Tala Formats Explored in Kuchipudi Kuchipudi is illustrated by Oopu or Ullasam (swing) which are almost always in Caturasra jāti. From the initial steps, jatis to nrityamshams in the repertoire are set to tisra, khanda, misra, and sankeerna jātis. According to P Sangeetha Rao, musicologist associated with Dr. Vempati Chinna Satyam, Kuchipudi Yakṣagāna Bhāmakalāpam, Gollakalāpam, Usha Parinayam, Prahlada Rama Nātakams have adopted Carnatic rāgas and Tāla formats. Many traditional rāgas and tālas in vilambita speed must have been in vogue back in the days. But over time, many stalwarts like Voleti Venkateswarulu, Banda Kanakalingeswararo, Balantrapu Rajanikantha rao, Patrayani Sangeetha rao Mangalampalli Balamuralikrishna composed new rāgas and tālas. They advocated innovation in tālas without compromising on the tradition. Patrayani Sangeetha Rao used Khanda-eka, Caturasra-jhampe, Misra-jhampe, alongside, Adi, Roopakam etc. especially in the Yakṣagāna traditions. The traj...
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Hastabhinaya - Interpretations on Dasavatara Hastas Natyasastra is more generic in terms of the hastas – they are independent probably due to the drama aspect. But later texts are more evolutionary - like Abhinaya Darpana authored by Nandikeswara which also categorises Hastas into Asamyutha and Samyutha but there are major differences in their usages. There is progress in terms of positions and directions of palms, fingers, wrists etc. Bharata also mentions three positions of palms and 4 categories of wrist joint. Sarangadeva of the text Sangeetaratnakara describes 15 positions of hands in terms of plane, dimension and direction. Comprehensive Hastabhinaya including wrists, palms, and shoulders have evolved in later texts of Natya Sastra Sangraha and Hastalakshana Depika including Sangeetaratnakara. [1] The idea of evolution trailing back from catastrophe (Pralaya) is described in Pralaya Payodhijale from Gita Govindam [2] . Pralaya is a hymn offered to ...
Nuances of Rasa
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Yajur Veda mentions “For he indeed is Rasa, having obtained which, one attains bliss”. There have been several commentaries of Rasa (essence) in Indian aesthetics. Vipralambha Sringara Rasa is expected to be the fertile ground for poetry due to its viraha aspect, but Sambhoga Rasa also is interesting due its nature of continuing deficit. For instance, Gopikas never had enough of Krishna. The scope of Sambhoga widens with the anticipation of Gopikas meeting Krishna. It is not a fleeting experience but a persistent one. A connection can be made here with Adbhuta Rasa . The idol of Rajagopalaswamy in Mannargudi is a wonderous deity in the garb of a woman. It gives an experience of Vi smaya – where one is caught in that frame of time with a fixed gaze. It is not a transient experience, but one wants to come back to relive that moment and experience Rasa. One just cannot obtain the Divine “grace,” ( Karuna ) but needs to become eligible to receive it. That eligibility will stem...