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Kadanakuthuhalam Thillana by Vishwa Shanti Dance Academy
Composer: Dr. Bala Muralikrishna Talam: Adi
In this Thillana, we depict beauty of brindavan and the excitement to
see Krishna playing music. Thillana ends with everyone praying to
Krishna and dancing to his music.
Dancers: Divya Ramakrishnan, Vijaya Chilakamarry, Abha Sharma,
Nisha Balaraman and Sarika Patel
Ragamalika Thillana by Sadhana Dance Academy
Talam: Adi
This item is a lively thillana in praise of the 6-headed Muruga,
showcasing the rhythmical variations in the song with versatile footwork
and patterns on stage.
Dancers: Chinmayi Bettadapur, Aditi Narayanan, Vedika Narayanan
and Namrata Anand
Enjoy classical Indian music on TV. Details at
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Video archives of Yuva Bharati Concerts at
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This event is supported in part by
Arts Council of Silicon Valley
Yuva Bharati
presents
Kalpana
A thematic program based on self choreographed items.
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August 21, 2010
Mission City Center For Performing Arts, Santa Clara, CA
Program
Shiv Shakti - Subramanya Bharathi by Pampa Dance Academy
Ragam: shivshakti Talam: Adi
Shiva Shakti, is one of the masterpieces of Mahakavi Subramanya
Bharati. While the emancipation of women exercised Bharathi’s mind
greatly, this piece demonstrates how he visualized the 'new woman' as
an emanation of Shakti, a willing helpmate of man to build a new earth
through co-operative endeavor. It is a great example of how he
seamlessly blends his unshakable deivabhakti (spiritualism) with his allconsuming Desabhakti (patriotism). The first caraNas of this
composition extol the fiery devi and the last caraNa moves from
spiritualism into patriotism as beautiful bridge.
Dancers: Manisha Murgude, Indira Prashant and Kamakshi Narsimhan
Muddugare Yashoda - Annamacharya Krithi by Shri Krupa Dance
Foundation
Ragam:Kurinji Talam:Adi
In this krithi, Krishna is likened to several jewels, he was laid like a
lovable pearl at the doorstep of Yashoda, his foster mother. He is
Devaki’s and Vasudeva’s son. He is a miracle child seen everywhere in
the land of Gokula . The young gopika maidens treat him like a precious
ruby. He is born for the slaying his evil uncle, Kamsa, and thus he is
likened to the harshness of a diamond. Krishna means darkness, and yet
he is radiant as the emerald that illuminates the three worlds. His
consort, Rukmini, smiles as he engages in love play. She is like the coral
on his lips. He is the topaz that protects the cows and the cowherds. He
is compared to the Vydurya gem that is between the conch and the
discus of Mahavishnu. He is the Pushparaga jewel upon the serpent
Kalinga, whose arrogance he manages to quell. He is the lotus-eyed
one, the lord of the blue-sapphire mountains of Tirumalay. He is the
jewel in the milky ocean, who dances and prances within all of us.
Dancers: Ramya Kuchibhatla and Anjali Kuchibhatla
Bho Shambho by Samidha Satyam
Ragam: Revati Talam: Aadi Composer: Dayananda Saraswathi
Bho Shambho, the cosmic dance of lord Nataraja, explores the
beautiful aspects of the supreme dancing lord. It describes Lord Shiva
as one who “self appeared”, as the source of Ganges and as the
merciful lord who redeems us from the ocean of sorrow, samsAra
Narayanate Namo Namo by Santosh Lakkaraju
Annamacharya keerthana Ragam: Behag Talam: Adi
This song is in praise of Lord Narayana who is always praised by sage
Narada. “Oh Narayana, you killed the demon Mura. Oh Mukunda,
Madhava, the one who is ever adorned with a beautiful smile. Oh
almighty, you are the reliever of rebirths (one who gives salvation). Oh
Lord Narasimha, I bow to you. You are primordial, the one who is
worshipped and praised in Agamas and Vedas. Oh Great lover of music,
Oh Venkateswara, I bow to you.” says Annamayya.
Ragas Dance, Vanessa Mae by Lasya Dance Academy
Music by A R Rahman
The students of Lasya Dance Company present a unique twist of
traditional Bharatanatyam intertwined with modern classical fusion
music. We begin with a well-known mantra from the Upanishads,
leading into an entirely instrumental collaborative piece, featuring a
jugalbandhi style dance-off contrasting the Lasya (feminine) and
Tandava (masculine) styles of Bharatanatyam.
Dancers: Vinidhra Mani, Radhika Chandrasekhar, Mitha
Nandagopalan, Keerthi Venkat, Meghana Murthy, Janani Prasad
Tarini Ullal and Mallika Gargeya
R. Muralidharan’s Ashta Vida Nayika - Deepa Mahadevan
Raga Malika Talam: Adi
The traditional dance repertoire showcases padams and javalis as
scenes from lives of young maidens or Nayikas. The padams and javalis
elaborate on their state of mind with respect to their lover or spouse,
the Nayaka. There are 8 popular such states of mind which have been
noted and codified as Ashta Vida Nayika. This piece would name each of
these nayikas and also bring out their characteristic as laid out in the
texts of dance.
Intermission
Meera bhajan by Madhuri’s School of Kuchipudi Dance
Raagam: darbaree kaanada Thalam: eka thala
The song begins with Meera praying to Lord Krishna asking him to
remove the sufferings from the world reminding him how he saved the
honour of Droupadhi, how he assumed the form of Lord Narsimha and
killed Hiranyakisapu with his fierce form and how he rescued the
Gajraj. The song ends with Meera re-iterating that she is the servant of
the lord and pleading him to ease the suffering and pain in the world.
This dance is a thematic presentation and gives a wonderful
opportunity for the dancersto show the abhinaya aspect of kuchipudi.
Dancers: Madhuri Kishore and Neelima Mandava
Surrender by Natyalaya School of Kuchipudi Dance
Ragam: Hindolam Talam: Adi
This piece consists of intricate rhythmic patters and complex sequences
of dance set to melodious music. It provides a medium for the dancers
through which they celebrate their art form by dancing with a sense of
complete surrender.
Dancers: Santosh Lakkaraju, Manaswini Avvari, Neha Kidambi
Srinidhi Madabhushi, Spoorthi Davala, Smitha Gundavajjala, Meena
Vemuri and Keerthi Vedantam
Rara Chinnanna - Annamacharya Krithi by Sruti Damodar
Ragam:Janjooti Talam:Adi
Annamayya, in this beautiful song, describes the pranks of little
Krishna and how Yashoda beautifully reacts to the sweetness of little
child.Lot of abhinaya can be shown in this song, how a mother gets
upset, how a mother can fondle the child and how she gets annoyed
when the child is really very naughty.