Divya Dévaguptäpu’s a bharatanātyam performance
Venkatakrishnan Mahãlingam Hailing from the musical ecology of Thiruvidaimarudur, is a Bharathanātyam artist with a multifaceted perspective and understanding of this ancient art. Having learnt the rudiments under Smt. Rājalakshmi Ammāl he furthered his interest under Guru. M Selvam at Kumbakōnam. His insatiable passion for learning and perfection lead him to the renowned Dhananjayans, under whom he has flourished and won critical acclaim as a performer, teacher, composer and nattuvanar. He is also a serious practitioner of Carnatic music. He has a Bachelors degree in Music from the University of Madras.
Easwar Rãmakrishnan A disciple of his father Prof. P. P Rāmakrishnan and Padmabhūshan. Prof. T.N.Krishnan, Easwar completed his advanced music training from Kalākshétra Foundation, Chennai. Easwar has performed at various venues throughout India as well as through All India Radio, DD and other television channels for over a decade. He is a recipient of both the junior and senior National Talent Search Scholarship awarded by the Government of India.
K P Ramésh Bãbu Ramésh Bābu is an accomplished, seasoned Mridangam artiste and disciple of Shri. Kāraikudi R. Mani. He is a successful freelance artist who has accompanied some of India's finest musicians/dancers on radio, television and stage. He has been recognized as a top grade Artist on All India Radio and has received several awards.
Krishna Kutty Krishna Kutty has been playing the violin for a number of years. At age 13, he began his initial training with V. Lakshminārayan, father of renowned violinist L. Subramaniam. Later he continued his advanced training with Viji Krishnan, daughter of Padmabhūshan T.N.Krishnan. Since 1988, Krishna has accompanied numerous musicians and dancers in California and abroad. Krishna is currently a senior research scientist working for a private Biotech company outside of San Diego. His fluency and love for the music is eloquently displayed in his proficiency of playing violin.
by divya dévaguptāpu Bharata Nātyam a merging of physical energy with
spiritual ideals is a composite art form originating in South India that combines precise, stylized and rhythmic movements with music, drama and poetry using a sophisticated vocabulary of gestures or Hastas, rhythm or Tāla and expression or Bhāva. Bharata Nātyam is composed of two distinct aspects, Nritta and Abhinaya. Nritta (Pure Dance and Abstract Movements) is intricate rhythmic footwork synchronous in time and tempo to the music. Abhinaya (Mine or Facial Expression) visually interprets the narrative of the lyrical composition – and when an artiste brings together the flare of Nritta with the shades of Abhinaya, the sheer communicative beauty of the form emerges. The fluid beauty then takes on myriad of colors that rouse a Bhāva or expression creating a Rasa or an emotion, soaked in the beauty of the form and the mood. Looking beyond the music and the drama, the rhythm and the poetry, Bharata Nātyam is really moored in something more profound and spiritual. In its very true essence, Bharata Nātyam is visual moving poetry performed with grace, expression and tender beauty. Dévi Stuti Rāgam Nāgaswarāwali Tālam Misra Jhampa Composer K. P Ramésh Bābu Choreography Divya Dévaguptāpu
Mallāri is a commonly performed composition on the Nādaswaram when the temple deity is taken on a procession. This composition has been adapted to Bharatanātyam and is performed as a purely rhythmic opening piece. This is followed by a Slōka on Dévi extolling the Goddess as the divine form of the Symbol ŌM. This will be followed by Alarippu in Chaturasam (Ushi). Rāgam Shanmukhapriya Tālam Adi Composer Dr. M Bālamuralikrishna Concept and Choreography Divya Dévaguptāpu Jati Compositions M.S Sukhi & K.P Ramésh Babu Choreographic Inputs Dr. M Bālamuralikrishna, Prince
Rama Varma, Tiruvaiyāru S Krishnan and Kanakam Dévaguptāpu
The Hindu chant AUM is the symbol of Brahman (or supreme consciousness) of which the various Gods Brahma, Vishnu and Shiva are manifestations. It is composed of three syllables ‘A’ ‘U’ & ‘M’, which symbolize creation, sustenance and destruction of this universe respectively. It is not just a sound or even a mere vibration, but just pure existence. The sound of the rain and thunder, the rotation of the earth, the sound of the gentle breeze and the ferocious fire is all nothing but ŌM. ŌM is all pervading, like Akāsha or Ether. It is through this symbol that the sacred sounds of music emanate. The seven notes, rhythm and music is believed to have originated from the five faces of Lord Shiva, who is nothing but a manifestation of Om. ÕM is again manifested as Krishna who is but an avatāra of Lord Vishnu the sustainer. Krishna’s flute is another symbol for Freedom or Ōm. In his hand it indicates that he is like a flute - hollow and empty. Without any ego! It’s sweetest sound filled the forest. The birds rejoiced with the sound. The deer would flock to hear him play. There was pure joy in the sound of the flute. The air itself was electrified and charged with the sound, new leaves sprouted, flowers opened and all around there was new life. The sound that originated when Lord Vishnu lay in the banyan leaf contemplating about creation with Brahma having sprung on a lotus that emanated from his navel, it is in you that we lay full faith to realize Brahman. Ōm is the entire realm of physical, astral, and causal existence - body, mind, and soul on the individual level. In sum - Ōm is the totality of being.
INTERMISSION Rāgam Rāāmkali Tālam Misra Chāpu Composer Jayadéva Music Composition Kartik Séshadri Choreography Divya Dévaguptāpu
In this last Ashtapadi of Jayadéva, Radha secure of having won over her love Krishna, wanting to ornamant her, freely tells Him , “Oh Yādava, your hand that is cooler than sandalwood on me, paint a leaf design with deer musk on love’s ritual vessel. Draw khol glossier than a swarm of black bees on my eyes. Hang earrings on my ears that reflect the restless gleam of doe eyes. Fix flowers in shining hair loosened by loveplay. Drape me with jeweled girdles, cloths and ornaments oh Krishna”.
She told the joyful Yadu hero playing to delight her heart. Rāgam Cenchurutti Tālam Ādi Composer Dāsu Sreerāmulu Choreography Divya Dévaguptāpu
A khandita nāyika, a heroine angry at her man, says to Venugōpāla of Tottlavaluru, “Why are you friendly with two women? Please go to her house and leave me alone. What is this clamour about and why are you after me? I wonder how Brahma even created you! I am disgusted to see traces of your presence in her house, I feel ignored and perturbed, please leave! Why are your eyes red and your cheeks black with eyeliner? I find signs of cupids sports in your eyes. Your affairs are too many and you are incomprehensible!” Rāgam Kāpi Tālam Ādi Composer Pāpanāsam Sivan Choreography V.P. Dhananjayan
The devotee wonders and asks Mother Yashōda, “What penance did you do oh Yashōda to have the lord of the fourteen worlds Krishna himself to call you Amma with such love?! You cuddled him, nursed him and put him to sleep singing lullabies. Even Brahma and Indra wondered in jealousy to see you have the opportunity of the Lord himself begging you for forgiveness. I wonder what penance you did!” Rāgam Brindāvani Tālam Ādi Composer Dr. M Bālamuralikrisha Choreography Divya Dévaguptāpu
A joyful finish of pure dance movements culminating in a description of the melodies of Krishna’s flute.
Rāgam Misra Brindāvani Tālam Ādi Composer Choreography Divya Dévaguptāpu
Our salutations to Ganésha, the incarnation of Omkāra! The music plays in our body, mind and soul – please come dancing with bells and anklets tied around your feet. Your dancing fills the world with such joy. All your devotees are assembled here and the entire cosmos is dancing blissfully in the presence of your divinity. Come, the liberator of the world, with the gait of a chubby child dancing and filling us with joy!
Abhinaya (expression) and Lāsya (grace) are epithets that define the true artiste in Divya.– a rare alchemy of rich tradition and sublime gift, Divya evokes the lost ethos of a discerning purist. Divya’s growing years as a dancer were steeped in the classical and unyielding heritage of her Gurus, Kum. Kamalā Iyengār, Smt. Minal Prabhu and ‘The Dhananjayans’. She started learning to dance at the tender age of 5 and performed her Arangétram at the age of 7. Hailed a child prodigy by many art critics, she has been performing and touring as a solo artist and has performed at several prestigious venues worldwide. Graceful in movement and studious in approach, Divya’s total and complete immersion in her art elevate a focused pursuit to fluid poetry. A lovelorn Nāyika (heroine) or a longing Bhakta (devotee), Divya’s Abhinaya is effortless and echoes with subtle yet communicative detail. An innately absorbed performer, her art is a consummate marriage of rigorous grounding and deep meditative personal interpretation. Divya is also an accomplished Engineer with a Masters in Electrical Engineering and has worked in the Telecommunications industry for several years. However, her strong calling for dance has made her give up a career in Engineering to pursue a fulltime career in her lifelong passion of Bharatnātyam. Divya currently divides her time between USA and India and is establishing herself as a brilliant professional performer and choreographer of this divine art form. Today’s performance is composed of two parts – from the sublime to the human. The first half - Ōmkāra delves into the deeper meaning and symbolism of the Hindu symbol AUM. The second half is a journey of human emotions ranging from the divine love of Rādha to Yashōda mothering little Krishna.
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