amerikAlO praprathama SatAvadhAna yagjnam - 3 (datta padulu)
Ramabhadra Dokka (sdokka@st6000.sct.edu)
Wed, 11 Sep 1996 11:07:28 -0400 (EDT)
( This review of NY/NJ SatAvadhAnam is being posted in several parts. )
"praprathama sampUrNa SatAvadhAna yagjnam in U.S. - part 3"
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--- datta padulu ---
ippaTikE dattapadulu konniTini mana NASY gAru, itarulU pampincAru kadA.. Let
us look at selections from this category also. Many of these datta padulu
carried the fervour and flavour this avadhAni has towards telugu and Sanskrit
languages. The four words/padAlu were given as the first item of this
avadhAnam in the morning and the avadhAni started giving two pAdams each.
But the real challenge to this avadhAni was to remember the two pAdalu that
he gave in the morning to complete the rest of the padyam along with dhAraNa
almost around midnight. All the 15 datta padulu were performed this away,
and when Sarma gAru was doing this dhAraNa around mid night, it was a splendid
and spectacular show to watch him recollect the two lines and continue the
same flow in completing each and every piece.
First question was to use the word 'gaNapati' in the beginning of all of the
four lines of a campakamAla and the avadhAni gAru excelled in it --
"gaNapatiyai kavi pravara kalpanakun kaviyai suvigna BanjanAn
gaNapatiyai umAtanaya kamra guNOjjvala mUrtiyai Buvin
gaNapati satccidAtmaka jagadguru mUrti-û}f nitAnta yOgi, sat
gaNapatiyai brOcu gAvuta suKa pracayimpu SatAvadhAnamun.."
Using 'TIvi (TV), vIDiyO (video), rEDiyO (radio) and kAru(cAr)' in an utpalam
conveying rAmAyaNArtham --
"tAraka mantramunviDi sadA cana'TI vi'shavArthi grunkedO
vairamu 'vIDi yO'gi janavandyu vinIla mahA pÿïayOdharA
'kAru' mahAtmu rAmuni sukhamkarunin SaraNambu vEDumA
yIrita citta vRtti nena'rEDi yo'narpaga SAnti nIkunai.."
The following pUraNa fitting the words 'amerikA, japAnu, lanDanu and iTalI'
into varUdhinI pravarAkhya samvAdam clearly upholds avadhAni's ease of
handling such things --
"alarun jAru jigin bigin hoyala DA'lanDan' pisALincagA,
lalitan pondina puNyamE 'amari ka'LyANambulE kalgunO,
lalanA nEnu 'japAnu'raktuDa kathA lAvaNyamai gEhaman
dalaGuSrI tritayAgni veligen'iTa lI'lAlApamul dharmamE.."
iTa lIlAlAlApamulu, japAnu raktuDa, amari kaLyANamu, DAl(kAnti)anDan kind of
prayOgams are possible ONLY to one who is very good at the art and one who
worships creativity. For a mere disninterested soul this may sound like a
literary gymnastic event or whatever but I bet even that critic has to
struggle a lot for hours/days/months/years or even a life time to get this
kind of pada vaicitri, leave alone doing it improptu. This is what some of
us called 'gift' or 'sidhdhi' or 'fluency/command' over what he is doing but
what is clearly evident in Sarma gAri attempts was his commitment and his
TOTAL involvement in getting the creative juice out.
Sarma gAru also said that he IS THE FIRST 'SrOta' of all of his pieces and
as seen here and in other avadhAnams of his, he gets himself involved in this
so much that while doing the show, he enjoys it immensely by nodding his
head and relaxing while enjoying the beauty of some of his own pieces.
May be de-crediting one's self and attributing the success to the inner
most, is giving him this power, power to concentrate, and power to EXCEL,
literally. The two important things one can learn from great people of his
stature is 'to believe in what we do' and 'to worship what we do' giving
it the highest importance and purity of thought. IMHO, this kind of soul-
searching is much required if it is the question of putting something into
words - in the name of 'writing'.
Using 'rAma, rOma, kAma and kOma' in an acca telugu SArdUlam -- Sarma gAru
commented that SArdUlam looks beautiful in its 'gamBIramaina pada SRti' and
making it devoid of Sanskrit words spoils the structure. In his own words
'SArdUlAniki AhAram GanamgA vunDAli..' and he went on as --
"rAmA mEmiTa pUjakai pilicinan ramyambugA SAradA
kAmA tvadIya Baktulamu SankAtanka minkETikO,
mAmA mAnasamella nIku sumamai mandAramai pUcerO
mA mai nimpina yAsalella nivigO mannimpavE gaikonan.."
Answering the skt question - 'patram, pushpam Palam, tOyam' padAni upayujya
amerikA dESE prakRtim varNayata, he said --
"patram, pushpam Palam, tOyam
dESE sarvatra vidyatE,
rAshTra pUrNa mahA dESE,
sasya SyAmala rOciBi:"
Does the structure of this SlOkam remind you of 'swadESE pUjyatE rAjA,
vidwAn sarvatra pUjyatE..' and that 'aryOkti' has been proved to be 100 %
TRUE in this avadhAna yagjnam too..
SrI pillalamarri rAmakRshNa gAri 'DAlaru, kAlaru, pIlaru, kUlaru' were
used in a poem describing the 'BArata swAtantrya sangrAma' ghaTTam as --
"DAlarudai taLattaLala DAsina kattula kAru cicculO,
kAlaru BAratI sutulu kArmika dhArmika divya dIpti rE
pIlaru sarva Sakti mahitEDyatan ADya dhanADya mUrtulai
kUlaru dharma sangatini kUlina SatR gaNAla mundaTan.."
( DAlarudai = kAnti lEka, rEpu + Ilaru = rEpIlaru )
'mAgAya, kandi, pesara and gOmgUra' were given to this avadhAni to use them
in describing the vindu ahead and also the 'rAsa lIla' of kRshNa gOpikA
praNayam in a mattEBam --
"masakaljArina manDu vEsavi yidE mAgAya kAyancu yim
pesaran nAnucu veTTu veTTumani gObRndammulE vindulO
sasiyai kandiru ganga gollalu sudhA sAmrAjyamai vEgusan
gusalanvOyiri nokka rokka vidhamai gOmgUralan mekkucun.."
The pada vaidushyam for - 'mAgAya kAya Vs mA gAyakA, yimpesaran Vs yimpu
esaran, kandiruganga Vs kandi iruganga can be seen almost till the end of
the poem.
'alaka, ciluka, palaka, kulaka' were given to be used in the other than
normal/general usage of these words in describing satyaBAmA, kRshNula
praNayam --
"alakalanu diddi prEmalancilukarinci
paluku palukuna kaprampu palukulinci,
aLikula kamanIya cikura nativa nenci,
satya BAmAdhava prEma nitya mAye.."
( alakalu = mungurulu, alukalu; aLikula kamanIya for 'kulaka';
cilukarinci for 'ciluka' and palaka, paluku usage with multiple
meanings and all of it, in a little tETa gIti..)
also, 'satyaBAmA dhava prEma nitya mAye..' with slEsha between satya BAma
and mAdhavuDu as satyaBAmA dhavuDu.
ika sArA, hArA, kArA, BArA latO, BArata dESa AdhyAtmika tatvAnni varNinca
manTE..
"hAramu SAradAmba gaLa hAramu vaidika dharma marma sam
skAramu bandhu mitra mamakAramu, vAngmaya sAhitI sudhA
sAramu mA avadhAna jaya sAramu muktiki mukhya tIramun
BArata BAratI viBava BAgya rasAlamu SAnti pUramun.."
inni kalisina BArata samskRti lO avadhAnam kUDA oka BAgamEnani ceppaDam,
avadhAnam anTE kEvalam literary gimmick mAtramE nanukonE vimarSakulaki
sunnitamgA 'vaDDincaDam' kAka marEmiTi ??
elAgU vaDDanala vishayAniki vaccAmu kAbaTTi, the following poem which
several friends have already posted on the net is about -SrIkRshNa rAyabAram-
but the way it was deliveredÿ as truly exceptional. The aprastuta prasangi
was asking an ample lot of questions distracting the avadhAni's attention
and Sarma gAru took off in a high pitched 'rAkika lEci rAku....' to get the
prasangi off his way and it sure was a delightful feat to watch. And as far
as the poem goes, it can be applied to either this incident or the rAyabAra
GaTTam for a perfect match and if we equate that 'kururADhyara --> guru
rADhyara', then till the last word 'BUvarA' is pronounced it almost looks
like the one addressed to the prasangi alone..:-)
"rAkika lEci rAku, kururADhyara dharmamu nAparAku, mI
rAkula pATutO bahuparAkule nityamaTancu nenci cI
kAkula kAki kUtalaku gAsili mrAnpaDa bOku nEDu nI
kO kuTilambe pADi yanukOku, vRthA samarambu BUvarA.."
Lemme remind you that the aprastuta prasangulu 'SrI vangUri ciTTenrAju and
SrI appAjOsyula satyanArAyaNa gArlu' did an excellent job by sending waves
of laughter all through, even if they had to portray themselves as 'renDu
kAkulu kUrcunDe noka banDa mIda..' and mana avadhAni gAri dhATiki, konta
sEpaTiki 'andokaTegiripOye' and by the time of dhAraNa 'renDunegiri pOye,
banDa mAtramandunDi pOye..'..:-) varNana, pATa amSAlatO, maLLi kaluddAm..
regards..
- Ram (Ramabhadra Dokka from sdokka@st6000.sct.edu)