Welcome to an evening of exciting dance performance by ANANYA ANANTH.

On behalf of From within Dance Academy and ANANYA's family, we cordially welcome all of you to an evening of dance. I'm , a post-Arangetram student at From Within Academy, and I will be your MC for this evening.

Before we get started, I’d like to remind everyone of some house rules.


- No food or drink is allowed in the auditorium

- If you must leave the auditorium during the performance; please do so in-between items

- If you have young children, please sit towards the aisle. Kindly leave the auditorium if they get restless and start crying so that it is not disturbing to the rest of the audience members. Kindly do not let the children roam around the theater unattended.

- Kindly maintain silence and talk softly when the show is in progress. If you talk loudly, it distrubs the artistes on stage.


We ask our audience to turn off their phones so they can stay present with their experience of the art that will be shared. It is touching that some may feel inspired to take their own photos and videos to share on social media. Instead, we invite you to write and speak about your experience after the performance. You are also encouraged to share official photos and videos from our social media accounts.


In our digital world, it is truly special that you took the time out of your life to appreciate live art. Please prepare to immerse yourself in this experience by turning your phones off now. Please do not take any photos or videos from this point forward. Thank you for your kind understanding!

ANANYAis a disciple of Guru Smt. Subhashini Vijay Santhanam of the From Within Dance Academy a global dance organization with centers in the US and India. This evening of dance signifies both a beginning and a culmination of sorts for the dancer which include the endless hours of rigorous practice, varied emotions and complete immersion. All of which was done in the pursuit of excellence for this moment when she finally gets on stage – “Arangetram”. In Tamil (one of the south Indian languages) Aranga means a raised stage and “etram” means “to ascend”.
All items unless otherwise mentioned have been choreographed by our beloved Guru Subhashini.
For all the items we present today, as long as we are able identify clearly, we will mention the time period of the composition or composer life period so that we get an idea into the history and context of when the poem was written and music set. It is hoped that this will give the audience a deeper insight into the relevance of the oral tradition being passed on thru generations and the relevance of the composition in current times. While several old pieces have deep, timeless, philosophical and spiritual significance and several new pieces share values of a new social context with a unique appealing freshness.
We hope that the erudite and sensitive audience present today is able to appreciate it all thru our presentation today.

Mayalamrutham Pallandu Pushpanjali

Raga: Mayalamrutham

Tala: Adi

Composer: Periya Aazhwar c. 9th century

Choreographer: M Subhashini Vijay Santhanam

Pushpanjali is the invocatory dance and the dancer offers fragrant flowers to God to seek his blessings for a successful performance. The dancer also seeks the blessings of her Guru, the orchestra and the well wishing audience. The piece is conceived as waking up Perumal as he is in Yoga Nidra or Yogic relaxation state. He is behind seven doors that open to the devotees offering fragrant flowers, playing musical instruments, offering vedic sacrifices, dhoopam or fragrant incense, holy waters and ringing of the bells.

Following the Pushpanjali, the Pallandu Paasuram describes the glorious features of the Lord – His powerful shoulders and possessing the luster of a brilliant blue gem. The devotee - Periya Aazhwar wishes the Lord to be protected for many millions of years so He can continue to provide solace to the world.

Tisram Allarippu

Raga: null

Tala: Tisra Ekam

Composer: Tanjore Quartet

Choreographer: Kalakshetra/Rukmini Devi Arundale 29 February 1904 – 24 February 1986

This dance is typically an opening number. Starting with movements of the neck, eyes and shoulders, it gradually includes movements of the whole body. It is meant to represent the blossoming of a flower. This allarippu is set to a count of three beats.

Hemavathi Jathiswaram

Raga: Hemavathi

Tala: Misrachapu

Composer: Late Adyar K Lakshman Sir 1933-2014

Choreographer: M Subhashini Vijay Santhanam

**A Jathiswaram is a song that consists of only swaras (notes) and jathis (complex beats) in a specific raga and tala. The dancers focus on the execution of basic steps (“adavus”) and hand gestures (“mudras’) in complex rhythmic patterns, devoid of any abhinaya, or expressive and story telling elements.**

Saraswati Shabdam

Raga: Ragamalika

Tala: Misrachapu

Composer: Shri Subramaniyam

Choreographer: Vijaykumar Srinivasan

The next item is the Shabdam, a piece that has both nritta and abhinaya, with more focus on the abhinaya. This piece is in praise of the Goddess of Learning and Knowledge, Saraswathi.

It praises her to be the supreme authority over all sounds, expert in vocal music, seeking her benevolent blessings including Lavanyam or Grace.

All the Devas and Gods worship you, Oh wife of Lord Bhrama (who is the father of the vedas). You manifest seated on a delicate lotus flower. Please accept my salutations at your feet.

Oh Goddess wearing white clothes, you are seated on a white lotus, oh Madhavi. Please bless me with the ability to sing and dance in praise of you.

You hold a book and rosary beads in your hands and also play melodiously on the lute. The devotees seek out your lotus feet for obeisance. The get immense happiness worshiping at the Goddess’ feet that produce many different types of rhythm.

Mahalakshmi Varnam

Raga: Ragamalika

Tala: Adi with Gati changes in Khandam and Tishram

Composer: Parimala Saranthan

Choreographer: M Subhashini Vijay Santhanam

The Varnam is the centerpiece of a Bharatanatyam performance. It consists of complex rhythmic sections, or jathis, alternating with expressive dance and story telling. This varnam is in praise of Goddess Mahalakshmi and the main rasa in this varnam is Bhakti.

_Kathiruppal Mahalakshmi_

Goddess Mahalakshmi awaits her devotees, ready to grant what their hearts desire.

As She resides in the heart of MahaVishnu, She rules the hearts of her devotees.

To those who come to Her seeking refuge, She protects, gives boons, watches over them, enlightens them, showers them the nectar of kindness without holding back even a little.

Her supreme beauty and great qualities cause the Lord of Srirangam to admire her.

As She moves, the beauty of Her gait puts swans and peacocks to shame. The sweetness of Her voice as She speaks makes the parrot mute. Her Grace fills the world with happiness.

There are two stories presented in this varnam.

In the first, Sage Dhurvasa gives a garland to Lord Indra,

who disregards the precious gift and contemptuously throws it to his elephant.

Enraged, the Sage cursed him for his pride and

Goddess Lakshmi left Indra's kingdom, taking all his prosperity with her.

Lord Indra asks Vishnu for help,

and is told that if he churned the ocean with the help of the Asuras,

Goddess Lakshmi will arise again from its depths.

In the second story, Lord Shiva and Goddess Parvathi are playing a game of dice.

Parvathi feels that Shiva is cheating to win,

so she asks him to find someone else to watch and give judgement.

Shiva calls one of his servants,

who is caught in the dilemma of having to pass judgement against his own master.

He finally supports Shiva and is cursed by the goddess for his deceit.

However, when he asks for forgiveness,

the goddess mercifully gives him redemption by telling him to witness a varalakshmi puja.

Natanam Adinar

Raga: Vasantha

Tala: Ata

Composer: Gopalakrishna Bharati (1810-1896)

Choreographer: Sugandha Sreenath

The Keerthanam “Natanam Adinar” describes the blissful dance of Lord Shiva. It is a celebration of Shiva, the cosmic dancer who balances creation and destruction. The references to the story of Agastya, Chidambaram and the Sollukattu swaras makes this dance energizing and majestic.
Lord Nataraja danced in style and joy, in the golden halls of temple.

As promised, at Mount Kailash, at the request of sages,
HE came to Chidambaram in the Tamil month of Tai (December-January) during the Guru Poosam star and danced during the day.

He danced with the eight directions trembling, Serpent Adhisesha’s head(hood) rocking, the Earth shaking and drops of Ganges trickling from his matted knot of hair.

(Gopalakrishna sang with love).

Lord Shiva’s matted tresses swayed to the rhythm of his dance, so did the hoods of snakes adorned by him.







Kaliyuga Varadan

Raga: Brindavana Saranga

Tala: Adi

Composer: Periyassami Tooran

Choreographer: Vijaykumar Srinivasan

Padams are expressive dance items. This one is in praise of Lord Muruga.


Saviour of devotees in the Kaliyuga or modern age, he is ‘Varadan’, the generous giver of boons. He is the Lord who is the primary deity in the holy temple town in Southern India, Pazhani.


This Murugan, with a powerful spear, was raised by the daughter of the mountains, referring to Goddess Parvati. His body shines like an emerald, and he is the nephew of Srinivasan or Lord Vishnu (brother of Goddess Parvathi).


The story goes that when the Devas were tormented by the Asuras led by Surapadman, they needed a strong commander in chief. They appealed to Lord Shiva who asked Muruga to step in. Goddess Parvathi gives him the powerful spear using which, he felled Surapadman who was disguised in the form of a tree. The rooster and peacock emerged and he used the rooster as emblem on his flag and rode on the peacock.


Lord Karthikeya came into the world emerging out of Lord Siva's third eye, he was fondly raised and tended to by the six Karthigai sisters who found him in the river and later handed him back to Goddess Parvathi and Lord Shiva. He gets rid of all troubles of the Devas and other devotees in no time and is so benevolent that he grants boons even before being asked.

Narasimha Thillana

Raga: Hamsanandi

Tala: Adi

Composer: Madurai N Krishnan , 1928 to 2005

Choreographer: M Subhashini Vijay Santhanam

**The thillana is a pure dance or nritta piece. The short verse in this thillana describes the devotees’ prayer to Lord Narasimha to come and protect them.**

Pavamana Mangalam

Raga: Saurashtram

Tala: Adi

Composer: Saint Thyagaraja (1767-1847)

Choreographer: Smt. Rukmini Devi Arundale (1904-1986)

The dancer will now conclude her recital with a Mangalam saluting God, Guru and the audience for making her performance a success.

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