All this was written in a tell-tale manner and even the love pieces ended with a salutation. The oldest form of these consists of laudatory epithets of the hero, followed by a poetic description of the qualities of the head and heart and often, a love theme was also introduced. Sabda as an old word in classical Sanskrit means the words of praise with which a deity, a hero or a king are greeted as they come in procession or are seated in court. It is called Sabda and Salamu and forms a telltale link between the Kathak and Bharata Natyam.
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Raghavan says, The third item called Sabda occurs in the older texts mentioned previously. In his opening paper titled Bharata Natya presented in the Dance Seminar held by the Sangeet Natak Academi, in 1958, Dr. This is extensively used now in Kuchipudi. In the Tiruvarur manuscript, the sabda contains a long sequence of rhythmic syllables in which the poet tries to capture the sound effect of frogs croaking in the lotus pond where the Gajendra gets caught.
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The most renowned Sabda of Kasinatha appears to be his Gajendra Moksa Sabda, which is otherwise called the Manduka or Frog Sabda. Sabda itself means in Sanskrit Yasogiti, a song praising one s fame. Many others exclaim at the end Paraku, which means Attention giving the picture of the deity or patron eulogized as arriving or sitting in court or going in procession, being announced by the bard. Padmanabha Salamu re, ends a Sabda of Tajore Vadivelu Pillai on Sri Padmanabhaswami at Thiruvananthapuram. ItĦ goes on elaborating in epithets the qualities, acts and glories of the deity or patron and ends by exclaiming Salute unto thee. Raghavan says in the article Merattur Kasinatha, A composer of Sabdas of the 18th century AD., published in 1943 Journal of the Music Academy, The sahitya is always in praise of a deity or a patron, who is a zamindar or King. It also helps to get the dancer into an emotional state in preparation for the heavy demand of the same in the varnam. Thus the Sabdam acts as a spacer, giving the dancer some rest after the energy-consuming Jatiswaram before she executes the endurancetesting Varnam. It therefore acts as a bridge between the nritta items and the heavy abhinaya that is unfolded in the sahityam of the varnam. Before performing the comprehensive, elaborate central piece of Bharata Natyam called the varnam, the Sabdam is introduced, to get the dancer and the audience ready for the complexities of nritta, nritya and natya in the varnam. Nritya involves gestures combined with expression, the poetry expressed through body language of hasta mudras and mukhabhinaya. At this juncture, a simple composition introduces nritya, for the first time in the margam.
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Both are essentially nritta items which involve execution of jatis and korvais. In Alaripu, the dancer s upangas and major angas have warmed up sufficiently to take on the tougher nritta passages of the Jatiswaram. 5 PAPER 10 SHABDAM AND ASTAPADI MODULE 1 Introduction to SHABDAM SHABDAM The BharataNatyam margam comprises the Pushpanjali or a similar invocatory item, followed by the Alaripu and the Jatiswaram.