Welcome to an evening of exciting dance performance by Aadika Harrish,Eesha.

On behalf of From within Dance Academy and Aadika'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!

Aadikais 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.

Hamsadhwani Pushpanjali

Raga: Hamsadhwani

Tala: Triputa

Composer: Pustakam Rama

Choreographer: M Subhashini Vijay Santhanam

Sanya will begin this evening's performance with a pushpanjali (or offering of flowers). This is an auspicious opening item in which the dancers salute god, guru and the audience. The pushpanjali is followed by a shlokam- an ode to Goddess Saraswathi, the Goddess of learning. In this Shlokam, Goddess Saraswathi is described as the one who plays the melodious gem-studded veena. She has a beautiful face and speaks beautiful words. With a gem-like physique, Goddess Saraswati is the daughter of the sage Mathanga and has a good heart. Her skin is like an emerald, and she is the giver of knowledge. The devotees long to see her **face**, the one who resides among the lotuses. She is described as holding a lotus and a bird in her hand, and having a melodious voice.

Khandam Alarippu

Raga: null

Tala: Khandachapu

Composer: Traditional

Choreographer: M Subhashini Vijay Santhanam

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. Today’s allarippu is performed to a count of five beats.

Vasantha Jathiswaram

Raga: Vasantha

Tala: Roopakam

Composer: Tanjore Quartet, early 19th century

Choreographer: Kalakshetra

"Jathiswaram" is a pure dance presentation, devoid of any abhinaya (emotions). The dance deals with the execution of adavus (basic steps) and mudras (hand gestures), combined in definite groups. Jathis (rhythmic pieces danced to narrated syllables) are executed combining swara passages (musical scores) in a particular raga and tala.

Godha Kauthuvam

Raga: Bhoopalam

Tala: Adi

Composer: Smt. Neela Ramanuja and Dr. Ramanuja, 2008

Choreographer: M Subhashini Vijay Santhanam

Kauthuvam is an item where a poem is first recited and then sung. It is typically performed as one of the opening items and is the first item where abhinaya or expressive dance is first introduced in the performance. In the piece presented today, the poem is in praise of the female devotee of Lord Krishna – Sri Andal (also known as Godha or Kodhai or Nachiyaar). Lord Krishna is also referred to as Ranganatha,



Godha is described as the daughter of the earth who was found near the tusli plant by the priest Vishnuchittar. She is described as the one who gives both material and spiritual bliss and the one who loves Lord Ranganatha.



When Godha strung together the flower garland for the Lord, she tried it on first. When her father Vishnuchittar goes on to offer it, he finds a hair in it. He is angry and questions Godha. The Lord himself is said to have given vision to Vishnuchittar to explain Godha was Goddess Lakshmi’s incarnate and that the Lord liked the garland just the way it was. The verse ends by saying that the deity of Sri Andal is often found near the Lord of Medicines – Dhanvi in the temples.



In the month of Dhanur when all the Gopis are engaged in worshipping Krishna, Sri Andal also does the same. She sees the vision of the Lord arriving with a 1000 elephants and taking her to be his bride. She also dreams of making an offering of a 1000 vessels filled with milk to him.



Sri Andal is the sister of Shri Ramanujacharya. She takes pity on the devotees who are eager to see Lord Krishna. On the birthday of Lord Krishna, she promises to deliver all the devotees of the Lord. Anyone who reads or hears this poem will be blessed by Shri Andal.



She is present along with Lord Krishna at all the 108 divya deshams or holy shrines of worship.

Dashavataram

Raga: Ragamalika

Tala: Adi

Composer: Jayadeva (1170-1245)

Choreographer: M. Subhashini Vijay Santhanam

The Ashtapadi is a set of 8 verses composed by the legendary devotee poet - Jayadeva. The verses chosen for presentation this evening describe the beautiful avatara forns of Lord Krishna.

******
**

1. The Lord dons the form of the giant fish to save the vedas.
2. When the Mountain Mandara that is churned by the devals and asuras falls into the ocean, he takes on the form of a tortoise and lifts up the mountain on his back
3. When the primal man and woman created by Lord Bhrama have no place to live, he takes on the form of a boar and digs up the earth from the bottom of the ocean
4. When his devotee Prahalada is abused by his father Hiranyakashipu, he emerges from the pillar in half man half lion form and kills him as Narasimha
5. He takes on the form of a dwarf and takes a vow from Maharaja Bali that he would give him three footsteps of land. He then grows into the TriVikrama form and covers the heavens and earth with 2 steps and finally steps on Bali’s head for the third step
6. He takes on the form of Lord Parashurama to protect Bhramanas against the atrocities of the Kshatriyas or the warrior clan
7. He takes on the form of Rama to kill Ravana who wrongfully takes Sita away
8. He takes on the form of Balarama and the River Yamuna is scared because he diverts the river using his plough to water parched lands
9. He takes on the form of Buddha when all rituals become meaningless without true devotion and guides people on to the path of enlightenment
10. He takes on the form of Kalki in Kali yuga and it is signified by the coming of the comet (ill omen). He destroys the world so that new order can form.

The poet Jayadeva invokes the Lord Krishna to bless him and the people who listen to and recite this poem.

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.

Muddugare Yashodha

Raga: Kurinji

Tala: Adi

Composer: Sri. Annamacharya - 14th Century Poet

Choreographer: Avijit Das

**An ode to Krishna through beautiful gems: Krishna is submerged in a tub of pearls when mother Yashodha is kissing him; He is strong as a diamond when killing Kamsa; His consort Rukmini’s lips are like Coral; He is like Gomedhagam (brown stone) when he lifts the Govardhana Mountain; He glows like the yellow sapphire when dancing on Kaliya the serpent king; He is like the blue sapphire in the form of Lord Venkateshwara. **

Ananda Narthana Ganapathy

Raga: Nattai

Tala: Adi

Composer: Sri Oothukadu Venkata Kavi

Choreographer: Sri Sudheesh Balakrishnan

This song is in praise of the happy dancing form of Lord Ganesha. The devotees pray to him and praise him as the manifestation of Pranava mantra Om and as the Supreme one who is ever present in the Muladhara Chakra of all humans.

* * *

**

Ever present in the hearts of the sages, Ganas, Gandarvas, Devas, Lord Indra and Lord Shiva himself, he helps the downtrodden who worship him. He has a bright and beautiful form. He holds a pasha and ankusham in his hands. He is beyond compare and naturally commands our worship and protects us.

* * *

**

He is the husband of Siddhi and Buddi, has lotus like feet, wears precious gems and his beautiful elephant face is in the form of Om.

* * *

**

Always victorious, faultless, auspicious, the supreme one, wearing golden clothes, with one tusk (referring to him breaking it to be scribe to Sage Vyasa) we bow to this happy dancing form of Ganesha to bless us all.

Revathi Thillana

Raga: Revathi

Tala: Adi

Composer: Madurai N Krishnan (1928–2005)

Choreographer: M Subhashini Vijay Santhanam

The thillana is a traditional closing item of a Bharatanatyam performance. Apart from brisk footwork in complex rhythm patterns, this thillana includes a short verse in praise of the Mother Goddess.

**
**

You are Omnipresent in the form of Pranavam or Om, oh mother Goddess, the ruler of the world. You are the giver of eternal auspiciousness, Devi, we dancer devotees bow to you.

Special Item - NEW

Raga:

Tala:

Composer:

Choreographer:

Description

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.

© 2020 by Oak Fern Web Development