Theory Handout Set 4 (2018)

Shloka
Kastuurii-Tilakam Lalaatta-Pattale Vakssah-Sthale Kaustubham
Naasa-Agre Nava-Mauktikam Karatale Vennum Kare Kangkannam |
Sarva-Angge Haricandanam Sulalitam Kanntthe Ca Muktaavalim
Gopa-Strii Parivessttito Vijayate Gopaala Cuuddaamannih ||

Meaning:
1: Salutations to Gopala Who is adorned with the Sacred Marks of Kasturi (Musk) on
His Forehead and Kaustubha Jewel on His Chest,
2: His Nose is decorated with a Shining Pearl, the Palms of His Hands are gently holding
a Flute, the Hands themselves are beautifully decorated with Bracelets,
3: His Whole Body is Smeared with Sandal Paste, as if Playfully anointed, and His Neck is
decorated with a Necklace of Pearls,
4: Surrounded by the Cowherd Woman, Gopala is Shining in their middle in Celebration like
a Jewel on the Head.

Continuation of Asamyuta Hasta Viniyogas

Kapitha Hasta Viniyoga
Lakshmyam Goddess Lakshmi

Saraswatyam Goddess Saraswati

Veshtanae winding

Taladharana holding cymbals

Godohanam milking cowas

Anjanam applying collytium

Leelakusuma dharana holding flower(s) gracefully

Chelanjalaadi grahana grasping the end of a saree or a robe

Patasyaiva avaguntana covering the head with a veil

Dhupa deepa archanam offering incense

Katakamukhaha Hasta Viniyoga

Kusumaapachayae plucking flowers

muktasrakdamnam dharanam wearing a necklace of pearls or flowers

Sharamadhyaakarshanam drawing the arrow at the centre of the bow

Nagavallipradhanam offering betel leaves

Kasturikaadivastunam peshana preparing paste of musk

Gandhavasana to smell

Vachana speak

Drushti glancing

Suchi Hasta Viniyoga

Eka-artha denoting number one

Parabrahma-bhavana supreme being Bramha

Shata denoting hundred

Ravi Sun

Nagaryam City

Lokaartham World

Tatha-iti-vachanam to say ‘like that

Yat-sabde tat-sabde asking this? or that?

Vyajana-artha Solitude

Tharjana Threatening

Kaarshya growing thin

Shalaka Rod

Vapushi Body

Aascharya Astonishment

Venibhavana braid of hair

Chatra Umbrella

Samartha Capability

Panou Hand

Romalayam line of hair”=such as eyebrow or on the

abdomen

Bherivadana beating a drum

Kulala-chakra-bramana potter’s wheel

Rathanga-mandala chariot wheel

Vivechana pros and cons

Dina-anta end of the day

In addition it used to denote: Praising, telling truth, pointing to distant place, life, walking in
front, lotus stalk, sunrise and sunset, arrow, handle, listening, yearning for the beloved,
recollection, nose, beak, and vision.

Chandrakala Hasta Viniyoga

Chandra Moon

Mukha Face

Pradesha The distance between the tip of the index

finger and the thumb
Shivasya Makuta Shiva’s crown

Ganganadyam river Ganges

Laguda “axe” or “cane”

Padmakosha Hasta Viniyoga

Phale Bilwa-kapittha various fruits

Strinam-cha-kutcha-kumbhayoh round breast of a women

Avartake circular movement

Kanduke Ball

Sthalyam Bowl

Bhojane Food

Pushpa-koraka flower garland

Shakaraphala Mango

Pushpavarsha showering flowers

Manjarika-adishu cluster of flowers

Japakusuma Hibiscus flower

Gantarupa Vidhanaka bell shape” or “preparing big bowl of food

 for elephants
Valmika ant-hill

Kamala Lotus

Anda Egg

Additional usages denote: elephant trunk, brilliance, vessel of gold or silver, coil of hair,
moderation, charm, bending a bough, coconut.

Sarpashirsha Hasta Viniyoga

Chandana sandal paste

Bhujaga Snake

Mandra Lowpitch

Prokshana Sprinkling

Poshana Nourishing

Devasya-udakadhaneshu offering water to God

Gaja-kumbhayoh Aspahala flapping of elephant ears

Mallanam Bhujasthana wrestlers arms

Additional usages denote: rouge, mud, doing pranayama, washing the face, charity, fondling,
milk, saffron flower, bashfulness, concealing a child, image or idol, clinging, saying ‘very
true’, holding the breasts of women.

Mrigasheersha Hasta Viniyoga

Strinam-arthe women reproductive organs

kapoola Cheek

Maryadayoho traditional manners or limit

Bhityam fear

Vivadam argument

Nepathya costume and make-up

Ahwane calling or residence

Tripundraka drawing three lines on forehead

Mriga-mukha deer face

Rangavalayam decorating the ground with patterns

decorating the ground with patterns feet massage

Sarwasammelane Karya gathering all

Mandirae house

Chatra-dharana holding an umbrella

Sopane stairs

Padvinyasa movement of the feet

Priya-ahvana inviting the beloved

Samchara roaming

Simhamukhaha Hasta Viniyoga

Vidruma coral

Mouktika pearl

Sugandha Fragrance

Alaka-sampsarsa stroking hair

Akarnane hearing

Prushati water drop

Hrdi-samsthitah moksha-artha salvation

Homa fire ritual

Shasha Rabbit

Gaje Elephant

Dharba-chalana waving kusha grass

Padma-damani lotus garland

Simha-anana Lion’s face

Vaidy-paka-sodhana testing medicine preparation

Kaangoola Hasta Viniyoga
Lakuchasyapala Lakucha fruit

Bala kucha Young girl’s breast

kalharaka White water lilly

chakora Partridge

kramuka Beetel nut tree

Bala kimkinyam Children bells

Ghutika-Adika Pill

chataka Bird

Nari kela Coconut

gantika Bell

Alapadmaka Hasta Viniyoga

Vikacha-abjla A fully bloomed lotus

Kapittha-diphala wood apple

Aavarthaka circular movement

Kucha Breast

Viraha yearning to the beloved

Mukura mirror

Poorna-chandra full moon

Sowndarya-bhavana beautiful form

Dhamilla hair-knot

Chandra-shala moon pavilion

Grama village

Uddhathakopa great anger

Tataka pond or lake

Shakata cart
Chakravaka type of bird

Kala-kalarava murmuring sound

Shlagana praise

Chaturo hasta viniyoga

Kastooryaam fragrance from kastoori

Kinchidapyarthe show small quantity

Swarnataamraadilohake gold and other metals

Aardre Wetness

Khede sadness

Rasaaswade taste

Lochane eye

Varnabhedake differentiate color

Pramane promise

Sarase romance

Mandhagamane slow movement

Shakaleekrute breaking

Aasane seated

Ghruta molten butter

Tailadou oil

Yujyate chatura karaha

Brahmari Hasta Viniyoga

Bhramarecha To show Honey Bee

Shuke Parrot

Yoge Meditation(Yoga),

Saarase Kokiladishu Birds Called Sarasa & Kokila

Bhramaraabidhahastoyam Keertito Bharatagame

Bhramara Hasta is used.
Hamsasya Hasta
Mangalyasootrabandhe Tying the sacred
thread of marriage
Chapyupadeshe Advice

Vinishchaye Decission
Romanche Excitement
Mouktikadoucha Pearls & other
precious stones
Chitrasamlekhane tatha Drawing
Damshetu Fly

Jalabindoucha Drop of water

Deepavarteeprasarane Wick of the lamp
Nikashe Polishing
Shodhane Searching
Mallikadou Jasmine & other
flowers
Rekhavalekhane Drawing a line
Malayaamvahane Holding garland
SohambhavanayanchaRoopake To say 'i am
Brahma'
Naasteetivachanechapi Saying 'No'
Nikashanamchabhavane Looking at the
polished article

Krutakrutyepi Hamsasyaha Eerito Bharatagame

Hamsasya Hasta is used to show all these things.

Hamsapaksha Hasta

Shatsankhyayaam To show number 6

Setubandhe Bridge

Nakharakankhanetatha Impression of the

nails

Vidhane Hamsapakshoyam Keertito Bharatagame

Way of doing thing Hamsapaksha Hasta is used.
Samdamsha Hasta Viniyoga

Udaare To show Generosity

Balidanecha Sacrificial Offering
Vrane Wound
Keete Insects
Manobhaye Fear
Archane Offering Worship
Panchavakravye Number 5

Samdamshakyobhidheeyate
Samdamsha Hasta is used.

Mukula Hasta Viniyoga

Kumude To show Lilly

Bhojane Eating

Panchabane Cupid
Mudradidharane Smearing sacred
marks on the body
Naabhoucha Belly button
Kadaleepushpe Banana Flower

Yujyate Mukulakaraha
Mukula Hasta is used.

Tamrachooda Hasta Viniyoga

Kukkutadou To show Rooster

Bake Kaake A bird called Baka
crow
Ushtre Camel
Vatsecha Calf
Lekhane to show letters

Tamrachooda Karakhyasou Keertito Bharatagame

Taamrachooda Hasta is used.
Trishoola Hasta

Bilwapatre To show a leaf called Bilwa

Tritwayukte to show the number 3

Trishoolakara Eeritaha

Oornanabha
Gulika Ball

Sollu kattus of Adavus

korvai adavu (6 variations)
1st -4th :-
That Thei Thaam , Dhit Thei Thaam ,
That Thei Thaam , Dhit Thei Thaam ,
5th ,6th :-
That Thei Thaam , Dhit Thei Thaam ,
That Thei Thaam , Dhi Dhi Thei ,

paichal adavu (4 variations)

That Theiyum That Tha ,
Dhit Theiyum That Tha ,

sarukkal adavu ( 1 variation)

Thei Thei That Tha ,
Dhi Thei That Tha ,

theermanam adavu ( 2 variations)

1) Tha Dhi Gi Na Thom ,
Thaka Tha Dhi Gi Na Thom ,
Thaka Dhiku Tha Dhi GI Na Thom ,
2) Kita Thaka Dhari Kita Thom ,
Tha , Kita Thaka Dhari Kita Thom ,
Thaka Dhiku Kita Thaka Dhari Kita Thom ,

mandi adavu (2 variations)

Thaan gidu That Tha Dhin Na
Thaan gidu That Tha Dhin Na
Thaan gidu That Tha Dhin Na
Thaan gidu That Tha Dhin Na

samam adavu (> 4 Variations)

Thei ya Thei hi

chinna adavu ( 3 Variations)

Thei Thei That Tha ,
Dhi Thei That Tha ,

theermana korvaigal
1) Tha Hatha Jham Thari Tha ,
Jham Thari Jhaga Thari Thei ,
Tha Dhi Gi Na Thom ,
Thaka Tha Dhi Gi Na Thom ,
Thaka Dhiku Tha Dhi GI Na Thom ,

3) Tha, Dhi, Tha, Kita Thaka Dhari Kita Thom ,

Dhi, Tha, Kita Thaka Dhari Kita Thom ,
Tha, Kita Thaka Dhari Kita Thom ,
Kita Thaka Dhari Kita Thom ,
Dhari Kita Thom , Dhari Kita Thom , Dhari Kita Thom ,

REPERTOIRE
Alarippu
Meaning definition

The word alarippu is a telugu word which means blooming or blossoming .It is the first item
that a dancer learns as a student. A simple item which helps the dancer to warm up so that she
can perform the more complicated items with ease.The dancer moves each part of her body
eyes, head, shoulders,hands by turn and then the whole body. In the end there is a small
korvai with which it ends. It is performed as an introductory piece in a dance repertoire.

Sollu kattus and other details

1) Tisra Alarippu
Level 1 (sama pada & ayata)
Vilambita kalam
__________________________________________________________________
Madhyama kalam
__________________________________________________________________
Durita Kalam
__________________________________________________________________
Level 2 (muzhu mandi)
Vilambita kalam
_________________________________________________________________
Madhyama kalam
__________________________________________________________________
Duritha Kalam
__________________________________________________________________

Mandi Adavu and korvai adavu china adavu (Notes)

Theermana Korvai (Notes)

Dhugdu thakka and Theermanam (Notes)

2) Chatusra Alarippu
Level 1 (sama pada & ayata)
Vilambita kalam
__________________________________________________________________
Madhyama kalam
__________________________________________________________________
Durita Kalam
__________________________________________________________________
Level 2 (muzhu mandi)
Vilambita kalam
_________________________________________________________________
Madhyama kalam
__________________________________________________________________
Duritha Kalam
__________________________________________________________________

Mandi Adavu and korvai adavu china adavu (Notes)

Theermana Korvai (Notes)

Dhugdu thakka and Theermanam (Notes)

3) Khanda Alarippu
Level 1 (sama pada & ayata)
Vilambita kalaM
_________________________________________________________________
Madhyama kalam
__________________________________________________________________
Durita Kalam
__________________________________________________________________
Level 2 (muzhu mandi)
Vilambita kalam
_________________________________________________________________
Madhyama kalam
__________________________________________________________________
Duritha Kalam
__________________________________________________________________
 Mandi Adavu and korvai adavu china adavu (Notes)

Theermana Korvai (Notes)

Dhugdu thakka and Theermanam (Notes)

Jatiswarams
Meaning Definition

As the name suggests it is an item composed of nritta. Korvais are set to lilting melodious
swara patterns. Korvais are combinations of adavus. The first korvai in a jatiswaram is called
a teermanam. Each korvai is separated by a graceful movement known as "mai adavu". This
item is composed of pure dance and has no abhinaya.

VASANTHA JATISWARAM

* *
Ragam: Vasantha (Arohanam: S G M D N S , Avarohanam: S NDMGRS)

Thalam: Chatusra Jati Rupaka Thalam (Should have 6 /multiples of 3 Akshara kalas in a line) / Tisra
jati Eka thalam

Thalam demo: Clap Turn Clap Pinky Ring Middle (6)/ Clap Clap Turn (3)/ Clap pinky ring

SWARAS

Pallavi (Madhyama kaala)

Clap Turn | Clap Pinky Ring Middle ||

* *
S , ,, | S N DM G , R N* ||
S, ,, | NS G, MD ND ||

Anupallavi ( Duritha kaala)

* * *
S RS N DNDM | G,,, MNDM GMGR S,,, ||
* * *
DNSG MD-SG | MDDN- S R NS DNMD GMDN ||

Charanam-1

Madhyama kaala

D, ND | MD N, DM G M||

D, , R | ,S ,M ,G , SGM ||

D, ND | MD N, DM G M||

D, , R | ,S ,M ,G , SGM ||

Duritha kaala

D , ND MDN , | DMGM D , , -R S , MG , SGM ||

D , ND MDN , | DMGM D , , -R S , MG , SGM ||

D ,ND DMGM | GRGM D , NR GRMG NDDM ||

* * * *
D,S N NDDM | GMDN D,G R S NDN DMDN ||

Charanam-2
* * * *
S , ,, | S NDN S R ND DNDM GMGR ||

S, ,, | DNSR N , SG MDG , MDND ||

* * * * * * *
M , DN S R S, | NDG R G , MD N-R S , GMDN ||
 * *
S S ,N DNDM | G,,, NN , D MNDM G , , , ||

DD , M GMGR | S,,, SG,M GM , D MD , N ||

* * *- * * *
S RS N S N-DN | D-MDN S ,,S NDDM G , , N ||
* *
DMGR S,,S | GMDN (S , , S N || ... )

JATIS

Jatis 1-4 -Pallavi Swaras

1) Tha , ha Tha Jham , Tha Ri Tha , , ,

Jham , Tha Ri Jha ga Tha Ri Thai , , ,

Tha Jham, Tha- Tha Nam , Tha –Tha Dheem , Tha

Tha , Kita Thaka Tha , Kita Thaka Dhari Kita Thom , ,
Kita Thaka Tha , Kita Thaka Dhari Kita Thom , , Kita
Thaka Tha , Kita Thaka Dhari Kita Thom , ,

(Mei Adavus)

2) Tha , , , Tha Dhi Tha , Tha Ka Dhi Ku Tha , ,

Tha Dhi , Gi Na Thom- Tha Dhi , Gi Na Thom- Tha Dhi , Gi Na Thom

3) Thei , Tha Thei Tha

Ha Thei , Dhi Thei Tha
Ha Thei Ya Thei Hi

Thei Yum Tha Tha - Thei Thei DhiDhi Thei

Thei Yum Tha Tha - Thei Thei DhiDhi Thei
Tha Jham Thaka Jham Thei Thei

Thei Dhi Dhi Thei- Thei Dhi Dhi Thei ,

Thei Dhi Dhi Thei- Thei Dhi Dhi Thei ,
Thei Dhi Dhi Thei- Thei Dhi Dhi Thei ,
4) Tha , Tha Ri Tha Ki Ta
Dhi , Tha Ri Tha Ki Ta
Thom , Tha Ri Tha Ki
Ta Nam , Tha Ri Tha Ki
Ta Tha , Tha Ki Ta

Dhi , Tha ki Ta
Thom , Tha Ki
Ta Nam , Tha Ki
Ta

Anupallavi Swara

5) Thei Ha Thei Hi - Thei Ha Thei Hi Tha , , ,

Thei Ha Thei Hi - Thei Ha Thei Hi Tha , , ,

Thei Ya Thei Ya thei Hi - Thei Ya Thei Ya thei Hi

Thei Thei Dhi Dhi Thei -Thei Thei Dhi Dhi Thei-Thei Thei Dhi Dhi Thei ( Mei
Adavus) Charanam 1 Swara
6) Madhyama kaala:

Thei , Tha Thei Tha Ha Thei , Dhi Thei Tha Ha Thei , ,

Tha , Jham , Tha , Nam , Tha Ki Ta

Thei , Tha Thei Tha Ha Thei , Dhi Thei Tha Ha Thei , ,

Tha , Jham , Tha , Nam , Tha Ki Ta

Duritha Kaala

Thei , Tha Thei Tha Ha Thei , Dhi Thei Tha Ha Thei , ,

Tha , Jham , Tha , Nam , Tha Ki Ta

Thei , Tha Thei Tha Ha Thei , Dhi Thei Tha Ha Thei , ,

Tha , Jham , Tha , Nam , Tha Ki Ta

Thei Yum Tha Tha

Thei Yum Tha Ha Thei
Thei Dhi Dhi Thei

Thei Yum Tha Tha

Thei Yum Tha Ha Thei
Thei Dhi Dhi Thei

Tha Dhi Tha ,

Thei Thei Dhi Dhi Thei

Tha Dhi Tha ,

Thei Thei Dhi Dhi Thei

Tha Dhi Tha ,

Thei Thei Dhi Dhi Thei

Charanam 2 Swara
7) Thei Ha Thei Hi Thei Ha Thei Hi Thei Ha Thei Hi Thei Ha Thei Hi Tha , , ,

Tha Thei Tha Ha Thei , Dhi Thei Tha Ha Thei , Tom Thei Tha Ha Thei , Nam Thei Tha Ha
Thei ,

Tha Jham Thaka Jham Tha Ki Ta

Thei Thei Dhi Dhi Thei - Thei Thei Dhi Dhi Thei- Thei Thei Dhi Dhi Thei

Tha Thei Thei Tha Thei Tha

Dhi Thei Thei Tha Thei Tha
Tha Thei Thei Tha Thei Tha
Dhi Thei Thei Tha Thei Tha

Thei Thei Thei - Thei Thei Thei - Thei Thei Thei - Thei Thei Thei Tha , , Thei Thei Thei Dhi Dhi
Thei Tha , ,

Thei Thei Thei Dhi Dhi Thei Tha , ,

Thei Thei Thei Dhi Dhi Thei

KALYANI JATHISWARAM

SWARAS

Talam Tisra Eka/ Rupakam

Composer Ponniah pillai

Pallavi ( Madhyama Kalam)

Clap Pinky Ring || Clap Pinky Ring ||

S*, ,N DP || DM GR NR ||

S, ,N RG || MG MP DN ||

Anupallavi (Duritha kaalam)

S*, G*R* S*NR*S* NDPM || P,S*N DPND PMGR ||

G,MG RSGR SR,G || MDG, MDNM ,DNR* ||

Charanam 1 (Duritha kalam)

D,,N DPDN DDPN || D,, N S*DNP DMPN ||

D,, P MGRM GRSN || D,,N SRGM PDNP ||

D,, P MPD, , MNP || D,, S* NP D, ,MGR ||

N, RS ,R,G MPG, || M,PD NP, D ,N S*R* ||

Charanam 2 (Duritha Kalam)

N, S*N DPMG MPDD || N, S*D NPDM PMPD ||

N,DP MGDM GRSR || N,SR GMPG MPDD||

N, S*D N, S*P DN, S*|| MPDN ,S*DN S*R*, S* ||

, R*S*N DPD, P,DP || MGR S ,R,G MPDN ||

Charanam 3(Duritha kalam)

S*,,, ,,NG* R* R*S*N || DNDD PMPM GRNR ||

S ,,, ,,RG ,MGM || ,DMD ,NDN ,S*R*N ||

S* ,,, ,,,, NG*R*S* ||

N,,, ,,,, DNS*N ||

D,,, ,,,, PNDM || P,,, ,,,, MPDN ||

S*G*R*, S*NDN S*, ND || PND, PMGM P,DN ||

S*G*R*NR*N DNDMDM GMGRSN || D, NRGM R,GMDN G, MDNR*||

JATIS

1)Tha jham Thaka thari tha ,

Thaka jham thakun thari thai ,

Thajham Thari Thakajham thari Tha

dhi kitathakadharikitathom (3 times)

Mei adavu
2)Tha Thai tham , Thai ,

Dhi thai tham , Thai ,

Tha thai tham Tha dhin , gi na

thom(3 times)

3)Tha kit a Dhi ki ta

Tha jham thaka jham tha dhi tha ,

Tha thai tham dhi thai tham tha thai

tham dhi dhi thai ( 2 times)

Tha kita Dhi kita thom Kita nam kita

thai thai

Thai dhi dhi thai Thai dhi dhi thai , (

3 times)

4)Tha kit a Dhi kita Thom kit a nam

kita ( 2 times)

Thai , Tha thai Tha ha | Thai , Dhi

thai tha ha

Thai ya thai hi Thai yum That ha

Thai Thai Dhi dhi thai ( 2 times)

Anupallavi (Duritha kalam)

5)Thai , Thai ha thai hi thai ha thai hi

Thai ha thai hi thai ha thai hi thai ya

thai ,

Thai ya thai Tha Dhi tha

Thai Thai , Dhi Dhi Thai

Thai , Dhi Dhi Thai

Thai , Dhi Dhi Thai ( Mei adavu)

Duritha kalam

Charanam 1

6)Thai , Tha Thei Tha Ha Dhi Thei

Tha Ha Tha Dhi Tha , ( 2 times)

Tha Thei Thei Tha Thei Tha Dhi

Thei Thei Tha Thei Tha

Thei ha Thei Hi The Ha Thei Hi (

2times)

Tha kita Dhi Kita Thom kita

Thei , Thei , Thei Dhi Dhi Thei (3

times)

Charanam 2

7)Thei yum Tha Tha thei yum Tha

ha Thei ya Thei hi ( 2 times)

Tha thei thei tha Dhi thei thei tha

Tha Thei Thei tha ( 2 times)

Thei , Thei , Tha Dhi Tha

Thei , Tha Dhi Tha ,

Dhi Tha , Tha Dhi Tha

Tha kita Dhi , Tha , Thei Thei Thei

Dhi Dhi Thei

Dhi , Tha , Thei Thei Thei Dhi Dhi

Thei

Dhi , Tha , Thei Thei Thei Dhi Dhi

Thei

Charanam 3

8)Thai , , Thei ha Thei hi Thei ha

Thei hi
Tha Thei Tha Ha Dhi Thei Tha Ha

Tha Dhi Tha, ,

Tha , Ki , ta , Dhi , Ki , ta

Tha jham , Thei Dhi Dhi Thei

Thei Thei Tha Tha , Dhi Thei Tha

Tha ,

Thei Thei Tha Tha , Dhi Thei Tha

Tha ,

Thei Dhi Dhi Thei ( 3 times)]

Tha Thei , Tha ha ,

Dhi Thei , Tha ha ,

Thom Thei , Tha ha ,

Nam Thei , Tha ha ,

Tha kita Dhi kita Thom kita Nam

kita

Tha tha ri

Thei Thei , Dhi Dhi Thei ( 3 times)

 Shabdam
Meaning Definition

In this item the dancer introduces abhinaya for the first time in the repertoire. The abhinaya
composed to simple sahityam is usually separated by easy korvais. This item is usually in
misra chapu taalam and the most common ones are in praise of Lord Krishna.

Pallavi Nritta (notes)

Sarasi Jakshulu= Lotus eyed girls

Jalakamaade= while taking bath
Taruanmuna neevu = exactly at that time

Achhatikijani=You come
Sariga Cheeralu= silk beautiful saris.
Mella chaikoni= slowly stealing them
taruvu nekki= climbing on the tree
Itu chusutunduta= watching us like this
dharmama?= Does this suit you?

Sanchari Notes

Second Line

Nritta notes

Utti midhanu= on the attique

petti unde= I had kept it
setti Palanu= the churned butter
atla kanukoni= you noticed that
kotti chetula - you broke the pot
patti tagina= drank all my buttermile with your cupped hands
getti tanamu= being shrewd or mischivious
idi kaddayya= Do you think you have done a very wise thing?
Third Line

Nritta notes

Alla Lakshmi= The great goddess lakshmi

Vallabhudavai= being husband of
Tolli Alare= you are playing pranks
Repalla= small village
lopala= in
Golla bhamalu= the shepherd ladies (gopikas)
kooditivi = you are harrassing
adi chellu nikki idi chelluna= Do you think that suits you?

Fourth Line

Nritta Notes

Ilanu = this way

ninu= you
madi talachi= my heart pines for you
choodaga= and want to see you always
nalugurunu= all the people
ninnu= at you
navuturunu chunu= laughing and joking about you
Lalita malayalamula= beauting mountain
daagina= you hide yourself
bhali bhali RE= Hail to you
Sri padamanabha= O lord Vishnu
namostute= I bow down to you, or I salute you.

Theermanam notes

Thodayam Mangalam
As a musical composition, Thodaya Mangalam is a set of songs, composed by saints like Sri
Badhradri Ramadasa Swami Sri Annamacharya, and Sri Vijayagopala Swamigal and compiled like a
garland by Marudhanallur Sathguru Swamigal.

The songs in Thodaya Mangalam are in praise of Lord Rama, Lord Krishna and Lord Srinivasa,
(various forms and names of Lord Maha Vishnu) and composed in sanskrit and telugu in ghana ragas
like Naatai, Aarabi, Madhyamaavathi, Saaveri, and Panthuvarali.
It is sung as "Aahvana Keerthanam" (songs to welcome the Lord with mangalam) in the beginning of
Sampradhaya Bhajan.

Thodaya Mangalam is sung before dance concerts as well. They believe that Mangalam has some
purifying and auspicious effect, thus it is necessary to sing it to provide pure devotinal atmosphere for
successful performance.

jaya jAnakI ramaNa jaya vibhISHaNa sharaNa

jaya sarOruha charaNa jaya dIna karuNa jaya jaya

Meaning :

Victory to Janaki”s consort and to him who gave refuge to Vibheeshana (ravana’s brother)

Victory to the lotus feet of rama victory to the kind one.

sharaNu sharaNu surEndra sannuta sharaNu shrI sati vallabha

sharaNu rAkSHasa garva samhAra sharaNu vEnkaTa nAyaka

svAmi shrI raghunAyaka vijaya vEnkaTanAyaka sharaNu sharaNu

Meaning :

I surrender to that lakshmi’s consort who is worshipped by all devas including indra

I surrender to the Destroyer of the Pride of the demons and who is lord of venkata giri

He who is Raghu vamsa’s lord. Victorious Venkatachalapathy

murahara nagadhara mukunda mAdhava

garuDa gamana pankaja nAbha

parama puruSHa bhava bhanjana kEshava

naramRga sharIra namO namO

nArAyaNa tE namO namO jaya

nArada sannuta namO namO

Meaning:

Destroyer of Mura the demon, he who danced on a snake and who is goddess akshmi’s consort.

Who rides on garuda and who has lotus from his nabhi

Who is a great lord who is destroyer of the cycle of birth and death.

The Lion faced , namo namo to thee

Narayana , namo namo to thee

Narada’s lord namo namo to thee.

dEvEsha gaNArAdhita divyAmbuja pAda

shrI vEnkaTa girinAyaka shrISHa hEchcharikA

Meaning:

The feet worshipped by all devas, the lord of venkata giri Goddess lakshmi’s consort

mAdhava bhavatu tE mangaLam (jaya)

madhumurahara tE jaya mangaLam gOpAla

Meaning:

Madhava to you mangalam

Destroyer of madhu mura demons, mangalam auspiciousness to thee

 Keerthanam Bho Shambho
As the name suggests a keertanam is a pure abhinaya item.Usually full of Bhakti rasa the
dancer extols the virues of the lord and seeks for salvation.It is in medium tempo and
sometimes is interlinked with some small adavu combinations to increase its charm.A famous
keertanam is Bho Shambho in Ragam Revathy in praise of Lord shiva. It describes the
cosmic dancer Lord Shiva

Pallavi :Bho Shambho, Shiva Shambho , svayambho

Anupallavi : Gangadhara Shankara Karunakara , Mamava bhava sagara Tharaka

Charanam

1.Nirguna parabrahma swaroopa , gama agama bhootha prapancha rahitha,

Nija gunanihitha nithantha anantha Ananda athishaya Akshaya linga.

2. Dhimita dhimita dhimi dhimikita kitathom thom thom tarikita tarikitakita thom
Matanga munivara vandita Isha, sarva digambara vestitha vesha, Nithya Niranjana Nithya
natesa Isha sabesha sarvesha

Meaning

Pallavi

Oh Lord Shiva, Shiva the destroyer,

Shiva who appeared himself.

Anupallavi

God shiva who carries Ganga and is merciful,

Who helps me to cross the ocean of birth.

Charanam

1. He who is prabrahma without any characteristics ,

He who is beyond everything that is going, coming and the past.
He who is beyond properties, who is infinite,
He who is endless , joy filled , wonderful and deathless Shivalinga.

2.God who does vigorous dance to the beat of drums,

The God worshipped by sage Mathanga ,
He who is clad by the sky,
The God who cannot be seen in true form ,
The God who is forever spotlessly pure,
The God Who is forever dancing,
The lord of the stage , The Lords of everybody.