Bairavi Swarajathi| Kanchipuram Kamakshi|Bharathanatyam tutorial|Shyama Sastry|Lakshmi Venkatesh

Hi Friends,
This work is my humble attempt and dedication to the great legendary musician Sri Shyama Sastry although I do not know or have any musical knowledge to comment on his compositions. I was really touched and moved by the musical composition - Bairavi swarajathi and all the more attracted to it by its lyrical beauty about Goddess Kamakshi.

I would like to thank the vocalist Smt.Bhavna Krishnan (Dubai) for her excellent singing and also give credits to Sadhna Venkatesh, the dancer and editor of this video.

About Shyama Sastry:
Shyama Shastri was the oldest of the Trinity of Carnatic music. Venkata Subrahmanya, affectionately known as Shyama Shastri, was born to Visvanatha Iyer had no particular interest in music. He frequently accompanied his father to the temple. Gradually his faith in the Goddess grew. Shyama Shastri, like his father was the archaka (priest) in the Bangaru Kamakshi Temple in Tanjore. He was a very pious and genuine devotee of Goddess Kamakshi. He is believed to have lost consciousness of the outside world on several occasions as he prayed to the Goddess. On such occasions, he would sing his kriti-s extemporaneously.
Although he did not compose as many kritees as his two prolific contemporaries, Shyama Shastri's compositions are equally well known. It is said that he has composed about three hundred pieces in all. He did not have too many disciples to propagate his compositions, nor was the printing press an easy convenience during his time! More importantly, the scholarly nature of his compositions was not appealing to the layperson; they needed to be studied to be savored. He composed in Telugu, Sanskrit and Tamil and mostly on Goddess Devi.
He is said to be the architect of the swarajati musical form. His set of three famous swarajatees is referred to as ratna thrayam. These are in Bhairavi, Yadukulakambodhi and Todi. These stand unparalleled both for the delineation of the raga bhava and the fecundity of musical ideas.

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