Shankarabharanam Varnam -
Sami Ki Sari Evvare
Varnam: sAmikki sari evvare
Type of Varnam:. Pada Varnam (Tanjore Quartet Varnam). Pada Varnam is primarily intended for classical dance (bharatanatyam) but also sang in Musical concerts. Language: Telugu Raag: shankarAbharaNa (About Raag: As the name suggests, this raga is closely associated with Lord Shiva. The swaras in this raga form the ornaments of Shiva. The seven swara taken by this raag are: Shadja Sa, Chatusruti Ri (Rishabha), Antara Ga (Gandhara), Suddha Ma (Madhyama), Panchama Pa, Chatusruti Dha (Daivatha) and Kakali Ni (Nishada). These notes represent the seven ornaments of Shiva, which are Sa-Sarpa, Ri-Rudraksha, Ga-Ganga, Ma-Mruga, Pa-Puspha, Dha-Damaruka and Ni-Nishkara. Taal: Adi tala Composer:Kunrakudi Krishna Iyer |
Satvikam Shivam's Molee-Pranally performing Varnam
Satvikam Shivam's Sravya-Saadhya performing Varnam
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Pallavi: Samikki Sari Evvare (Na)
Sakhihi Viraha Morvane
Anupallavi: Bhumilo Bhaskrendra Setupati Bhupatudu
Namida Prematonu Nannu Saukaga Nincinade
CiTTasvara / Muktayi swara -
ma mA ga ri pa ma ga ri ma ga ri sa rI rI sa ri gA rI sa ga ri sa ni sa ri gA (x2)
ma ga ri sA pa ma ga ri sA dha sa pa pa ma ga ri sA ni ni dha dha pA dha ni sA
dha ni sa rI ri sa ga rI ma ga ri sa ni sa ga ri sA ni sa ri ni pA dha ni sA
sa ri sA ni dha dha ni sA ni dha pa dha nI dha pa ma pa dha pA ma ga ri sa
ma ga ma pa ga ma pa dha ni sA (mikku)
Charnam: Vemarudu Vipincuna Banamu Napai Konivai Jagataikuni Vashama (2)
Rasikudu Rasikudu Ratha Gaja Venripudu
Virapatika Ipudu Kanudu Vadu
Turaga Shastra Ikanana Kamalunenu Sadi Vinadi Ipudu
Karunanidhi Dayatirudu Amaladhipa Kulasirudu Ati Dhirudu Bhaktirudu Sudatidaya
Charnam Swara with Sahityam:
1: valapu nIkE rUpa vasamA nADu
sA rI nI sA rI dhA sA rI rI sa ri ga (x2) (valapu)
2: EmO inta vinta yADu konaDu (valapu)
rErE ga sa ri ga rI ma ga rI sA ni sA ri ga sa ri ga rI
sa pa ma ga ri sa pa ma ga ma ri ga ma (x2) (valapu)
3: nA KAtuDu sayanA Kramulunu nA mO vi ni i kosari
Kosari-ko-ni vEvidamulanu (valapu)
gA gA ga ma dha ma ga ma ga ri sa ri gA gA
sA dha pA dha ma ga ri sa ri pA ma ga sa ri ga (x2) (valapu)
4: VArA Varamu jEsinalasu rArA
vipu-DE muttu rAmalinganEpati puTTuDu (valapu)
mammA pa ma ga ri ga mammA dhA pa ma gaga mammA ni
dha pa ga ga mammA sA ni dha pa ga mammA dha ma ma (valapu)
5: Chinna da Na ni ne Lukonna samana cei-konna a-pani
Ve-Du konna jaDanuko nu kani konna iTuLa (valapu)
sa sa ni sa ni dha pa pa ma ga ma dha dha pappa ri ga ma ga ri sa (x3)
papapa sA sA dha sa rI rI rI ri sa ri sa ni dha pa dha ni sA
paddha pa ma gA mappa ma ga rI rI ni ri ga a ga ri sA sa
ni sA ni ga ma pa ri ga ma pa (x8)
ma pa pa sA sA dha dha rI ri nI rI rI sa
Rasikudu Rasikudu Ratha Gaja Venripudu
Virapatika Ipudu Kanudu Vadu
Turaga Shastra Ikanana Kamalunenu Sadi Vinadi Ipudu
Karunanidhi Dayatirudu Amaladhipa Kulasirudu Ati Dhirudu Bhaktirudu Sudatidaya
Charnam Swara with Sahityam:
1: valapu nIkE rUpa vasamA nADu
sA rI nI sA rI dhA sA rI rI sa ri ga (x2) (valapu)
2: EmO inta vinta yADu konaDu (valapu)
rErE ga sa ri ga rI ma ga rI sA ni sA ri ga sa ri ga rI
sa pa ma ga ri sa pa ma ga ma ri ga ma (x2) (valapu)
3: nA KAtuDu sayanA Kramulunu nA mO vi ni i kosari
Kosari-ko-ni vEvidamulanu (valapu)
gA gA ga ma dha ma ga ma ga ri sa ri gA gA
sA dha pA dha ma ga ri sa ri pA ma ga sa ri ga (x2) (valapu)
4: VArA Varamu jEsinalasu rArA
vipu-DE muttu rAmalinganEpati puTTuDu (valapu)
mammA pa ma ga ri ga mammA dhA pa ma gaga mammA ni
dha pa ga ga mammA sA ni dha pa ga mammA dha ma ma (valapu)
5: Chinna da Na ni ne Lukonna samana cei-konna a-pani
Ve-Du konna jaDanuko nu kani konna iTuLa (valapu)
sa sa ni sa ni dha pa pa ma ga ma dha dha pappa ri ga ma ga ri sa (x3)
papapa sA sA dha sa rI rI rI ri sa ri sa ni dha pa dha ni sA
paddha pa ma gA mappa ma ga rI rI ni ri ga a ga ri sA sa
ni sA ni ga ma pa ri ga ma pa (x8)
ma pa pa sA sA dha dha rI ri nI rI rI sa
Varnam Entry:
16 Counts in Adi Tal to take entry….
The dancer standing in samapada stance, performs the subtle and graceful neck and eye movements in the beginning and then stamping the ground with the feet - Tattu, prepares herself for a breathtaking jati in three speeds known as Trikala jati
16 Counts in Adi Tal to take entry….
The dancer standing in samapada stance, performs the subtle and graceful neck and eye movements in the beginning and then stamping the ground with the feet - Tattu, prepares herself for a breathtaking jati in three speeds known as Trikala jati
Jati : 1 Trikal Jati
Trikala Jati is performed in 3 speeds - Vilambha, Madhyama and Druta. The phrasing of the jati is in the slow speed first, then the s'ollus of the first speed are doubled in the second speed and quadrupled in the third speed. The tongue twisting tirmanam reeled off by the nattuvanar, matched by an equally meticulous foot work and scintillating body movements of the dancer give an eye filling experience.
Talangu Tak Diku Tak Tari Kita Tum
(Vilambit Laya) Dit Tam Kit Tak Tari kit, Tak Tari Kit Tak Taat Tazam (2)
Kita tak
(Madhya Laya) Dit Tam Kit Tak Tari kit, Tak Tari Kit Tak Taat Tazam (4)
(Dhrut Laya) Dit Tari Kit Tak Dita Tari Kit (4)
Dit Tari Kit Ta Tai
Di Ta Tari kit Tai
Tat dhit dhit ta Taka diku Tadhinginatom
Tat Dhit Tam Taka Tadhinginatom
Dit Tam Tadhinginatom
Trikala Jati is performed in 3 speeds - Vilambha, Madhyama and Druta. The phrasing of the jati is in the slow speed first, then the s'ollus of the first speed are doubled in the second speed and quadrupled in the third speed. The tongue twisting tirmanam reeled off by the nattuvanar, matched by an equally meticulous foot work and scintillating body movements of the dancer give an eye filling experience.
Talangu Tak Diku Tak Tari Kita Tum
(Vilambit Laya) Dit Tam Kit Tak Tari kit, Tak Tari Kit Tak Taat Tazam (2)
Kita tak
(Madhya Laya) Dit Tam Kit Tak Tari kit, Tak Tari Kit Tak Taat Tazam (4)
(Dhrut Laya) Dit Tari Kit Tak Dita Tari Kit (4)
Dit Tari Kit Ta Tai
Di Ta Tari kit Tai
Tat dhit dhit ta Taka diku Tadhinginatom
Tat Dhit Tam Taka Tadhinginatom
Dit Tam Tadhinginatom
Pallavi:
sAmikki sari evvarE (nA)
Meaning: Who can be said to be equal to my lord. The pallavi ‘Saamiki sari evvare’ unfolds with the idea that there is no one equal to the Lord.
The pallavi ‘Saamiki sari evvare’ unfolds with the idea that there is no one equal to the Lord. The Sethupati lords were great patrons of arts and literature who were described as ‘sangeeta vidya sahitya vinodan’. The dance composer had chosen to interpret it to mean that there is no one to equal his musical skills, bravery and knowledge of the sastras.
(Choreography Understanding: Choreography represents that no one to equal his musical skills, creativity of art, bravery and knowledge of the sastras)
We use 6 time singing of this line to elaborate the meaning on this Pallavi.
1: My Lord… is there anyone equal to my Lord…My lord?
2: One has shining forward decorated with a crown… is there anyone equal to my Lord…My lord?
3: Whose Face is charming like a moon…. and he plays sitar (Indian String instrument)… he plays amazing !!
4: His eyes are like lotus paddles. And he is an artist. Come friend, look at this beautiful painting he has made!!
5: Wedding necklace I am wearing… for my brave king who has defeated many other kings in the battles
6: (Tatti Metti Foot work) My Lord is a very learned.. knows 4 Ved (books of knowledge) and also master of 5th Natya Ved
sAmikki sari evvarE (nA)
Meaning: Who can be said to be equal to my lord. The pallavi ‘Saamiki sari evvare’ unfolds with the idea that there is no one equal to the Lord.
The pallavi ‘Saamiki sari evvare’ unfolds with the idea that there is no one equal to the Lord. The Sethupati lords were great patrons of arts and literature who were described as ‘sangeeta vidya sahitya vinodan’. The dance composer had chosen to interpret it to mean that there is no one to equal his musical skills, bravery and knowledge of the sastras.
(Choreography Understanding: Choreography represents that no one to equal his musical skills, creativity of art, bravery and knowledge of the sastras)
We use 6 time singing of this line to elaborate the meaning on this Pallavi.
1: My Lord… is there anyone equal to my Lord…My lord?
2: One has shining forward decorated with a crown… is there anyone equal to my Lord…My lord?
3: Whose Face is charming like a moon…. and he plays sitar (Indian String instrument)… he plays amazing !!
4: His eyes are like lotus paddles. And he is an artist. Come friend, look at this beautiful painting he has made!!
5: Wedding necklace I am wearing… for my brave king who has defeated many other kings in the battles
6: (Tatti Metti Foot work) My Lord is a very learned.. knows 4 Ved (books of knowledge) and also master of 5th Natya Ved
Aradi: Tak Tazam Tak Tazam Tak Tazam
Each Jathi in varnam is followed by "Aradi" or "Arudi. Every jati, including the Trikala jati ends with a brief rhythmic dance cadence called 'arudi' usually set to a single 'Avartan' or one full time measure of a tala.
Each Jathi in varnam is followed by "Aradi" or "Arudi. Every jati, including the Trikala jati ends with a brief rhythmic dance cadence called 'arudi' usually set to a single 'Avartan' or one full time measure of a tala.
Varnam Jati : 2
Talangu Tak Diku Tak Tari Kita Tum
Tanuk Zanak Tari Zum Tari Ta, Ta Ta KiT taka Tum
Tanuk Zanak Tari Zum Tari Tai, Tai Tai KiT taka Tum
Tanuk Zanak Tari Zum Tari Ta, Ta KiT taka Tum
Tanuk Zanak Tari Zum Tari Tai, Tai KiT taka Tum
Tanak Zanak Tanuk Zanuk
Dimi Dimit Tak, Dimi Dimi Kit Tak Taku Diku
Tak Tat dhit Ta - KiT taka Tum
Tak Tat dhit Ta - KiT taka Tum
Tak Tat dhit Ta - KiT taka Tum
Talangu Tak Diku Tak Tari Kita Tum
Tanuk Zanak Tari Zum Tari Ta, Ta Ta KiT taka Tum
Tanuk Zanak Tari Zum Tari Tai, Tai Tai KiT taka Tum
Tanuk Zanak Tari Zum Tari Ta, Ta KiT taka Tum
Tanuk Zanak Tari Zum Tari Tai, Tai KiT taka Tum
Tanak Zanak Tanuk Zanuk
Dimi Dimit Tak, Dimi Dimi Kit Tak Taku Diku
Tak Tat dhit Ta - KiT taka Tum
Tak Tat dhit Ta - KiT taka Tum
Tak Tat dhit Ta - KiT taka Tum
sakhihi viraha mOrvanE
Meaning: “O friend I cannot bear this separation,”
In the second line of the pallavi for viraha nayika which says, “O friend I cannot bear this separation,” This long section emphasis on more on facial expressions (mukhaja abhinaya)
(Choreography Understanding:
O Sakhi (Friend) …. I cannot bear this separation. The Nayika complaints to her friend (2 times)
Sakhi convince her to take to the garden to cheer her up. But Nayika leaves sakhi and sits under the tree wanted to stay alone
Sakhi is thinking what should I do to change Nayika’s mood and she sees a cow. She takes the pot and milks the cow to get fresh milk Nayika likes. Sakhi gives this milk to Nayika and force her to drink it. Sakhi feels disappointing when Nayika vomits.
It is almost night time.. as moon is shining in the sky…Sakhi decides to make nice flower bed so Nayika can sleep well. She picks the best flowers and spread them on her bed. She sprinkles her favorite perfume also.
After making bed ready…she calls her for good night sleep. Nayika is so much distressed because of her pain… she could not sleep. Without regular sleep and eating she has become weak and thin)
Meaning: “O friend I cannot bear this separation,”
In the second line of the pallavi for viraha nayika which says, “O friend I cannot bear this separation,” This long section emphasis on more on facial expressions (mukhaja abhinaya)
(Choreography Understanding:
O Sakhi (Friend) …. I cannot bear this separation. The Nayika complaints to her friend (2 times)
Sakhi convince her to take to the garden to cheer her up. But Nayika leaves sakhi and sits under the tree wanted to stay alone
Sakhi is thinking what should I do to change Nayika’s mood and she sees a cow. She takes the pot and milks the cow to get fresh milk Nayika likes. Sakhi gives this milk to Nayika and force her to drink it. Sakhi feels disappointing when Nayika vomits.
It is almost night time.. as moon is shining in the sky…Sakhi decides to make nice flower bed so Nayika can sleep well. She picks the best flowers and spread them on her bed. She sprinkles her favorite perfume also.
After making bed ready…she calls her for good night sleep. Nayika is so much distressed because of her pain… she could not sleep. Without regular sleep and eating she has become weak and thin)
Varnam Jati : 3
Talangu Tak Diku Tak Tari Kita Tum
Di Tak Tak Dhana
Di Tak Tak Zunu
Di Tak Tak Dimi
Di Tak Tak Kitta
Tak Dhana Tak Zunu Tak Dimi Tak Kitta
Dhana Zunu Dimi Kitta
Ditta Taka diku Tadhinginatom
Ditta Taka diku Tadhinginatom
Di Ta Taka diku Tadhinginatom
Talangu Tak Diku Tak Tari Kita Tum
Di Tak Tak Dhana
Di Tak Tak Zunu
Di Tak Tak Dimi
Di Tak Tak Kitta
Tak Dhana Tak Zunu Tak Dimi Tak Kitta
Dhana Zunu Dimi Kitta
Ditta Taka diku Tadhinginatom
Ditta Taka diku Tadhinginatom
Di Ta Taka diku Tadhinginatom
AnuPallavi:
BhUmilO vAstralEndra sEtupati bhUpatuDu The highlight of the dance comes in the anupallavi – first line, ‘Bhoomilo Bhaskarendra Setupati bhoopaludu’ which literally means, on earth Bhaskarendra Sethupati is Bhoopala (King-well caretaker of the citizens of his country) Royal Patron: Bhaskara Setupathi, the Raja of Ramanathapuram The estate of Ramnad included the Hindu holy island city of Rameswaram, from where, legend has it that the Hindu god Rama launched his invasion of Ravana's Lanka. On the conclusion of the war and Rama's success in it, he appointed a Sethupathi or "lord of the bridge" to guard the island. The "bridge" referred to here is the legendary Adam's Bridge or Rama's Bridge which was believed to have been constructed by Rama. The chieftains of Ramnad were entrusted with the responsibility of protecting the bridge, hence the appellation. Raja Bhaskarendra was Setupati from 1889–1903. He was born on 3rd November 1868 as the first son of Raja Muthuramalinga Sethupathi II (regnal years 1862-1872) and his wife Muthathaal Nacciyar. Bhaskara Sethupathi was taken to Madras to be educated both in English and in Western manners and etiquette. Bhaskara Sethupathi though western educated had his moorings in Indian culture and arts. There is a kriti in the raga Suratti which this Raja has apparently composed on Goddess Padmasini Thayar at the temple Tiruppullani kshetra. He was devoted as a true Sethupathi, to Lord Ramanatha of Ramesvaram and to Goddess Rajarajesvari, the tutelary deity of the Sethupathis. He was so greatly enamored of Svami Vivekananda & his teachings. He funded the Svami’s historic trip to the Parliament of Religions at Chicago. Though Sethupathi was the original invitee to the Conference, he chose instead to send Svami Vivekananda and the rest is history. Svami Vivekananda too held Sethupathi in high esteem and called him a ‘Rajarishi’. Sethupati lords were great patrons of arts and literature who were described as ‘sangeeta vidya sahitya vinodan’. The dance composer had chosen to interpret it to mean that there is no one to equal his musical skills, bravery and knowledge of the sastras. A number of musicians/composers have been patronized by the Ramnad Royal House. Kundrakkudi Krishna Iyer (1816-1889), Maha Vaidyanatha Iyer (1844-1893), Patnam Subramanya Iyer (1845-1902), Poochi Srinivasa Iyengar(1860-1919) and Subbarama Dikshitar are the notable ones. In fact for Bhaskara Sethupati’s ascension to the Ramnad throne, the triumvirate of Krishna Iyer, Patnam and Maha Vaidyanatha Iyer performed together. |
Bhaskara Setupathi
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Choreography Understanding: Performers elaborate this line with dance 7 times
The dance composer had taken full advantage of the phrase to show the prowess of Raja Bhaskara Setupati. Sethupati kings were great patrons of arts and literature who were described as ‘sangeeta vidya sahitya vinodan’. The dance composer had chosen to interpret it to mean that there is no one to equal his musical skills, bravery and knowledge of the sastras
1: Raja Bhaskara Setupati a big ruler is a Bhoopal – good care taker of his citizens
2: Raja Bhaskara Setupati a big ruler is a Bhoopal – good care taker of his citizens
3: Poet: 3rd line is depicting a poet composing in the hall of connoisseurs and being endowed with gifts. The poet sung a poem in praise of the king in the court has to be written facing the king in the tradition of singing aasukavi*. The poet do not bend way down while handing over the manuscript because he and the king are of equal stature in an assembly of learned men. The king, on his part, bends forward and receives the poem with reverence, reads it, worships the lyrics, as it is not just a paean to him but to his entire royal lineage. He places the manuscript aside, honors the poet and bows down to his prowess. This idea was explained in length, an amazingly different understanding of the way in which scholarship was received and acknowledged by royalty in those days.
4: Raja Bhaskara Setupati was a huge admire of all arts and admires beautiful girls presenting art of classical dance in his court and he gave them his own necklaces.
5: Raja Bhaskara Setupati invited a musician and was impressed by his art was also rewarded by gifts
6: Raja Bhaskara Setupati often visited his citizens and provided food to hungry and cloths to poor people
7: Tattimetti section to present Raja Bhaskara Setupati as a good care taker of his citizens
* Aasu Kavi, Madhura Kavi, Chithira Kavi, and Visthaara Kavi, are the four kinds of poetry, in the Tamil language.
Aasu Kavi is to compose poems at once on a given subject or theme.
Madhura Kavi is to sing verses overflowing with sweetness of music.
Chithira Kavi is to compose poems which can be expressed through drawings.
Visthaara Kavi is to elaborate long works of poetry (epic poems).
The dance composer had taken full advantage of the phrase to show the prowess of Raja Bhaskara Setupati. Sethupati kings were great patrons of arts and literature who were described as ‘sangeeta vidya sahitya vinodan’. The dance composer had chosen to interpret it to mean that there is no one to equal his musical skills, bravery and knowledge of the sastras
1: Raja Bhaskara Setupati a big ruler is a Bhoopal – good care taker of his citizens
2: Raja Bhaskara Setupati a big ruler is a Bhoopal – good care taker of his citizens
3: Poet: 3rd line is depicting a poet composing in the hall of connoisseurs and being endowed with gifts. The poet sung a poem in praise of the king in the court has to be written facing the king in the tradition of singing aasukavi*. The poet do not bend way down while handing over the manuscript because he and the king are of equal stature in an assembly of learned men. The king, on his part, bends forward and receives the poem with reverence, reads it, worships the lyrics, as it is not just a paean to him but to his entire royal lineage. He places the manuscript aside, honors the poet and bows down to his prowess. This idea was explained in length, an amazingly different understanding of the way in which scholarship was received and acknowledged by royalty in those days.
4: Raja Bhaskara Setupati was a huge admire of all arts and admires beautiful girls presenting art of classical dance in his court and he gave them his own necklaces.
5: Raja Bhaskara Setupati invited a musician and was impressed by his art was also rewarded by gifts
6: Raja Bhaskara Setupati often visited his citizens and provided food to hungry and cloths to poor people
7: Tattimetti section to present Raja Bhaskara Setupati as a good care taker of his citizens
* Aasu Kavi, Madhura Kavi, Chithira Kavi, and Visthaara Kavi, are the four kinds of poetry, in the Tamil language.
Aasu Kavi is to compose poems at once on a given subject or theme.
Madhura Kavi is to sing verses overflowing with sweetness of music.
Chithira Kavi is to compose poems which can be expressed through drawings.
Visthaara Kavi is to elaborate long works of poetry (epic poems).