam
Composer: Laya Tapasvi Dr Guru Bharadwaaj
Choreography: Dr Sheela Unnikrishnan
Suddha Nrittam- a classic creation of Mahaguru Mangudi Dorairaja Iyer- an engaging dialogue between the Mridangam and the dancer's anklets.
Attempting to emulate the pattern devised by the Mahaguru, we present Suddha Nrittam today- composed by Mridanga Vidwan Sri Guru Bharadwaaj. Since the five Jaathis will be presented in detail, this piece extends up to a time span of more than 15 minutes.
Our copyright policies on SDN's productions:
Since SDN is run by SRIDEVI NRITHYALAYA TRUST, all the productions of SDN, be it music or dance, become intellectual property of the Trust. Sridevi Nrithyalaya Trust (SDNT) owns all the productions and will not allow anyone to download or use SDN videos/audios, even it is meant to be for non-commercial purpose.
Our social media team, assisted with a legal team, watchfully works in curbing audios/videos of Sridevi Nrithyalaya that have been used in unauthorized way and uploaded in social media. Though we do not put up copyright declarations in all our videos, we strictly adhere to legal formalities and procedures regarding copyrights.
We honestly work hard and spend a good time and amount of our resources to produce our music and dance videos. They are produced and uploaded in our social platforms solely to take our art to all those raiskas around the globe who are unable to reach us in person to enjoy SDN's art live.
It is not about 'misuse' or 'trying to support' our dance and audio productions by just giving credits. Art is for all for sure. Our productions uploaded in social platforms are for the art lovers worldwide to WATCH and ENJOY but definitely not for copying or reproducing without SDNT's authorisation.
SDNT has unanimously derived to this strong conclusion. Therefore, SDN or any individual from SDN would be not to able to grant anyone permission to reproduce our work of any form. 
Развлечения
Excellent 🎉🎉🎉
that was a beautiful offering masterfully executed. Humble pranams to gurus and shishyas🪷
Suddha nritam has become one my favorites bcuz of these 2 people 🤌❤
The coordination between these 3 people (bhairavi akka,kameshwari akka and the mridhangam artist) 🔥👌
Amazing footwork ❤ Kameshwari is the most graceful dancer 🙏
Just one Drum and four dance bells open the door to something special. Without words...
👏👏👏
So beautiful and bustling that it makes everyone watching this smile and enjoy - as much you guys did on stage👌
Soo lovely energetic performance all the best keep on rocking
❤
Awesome ❤❤❤❤
Awsome, beautiful.
💖💖💖🌹🌹🌹🙏🏾🙏🏾🙏🏾
Awesome
It is sooo beautiful both the dancers are excellent performers i loved it ❤❤❤❤❤❤❤🎉🎉🎉🎉🎉🎉🎉👏👏👏👏👏👏👏🙏🙏🙏🙏🙏🌹
அழகு பேரழகு நாட்டியம்❤😊
Love the intro 😍 👌 ❤️
Dancing to the rhythm can be challenging and charming at the same time.
I noticed that in the old classic movies the artists dance to rhythm and music but without lyrics.
Probably the reason was that it would be easier to dub or remake the movie in the other languages.
Excellent performance
The dancers are so synchronized! Beautiful!
Excellent performance 🙏❤❤❤🌸🌸🌸
👏👏👏👏🙏🙏
Wow... amazing 😍👏🏻👏🏻👏🏻
👌❤✨
🎉🎉🎉🎉🎉
Excellent ❤❤❤❤❤
👏Ciao from Italy💐.
How many times does the drummer play this leading up to performance day? Big respect for India's beautiful cultural dance offerings. I just wish the devotion was more steadily present over performance/presentation.
🙏🙏🙏
Excellent 👍🏾
Beautiful
❤️😍🥰👍
❤
Это индийский динамический цигун...
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Kuchpudi?
It is Bharatha natyam
@@klnsjsangeetapaathashala2356 you say that but some of these moves are from kuchpudi
@@Aa-ui6hd yes natuvangam will be in d both classical dance form no so it looks same, little bit difference in both type of dance
@@klnsjsangeetapaathashala2356 hey I’m saying the steps are different even if bani change kuchpudi has v specific steps that bnatayam doesn’t have
Namasthe.
Evolution of the Melattur Bani:
From the traces of History, after the battle of Tallikota in 1565 A.D., the Vijayanagara empire declined. The Kuchipudi art form too, which was cherished by the Vijayanagara kings had to face downfall, due to lost patronage. The Nayakarajas of Tanjore came into power. Naturally and gradually, the glory and grandeur of Vijayanagara empire entered Tanjore along with the art forms and the court of Nayaka kings became the abode of fine arts.
During the 16th century, some of the Kuchipudi artistes, who are known as Bhagavathalus, migrated to the royal court of Tanjore, from Kuchipudi village and received patronage from the king Atchutappa Nayaka. These Bhagavathalus settled at Melattur, a tiny village near Tanjavore, pleased the king with their heart-stealing performances and thus secured an “Agraharam” for themselves from the King Atchutappa Nayaka.
Bhagavathas or Bhagavathalu refers to artistes who sing and dance episodes from Bhagavatham; Mela means group. Therefore Natya mela or Bhagavata mela of Tanjore means the group of artistes (Kuchipudi origin) who sing and dance Bhakthi-soaked episodes from our Puranas and Ithihasas in and around Melattur in Tanjore.
The very word “Bhagavathar” is the Tamil version of the Telugu word “Bhagavatha". Such was the merge of Kuchipudi culture in Tanjavore region. Following this adaptation, it is clear that the then prevailing dance form in and around Melattur too, gained the advantages of few characteristics of Kuchipudi Yakshganams. As the Melattur Bhagavatha Mela dance dramas are very colourful, rich in music and has a mass-appealing quality, the Melattur style Bharathanatyam too has all these characteristics as its unique features.
Mangudi Dorairaja Iyer (1900 - 1980), the founder of Melattur Bani, was a remarkable Mridanga Vidwan. It is said that he learnt dance and Nattuvangam from Melattur Natesa Iyer and created a style of his own called the Melattur style. He is believed to have brought about this style taking some influence from the Bhagavata Mela tradition. The Melattur school of Bharathanatyam too has dramatic elements embedded in its origin, owing to influences from Bhagavata Mela, a predominantly drama tradition.
The Melattur bani incorporates rhythmic sequences in most of its compositions, thanks to the ingenious Mridanga Vidwan that Dorairaja Iyer was. It is believed to have incorporated certain stylistic nuances from the Kuchipudi tradition owing to its historical background. For example, the 'Agratalasanchara' pada bheda which is found in Kuchipudi has been used by Dorairaja Iyer in his Shudda Nrittam. Many doyens of the Kuchipudi tradition such as Vempati Pedha Satyam, Vempati Chinna Satyam, apart from being established Gurus, were also choreographers of dance sequences of yesteryear cinemas. Even Mangudi Dorairaja Iyer has worked with Gemini Studios and the experience that he gained there could have shaped his approach to choreography. In their context, it would be highly appropriate to say that the Gurus' ingenious choreographies were incorporated in movies rather than vice versa.
Mangudi Dorairaja Iyer, as his unique contribution to Melattur style, also invented some challenging and skill- demanding pieces such as the Perani Natyam (dancing on inverted clay pots) and Bhattasa Natyam (believed to resemble Kalaripayattu). These require immense body control, flexibility and balance and as an extension of these is used in the form of some acrobatic body postures and movements in this style, making the style seem brisk, lively and energy demanding. Dorairaja Iyer was a Srividhya Upasaka. Hence, the songs that he taught his students were only based on Bhakti. It is believed that he refrained from teaching his students Varnams and compositions that hailed Kings and rulers. Instead, he only focussed on the spiritual realm of performance. Over the years, however, Padams and javalis have become a part of our repertoire.