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| The works of Purandaradas, which include the basic 'Sarali Swarams', 'Jantaswarams','Alankaras' and 'Pillari Geethams'- are suitable for the elementary training and initiation in to Carnatic Music. While composers like Purandaradas and Annamachary were involved in creating 'Bakthi Sangeeta' in the forms of thousands of Sankirtanas, the other dance oriented 'padam' compositions had helped to secure the patronage of rulers. During the period of Achytappa Nayaka of Nayak Dynasty, which succeeded the Vijayanagar dynasty in the south, exponents of music and dance and poets had migrated tot he south. Many of them belonged to the region of the river Krishna and Rayalaseema in Andhra Pradesh. Prominent among them were Kshetrayya, Narayanatirtha, Kasinathayya, Naranakavi, etc. During this period many dance orientedworks
including - 'Kautwam','Sabdam', |
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'Prabandham' and 'Padma' were created. This continued for the next three generations of the Nayakas. Govinda samayya and Kuvana 'Prahlada Natakam' a Yakshagana creation of Melatttur Venkatarama Sastri is very popular. The Tarangam compositions of Sri Narayanatirtha are the treasure house of the elements of Bhakti, Gnana and Vairagya. The Kuchipudi dance style has successfully adopted his Tarangams like -"Neelamegha Sareera" and "Bala Gopala". The Yakshagana form had reached its glory only during the Nayak period especially during the 17th century which continued up to the 19th century. Sri Krishna-Leela tarangini, a Sanksrit work by Sri Naraanatirtha is a Yakshagana. The early practice of Yakshagana during the 12th Century was only in the form of music and not dance.
Paarijaatapaharanam" a Yakshagana in Telegu by Sri Narayanatirtha is not
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available in its full form.
Sri Sidhendrayogi ans Sri Narayanatirtha are said to have a relationship between them as that of a student and a teacher. But there is a difference of opinion about the existence of two different people with two different names, considering the works supposedly written by these two personalities. This is due to the similarities in the lives led by them- both are said to be Sanyasis, both authored Parijathapaarayanam in Telugu. Which is said to be in Yakshagana form. The Kuchipudi Dance style gives equal importance to both "Bhamakalapam" and "Tarangam'. These are but some similarities that created doubts in the minds of the Kuchipudi dance lovers.
"Kowtwam", "Sabdam" and "Prabandam" are items meant for sole performances. The Kuchipudi dancers gave performances of these two solo items in the early days |
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before they switched over to Siddhendrayogis Bhamakalapam. But this change over the dance form achieved the popularity of the public in general. Hitherto this art form was limited to performance in Temples and the Courts of rulers. "Bhamakalapam" was followed by the other dance dramas like "Gollakalapam", 'Ramanatakam', "Ushaparinayam", "Sasirekhaparinayam" etc.
Kasinathayya, Naranakavi, Venkataram Sastri and others who originally belonged to Kuchipudi are later go settled at Melattur. Their works include sabdams, which are in the nature of both divine praise and also praise of a ruler.
The Kuchipudi dancers over a period turned their attention to the more popular Yakshagana and the ancient Prabandham and Kowtwam slipped out of their repertoire. Thus they had
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move away from the tradition of "Bhagavatamela". This is because Yakshagana supports 'Lokadharmi' more than the 'Natyadharmi'
The ancient items Prabandham and Kowtwam are more related to classical Ragam and Talam. Bhamakalapam received popular appreciation. The songs in the Yakshagana are called "Daruvulu". The song each character sings to introduce him or herself is called "Pravesiki Daruvu". The various Daruvus are descriptive of the nature of the character or the situation in a drama. They include "Akshepaki Daruvu", "Nasikhramiki Daruvu" etc. Bhamakalapam as said earlier is very popular among the general public and some Daruvus like "Bhamane Satya Bhamane", "Sakunala Manchivayene", "Madana", "Yendubothivi",
"Raajeevaakshudu Raajagopaludu" and 'Siggaayenamma" are not only recognized by many in Andhra but a
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lot of them can sing as well. 'Vedale
Baanuni Varasuta" in Usha Parinayam,
"Kanaka kasipudanu Dhanuedrudanu" in Prahalada, "Gollabhama vatchenu" in Gollakalapam are other Daruvus which received popular appreciated. The format of Daruvu is different from the compositions of classical music and the musical aspect of the Daruvus inclines more towards the dance element of expression rather than strict classicism, which is why its sounds differently even though the Daruvus are set tot classical Ragas and Talas. Some of the Ragas adopted for Daruvu singing include "Nata", "Saveri", "Kamboji', 'Mukhar", "Athana", 'Khamas", "Puri Kalyani" etc. However, kuchipudi can do well by paying more attention to its musical aspect.
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