Tyagaraja extolls the dancing Ganesa.

Have you seen Ganesa dancing? . It would be a grand sight, a great spectacle, beholding the massive and mighty figure swaying and swirling, jumping and landing, nicely to the notes of a melody and to the cycle of a beat, in Bharata Naatyam.
Here is a nice song of Tysgaraja in the Saurashtra Ragam, picturesquely depicting Ganesa dancing, ‘ghallu ghallana’, ‘Dhittalangumani.’
I have in a recent post cited a link to a video clip an animated child Ganesa dancing.
The following link tkes you to a number of Dancing Ganesa images

It is customary to commence a concert with a song in Nata and conclude it with one in Surati, Madhyamaavati or Sriraagam..
Another practice is to start the concert with a song in Saurashtram, say ‘Sri Ganapathini’ and conclude it with another composition in the same raagam, say ‘Pawamaana suthudu battu.’
Another significant lyric in this auspicious ragam is the starting verse of the NavaGraha kritis of. Dikshitar., ” Surya Murte namo stute”

The lyric in Roman Script.

Pallavi
Sri Ganapathi ni sevimparare,
Sritha manavulaaraa

Anupallavi,
Waagadhipati supoojala chekoni
Baagaa natimpuchu vedalina

Charanam
Panasa narikelaadi, jambu phalamulan aaraginchi
Ghana tarambu ganu mahi pai padamulu
Ghallu ghallanan unchi
Anayamu Hari charana yugamulanu
Hrudaya ambujamunan undeechi
Vinayamunanu Tyagaraja vinuthudu
Vividha gatula dhittalaangumani vedalina,
Sri Ganapathi ni sevimparare.
,
Here is my attempt at translation of the lyric, ‘Sri Ganapsthini.” into English

Come along, Oh, devout ones, to serve the exalted and great Ganapathi, as he emerges dancing greatly, after
having been worshipped ardently by Brahma, the ruler of speech, and
having consumed with relish, fruits like, jackfruit, coconut and black plum,
his feet sounding sonorously, ‘ghall, ghall’,
as he lands them solidly on the ground.
and securely keeping the two feet of Sri Hari, within his lotus-like heart always,
this deity, extolled by, Tyagaraja, dances humbly, in a variety of ways, uttering ‘dhittalaang’.
Note: ‘Waagaadhipati’, could also refer to Ganapathi also. In this case we can interpret the anupallavi, followed by Pallavi, as, follows: “After getting worshipped (supoojalu chekoni) (impliedly from some of the devout), the Waagaagadhpathi, Sri Ganapathi has emerged. Come along, Oh, devout ones, let us serve Him.)

Meanings of some Telugu words occurring in the lyric;
raare = why don’t you come along
Sri Ganapathi ni sevimpa = to serve Sri Gsnapathi
Su pooja la = ardent supplications ( worship)
Che koni= having taken in hand (having received or accepted)
Aaraginchi= having eaten with relish,
Jambu = kala jamoon, black plum, syzygium cumini, java plum, neredu,
Baaga natimpuchu = dancing nicely,
Ghanatarambuganu= solidly, heavily
Paadamulan undeechi= having placed the feet ,
Mahi pai = on the earth,
anayamu= ever, always, again and again,
Hari Charana yugamulanu= the two feet of Hari
Hridaya ambujamunan unchi = having kept in the lotus-like heart,
Vinayamunanu = with humility

Here is a link to a video clip of Sri Maharajapuram Santhanam’s rendering of the song

Check out this video on YouTube:

Here is another link, where Nityasri Mahadevan sings this song in her natural bright manner..
Check out this video on YouTube:

Here is another link to a rendering of the same song by Sri T. M. Krishna, http://www.aradhana.org/media/sriganapathi.mp3

Advertisements

About versa kay

Agile, keen, versatile,considerate,patient
This entry was posted in Tyagaraja and tagged , , , , . Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s