Yuva Bharati
Presents
Kalpana – 2013
A choreographic Showcase by SF Bay Area Dancers
August 3rd, 2013, 4:00 pm - Mission City for Performing Arts, Santa Clara, CA
www.yuvabharati.org
Program
Jwala – Flames (premiered 2011)
Concept, Rhythms & Choreography: Rasika Kumar
Performers: Rasika Kumar, Malavika Kumar, Sindhu Natarajan, Nilufer Jain, Sahana Vishwanath, Shachi Kumar
Music composition: Asha Ramesh Nattuvangam: Mythili Kumar
Fire. Depicted from the smallest flickering lamp to an all-encompassing conflagration, the fire crackles, burns, and sparks as it grows.
PrahladaPattabhishekaSabdam
Choreography & Performance: Sahiti Reddy Vedire
Vocal, Nattuvangam and Sound Design by Sri D.S.V. Sastry
Mridangam by Sri Rajagopalacharya, other percussion accompaniments by Sri Jayakumaracharya
Violin by Sri Dinakar
“TheSabdam” is a compositionthat has its own unique way of rendering sollukattus and the lyrics. “Prahlada Pattabhisheka Sabdam” revolves around the limitless anger that Hiranyakasyapa feels for Lord Vishnu and the boundless bhakti his son, Prahlada, has for the same divine force. Beginning with the boon that the rakshasa king asks of Brahma, the song describes the way in which the father blinded by his hatred to Vishnu, tries to end the life of his son. The encounter of Hiranyakasyapa and the ferocious Narasimha Swamy avatar that Vishnu takes on is dramatized and the piece concludes with Prahlada being anointed as the King by Vishnu himself. The depiction of the characters Hiranyakasyapa and Narasimha have been inspired by the Yakshagaana style and the sound pattern of the sabdam has been consciously deviated from characteristic repetitive form.
GitaAmritam: Essence of Bhagwat Gita on Karm Yog
Script, Choreography & Performance: Gayatri Joshi
Music Composition: Subhas Khasnabish
Rhythm: Bijay Barik
The Gita begins before the start of the climactic Kurukshetra war, where the Pandava prince Arjuna is filled with doubt on the battlefield. Realizing that his enemies are his own relatives, beloved friends, and revered teachers, he turns to his charioteer and guide, Lord Krishna, for advice. Responding to Arjuna's confusion and moral dilemma, Krishna explains to Arjuna his duties as a warrior and prince, elaborating on a variety of philosophical concepts. This item is an effort to share the message of Gita in a very simplified form as each one of us experiences frustrations, confusion and helplessness in our daily lives just as Arjun does.
Atmanivedan - Journey of A Woman
Choreography & performance: Sayali Shetye Goswami
Composition: Shri Shankhachur Lahiri
Atmanivedan portrays the conflicts, struggles, and triumphs of a woman’s life. The three stages portrayed are childhood, marriage, and the birth of her children. At the end of the piece she looks back at these important milestones in her life and reflects on her spiritual journey through life. Each stage of life is accompanied by its own unique taal and music to reflect the evolution of her emotions. The inspiration behind this choreography has been the poetry of Marathi poetess Bahinabai Chaudhary, and her conviction that the divine can be realized in a woman’s daily life. Couplets of her poetry have been woven into the dance to bring forth the beautiful aspects of a woman’s life.
The Call of the Flute
Concept, Choreography and rhythms: Rasika Kumar
Lyrics: Krishna Karnamrutha by Bilwamangal Music: G.S. Rajan
Recorded music featuring G.S. Rajan (flute), Asha Ramesh (vocal), Malavika Kumar (nattuvangam), N. Narayanan (mridangam), and Shanthi Narayanan (violin)
The poet wonders thus: ‘May I attain in another birth the hallowed state that this bamboo stick has obtained by being held at the lips of the glorious cowherd Krishna. May I be born as a reed on the banks of river Yamuna’. The whole world - earth, mountains, deer, bees and peacocks are moved by the blissful sound of Krishna’s flute. Sages and cowherds revel in the melodies resounding in the air and surrender themselves to Him.
AshtaVidha Nayika
Choreography & Performance: Neha Kidambi & Sneha Bahthina
Ragamalika Taalam: Adi
This unique lyrical piece describes the eight stylized psychological states of the relationship of a heroine with the hero has been composed by Sri Madhurai R. Muralidharan.
Swaadheena patikais shown the confident lady who has her husband completely under her control and very proud of his love and loyalty.
Vasaka-sajjikais described as the one, who adorns her self beautifully and waits for her lord.
Virahotkantithais depicted as the one who is disappointed and scared as her lover has not come back and yearning for the reunion with him.
Proshitapatika, is shown as the heroine who pines for her husband who is away on a journey. She is unable to eat or sleep as she is distraught by the temporary seperation.
Khanditais portrayed as the one who is outraged by the discovery of marks of unfaithfulness of her lord and sends him away in anger.
Vipralabdhais depicted as the heroine who discovers that her man is with another woman and is enraged by this discovery
Kalahantaritaportrayed as the one who repents for her hasty behavior in quarreling with her lover and rectifies the situation.
Abhisarikadepicted as the brave heroine who goes and meets her lover and entices him with her sweet talk and her graceful walk.
Shankara Sri Giri
Choreography & Performance: Akshaya Ganesh
Ragam: Hamsanandhi
Talam: Adi
Composer: Swati Thirunal
This piece portrays the vigorous dance of Lord Shiva. Smothered in ashes, holding the fire and drum in his hands, adorned with snakes, and with his third eye open, Lord Shiva dances in the golden temple hall of Chidambaram, to music accompanied by the devas and He protects the world by destroying all evil.
Screening of ‘I am Satyabhama’
8pm, August 24th 2013, Blue Light Cinema, Cupertino (Admission Free)