Meaning For ADikkoNDAr

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#1  Postby rhranjana » 19 Nov 2007 11:30

Can anyone give me the lyrics & meaning for "Mahadevasutham" - arabhi - Dr. Balamuralikrishna
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#2  Postby meena » 19 Nov 2007 12:24

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#3  Postby rhranjana » 20 Nov 2007 11:51

Thanx meena

Can anyone provide me the meaning for "aadikondar"- Mayamalava gowla of Gopalakrishna bharathi.
I also want to know the nuances of mallari. Is there any specifications with regard to choreography of a mallari?

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#4  Postby meena » 20 Nov 2007 12:03

rhranjana,
when u request for meaning it helps if u also provide the txt.

adiikkondar is Muttu Tandavar's .

P:ADikkoNDAr anda vEDikkaik kANak kaN Ayiram vENDAmO
A: nADit tudippavar pangil uRaibavar nambar
tiruccempon ambalavANar
C1:pangaya silambaindADap pAdac cadangaigaL kiNkiNNenRADa
pongamuDanE urittu uDutta pulittOl asaindADa
sengaiyil Endiya mAn mazhuvADa
sempoRkkazhaRk kaN muyalaganADa
gangai iLam piRai senjcaDaiyADak kanaka sabhai tanilE
C2:Ara navamaNi mAlaigaLADa ADum aravam paDam piDittADa
sIraNik konRai malart toDaiyADac cidambarattEr ADa
pEraNi vEdiyar tillai mUvAyiram pergaLum pUjittuk koNDu ninRADa
kAraNi kALi etirttu ninRAdak kanaka sabhai tanilE
C3:nritta gaNapati vElar ninRAda ninRayan mAluDan indran ADa
muppattu mukkOTi dEvaruDanE munivarum ninRADa
meippatti mEvum patanjali ADa vyAgra pAdarum nandiyumADa
oppaRRa sivakAmiammaiyum kUDavE ninRADa
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Last edited by meena on 20 Nov 2007 12:20, edited 1 time in total.
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#5  Postby rshankar » 21 Nov 2007 10:15

Here is my attempt at translating this lovely song. I request Rajani/Arasi to fix the errors.

adiikkondar is Muttu Tandavar's .

P:ADikkoNDAr anda vEDikkaik kANak kaN Ayiram vENDAmO ?

To experience/see (kANa) the (anda) wondrous/amazing sight (vEDikkai) as the Lord dances (ADikonDAr), will we not need (vENDAmO) a thousand (Ayiram) eyes (kaN)?[1]

A: nADit tudippavar pangil uRaibavar nambar?tiruccempon ambalavANar

The reliable (nambar), golden (tirucempon – molten gold/tapta kAncana) complexioned dancer (ambala vANar is the one who dances in tiruciRRambalam – cidambaram) is the Lord that resides (uRaibavar) in(pangil) those that seek (nADi) Him through prayers (tudippavar)!

In the caraNas, SrI muttutanDavar describes the masculine force and beauty (ANmaiyum valimaiyum) of Siva tANDavam and the impact/effect it has on men and gods.

C1:
pangaya silambaindADap pAdac cadangaigaL kiNkiNNenRADa pongamuDanE urittu uDutta pulittOl asaindADa
sengaiyil Endiya mAn mazhuvADa
sempoRkkazhaRk kaN muyalaganADa
gangai iLam piRai senjcaDaiyADak kanaka sabhai tanilE

As he dances in (tanilE) in the golden (kanaka) hall (sabhai) in cidambaram, five (aindu) ankle-bells that adorn his lotus-like (pankaya) feet move (ADa), the string of bells (cadangai) that also decorate his feet (pAdam) move (ADa) and produce a tinkling sound (kiNkiNienru). The skin (tOl) of the tiger (puli) that He tore (uritta)[2] and wore (uDutta) is also swaying (aSaindu) and dancing (ADa) along with him. As also are the deer (mAn) and the battle-axe (mazhu) that He holds (endiya) in his soft/red (Sen) hands (kaiyil). As He dances, the red-eyed (sempoR kazhar kaN) demon-dwarf (muyalagan) moves along (ADa), and the ganges (gangai), the crescent moon (iLam piRai), and his matted locks (SenSaDai) dance (ADa) along with him.

C2:
Ara navamaNi mAlaigaLADa ADum aravam paDam piDittADa
sIraNik konRai malart toDaiyADac cidambarattEr ADa
pEraNi vEdiyar tillai mUvAyiram pergaLum
pUjittuk koNDu ninRADa?kAraNi kALi
etirttu ninRAdak kanaka sabhai tanilE

As he dances in (tanilE) in the golden (kanaka) dance hall (sabhai) in cidambaram, the gem-studded (Ara navamaNi – Ara – metal, navamaNi – 9 different gems) necklaces (mAlaigal) dance (ADa), and the moving (ADum) snake (aravam) that adorns his neck dances (ADa) with his hood spread out (paDam eDuttu), and the Cassia fistula (konRai) flowers (malar) that he wears (aNi) on his head (SIr) sways (ADa) in time, the chariot (tEr) from cidambaram also moves in time to his dancing. Even the priests (vEdiyar) and the three thousand (muvvAyiram) dIkSitars (pErgaLum) of cidambaram (tillai) dance the pERaNi (a type of dance [3]) as they stand (ninru) and offer their prayers (pUjittu konDu), and the dark, fearsome and purposeful (kAraNI) kALI stands (ninRu) dances (ADa) in front of (edirttu) of Him.

C3:
nritta gaNapati vElar ninRAda ninRayan mAluDan indran ADa?
muppattu mukkOTi dEvaruDanE munivarum ninRADa?
meippatti mEvum patanjali ADa vyAgra pAdarum nandiyumADa?
oppaRRa sivakAmiammaiyum kUDavE ninRADa

In this caraNam the composer takes us to the heavens: As the lord dances in the golden hall of cidambaram, dancing gaNapati (nritta gaNapati) and kArtikEya (vElar) dance (ADa), and indra dances (ADa) along with (uDan) brahmA (ayan) and vishNu (mAl). The sages (munivar) dance with (uDan) the countless (mupattu mukkOTi = 900 thousand) gods (dEvar). And patanjali who lives (mEvum) in cidambaram (mei pati – the only true –mei place – pati) and vyAghrapAda (the sage with feet of a leopard) dance along (uDan) with nandI. And as these individuals dance along, so does the peerless/incomparable (oppaTra/oppaRRa) mother (ammai) sivakAmi dance in unison (kUDavE)[4].

To watch all of this, we will certainly need at least a thousand eyes, if not more!

[1] This refers to SivatANDavam – two eyes are certainly not enough to take in the amazing sight of this dance, and one may indeed need a thousand. aruNAcala kavi says that one needs 100,000 eyes to appreciate the beauty of sItA – I guess poets use hyperbole to get the uniqueness or enormity of what they are describing across.
[2] When Siva appears on earth to subdue the ego of the ‘learned’ men in cidambaram, they attack him with a snake – Siva subdues the snake and uses it as a garland; they send a tiger – Siva kills the tiger with his nails, skins it and uses the skin as his garments; they throw a battle axe at him. He grabs it and wields it as his weapon. Finally, they conjure up an evil dwarf – muyalagan – whom Siva subdues, and dances the tAnDavam on his back.
[3] pEraNi nrityam I think is one of the facets of AndhrA nATyam that danseuse Swapnasundari is trying to preserve.
[4] One of the myths is that as SivA dances the tANDavam, pArvatI dances the feminine form of this called lAsyam – together, the male and female principles give rise to tAla/tALam
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Last edited by rshankar on 21 Nov 2007 19:43, edited 1 time in total.
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#6  Postby Rajani » 21 Nov 2007 11:33

Ravi - that was beautiful as usual. I think your translations prove wrong the flippant comment that translations , like women, are either beautiful or faithful.

A minor correction - uRaibavar means one who resides.
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#7  Postby kmrasika » 21 Nov 2007 11:48

rshankar: Good job on the translation.
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#8  Postby meena » 21 Nov 2007 12:32

shankar

THANKS
perani- isn't this folk dance (?) performed only by a male dancer ?
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#9  Postby rshankar » 21 Nov 2007 19:40

Rajani/kmrasika/Meena: thanks.

I hope one of our dancer members will be able to throw some light on pEraNi. I enjoy these because I learn so much about literature/music/beauty of compositions.

Rajani,
Thanks for the correction. I have modified it accordingly.
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Last edited by rshankar on 21 Nov 2007 19:44, edited 1 time in total.
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#10  Postby rshankar » 21 Nov 2007 20:42

I just realized that 'tiru cemponambala vANar' in the AP could also mean the divine (tiru) dancer of ponambalam (cidambaram is the pon ambalam/kanaka sabhai, and I think madurai is the silver ambalam, and tiruAlankADu is rattinasabhai IIRC)....
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