![]() The Gopis dancing with vitrtual dandia was remarkable. The Adbhutam and Shringaram had episodes of Vamana avatar and Bhakti of Gopis of Vrndhavana respectively. Soujanya Madhusudhan presentation was very authentic Kalakshetra style. Shobita Arun portrayal of some the wicked personalities in the scripture were laudable. The ingenuity of Surabhi Veeraraghavan who superbly performed as Lord Narasimha presented the posture precisely in Bharatanatyam style. “Bhayam” or Fear was well depicted from the story of the ferocious Narasimha Avatar. Hasyam came out of Samudra Manthan, among other things. The Karunya or Compassion of the Lord Dwarakadheesh and poor classmate Sudama story. The Anger story was depicted with excellent choreography with fast paced Jathis and the anger of Lord Shiva. Bibatsa or disgust was conveyed by the transition of soul passing through the disgusting Vaitrani River. Veeram of Bhishma was well portrayed by his vow of either killing Arjuna or forcing Krishna to pick up a weapon. “Bhakti Sugandham” dance ballet opened with a group dance of swift Jathis portraying the Nava Rasa content of Courage, Disgust, Anger, Compassion, Humor, Fearfulness, Wonder, Love and Peace that was presented through popular stories taken from Srimad Bhagavatam, the crown jewel of all Indian sacred texts. One can see that Rasa Abhinaya was predominant in all of the nine different emotions. It was interesting to witness how Srimad Bhagavatham originated. This was followed by soulful poetical tribute to Srimad Bhagavatham. Both the Artistic directors spent a whole year of planning, preparations with creativity and production of phenomenal orchestra accompaniments and costumes.īeginning with the Dhyana Sloka the dance commenced with carrying the Text of Srimad Bhagavatham in a palanquin, as the scripture itself is an embodiment of the deity Lord Krishna. The concept being sublime, important extra efforts were contributed by dance choreography of Surabhi Veeraraghavan and exclusive music rendition of Uma Ranganathan. To depict the nine different forms of Rasa or emotion many episodes were taken from Srimad Bhagavatham and woven into expressive performance through narrative Bharatanatyam. The dance performance was embodied with expressions of nine different emotions called “Nava Rasa” and the Global Organizations of Divinity produced the program with the music compositions created by His Holiness Sri Sri Muralidhara Swamiji. Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.HOUSTON: “Bhakti Sugandham” meaning Devotional Fragrance was an exposition of exquisite music combined with exclusive Bharatanatyam dance. Sanskrit, also spelled संस्कृतम् ( saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). ![]() Surabhirasa in German context information ![]() the gum olibanum tree, Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary ( -sā) The gum Olibanum tree, (Boswellia thurifera.) E. Surabhirasa in Sanskrit glossary Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
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