Online edition of India's National Newspaper
Friday, Jun 01, 2007
Google


Trip Mela
Friday Review Delhi
Published on Fridays

Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | Friday Review | Young World | Property Plus | Quest | Folio |

Friday Review    Bangalore    Chennai and Tamil Nadu    Delhi    Hyderabad    Thiruvananthapuram   

Printer Friendly Page Send this Article to a Friend

Learn the Lingo

Photo: M. Srinath

Kirtanam Commonly in praise of Lord Shiva.

Dance, Music

Kirtanam: A kirtanam is, as its name suggests, a musical composition whose main thrust is on devotion, or praise of the Lord. In the dance repertoire, particularly Bharatanatyam, the kirtanam is performed in the second half of the prog ramme. In this portion, technical virtuosity gives way to interpretative pieces. Each of these is in a particular mould, of which the kirtanam is one. It provides a fitting foil to, say, padams, in which the mood of shringar or love is interpreted. A famous kirtanam from the Bharatanatyam repertoire is “Natanam Adinar” which relates the story of how Lord Nataraja danced the Tandava at the request of his devotees. Kirtanams of Annamacharya are favourites among Bharatanatyam and Kuchipudi dancers particularly.

Shlokam, viruttam: Literally, a shloka or shlokam is a verse in Sanskrit, while a viruttam is a verse in Tamil. In a vocal recital of Carnatic music, to sing lyrics in the shloka or viruttam style means to sing them in an improvised ma nner, not bound by any tala pattern (rhythmic cycle), and not set like a song.

In the Bharatanatyam repertoire, a shlokam is the traditional end to a recital. The emphasis of the dancer and the accompanying vocalist in interpreting a shlokam is on improvisation. The dancer uses a variety of expressions and gestures to bring out the core idea of the verse, while the singer and other musicians bring the appropriate mood to the music. The challenge is for the dancer and the musicians to create a whole that is at once spontaneous yet not haphazard, orderly yet not pre-planned.

The shlokam traditionally follows the tillana. The idea behind this juxtaposition is to bring about a feeling of calm and tranquillity after the virtuoso display of the tillana. This practice is not so common today, as performances often end on the exhilarating note of the tillana.

Printer friendly page  
Send this article to Friends by E-Mail



Friday Review    Bangalore    Chennai and Tamil Nadu    Delhi    Hyderabad    Thiruvananthapuram   

Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | Friday Review | Young World | Property Plus | Quest | Folio |


The Hindu Group: Home | About Us | Copyright | Archives | Contacts | Subscription
Group Sites: The Hindu | Business Line | Sportstar | Frontline | Publications | eBooks | Images | Home |

Comments to : thehindu@vsnl.com   Copyright © 2007, The Hindu
Republication or redissemination of the contents of this screen are expressly prohibited without the written consent of The Hindu