Welcome to an evening of exciting dance performance by Anagha Rao.

On behalf of From within Dance Academy and Anagha'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!

Anaghais 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.

Namma Amma Sharade Pushpanjali - NEW

Raga:

Tala:

Composer:

Choreographer:

Description

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.

Nalinakanthi Jathiswaram

Raga: Nalinakanthi

Tala: Adi

Composer: Traditional

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 dancer performs to this devoid of emotions (“abhinaya”) and displays her capabilities by executing basic steps (“adavus”) and hand gestures (“mudras’).

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.

Bhuvana Sundara Varnam

Raga: Khamaj

Tala: Adi

Composer: Smt. Dwaraki Krishnaswamy Dwaraki Krishnaswamy, renowned Scholar, flautist, composer and published author of Kannada compositions specifically for dance. 1932 to present

Choreographer: M Subhashini Vijay Santhanam

Varnam means color or shades of a color. It also is the elaboration or description of a theme. In Carnatic music, the theme is the raga and the description (or lakshana) and the elaboration (or sanchara) is depicted by a Varnam.

The dance counterpart of the Varnam is the most elaborate and complicated of the Bharatanatyam Margam. It showcases the complexities with all the elements of Nritta, Naatya, Nrittya and Abhinaya. The very nature of this item demands a lot of stamina and concentration from the dancers, pushing their competence to the limit.

The central theme revolves around the Shringara Rasa ( or Shringara-Bhakti Rasa) which usually is love and devotion towards God. This is anthropomorphized in the roles of the Nayaka ( depicting a male God, Krishna here ) and the Nayaki ( pining for the love of God ). In addition, the role of a close friend (tozhi, sakhi) acting as the Nayaki’s messenger is also depicted. The human emotions of love metamorphoses and abstracts into the seeking of truth and God.

In this Varnam, Bhuvana Sundara, the Raas Leela of Radha and Krishna is depicted. The Nayaki (Radha) asks her friend (tozhi, sakhi) to request Bhuvana Sundara ( Krishna, the Nayaka) to come meet her. The nayaki cannot decipher the magical and divine spell cast by the nayaka. She extols the exploits of his various avatars. She recounts his grace in saving the elephant Gajendra from the crocodiles’s grip. And his grace in the form of the drawf Vamana over King Mahabali. She is upset with Krishna as he took away her clothes as she was bathing only to be mesmerized by his music on the flute. She hastens to fetch him water to quench his thirst and ends up seeing someone who looks just like him. Confused she recounts her squabbles with him.



The angst of waiting makes even the cool winds blowing over the Yamuna on a full moon night, warm. The nayaki is mesmerized and lost in the thoughts of Krishna, full of divine music and dance amdist the lively maidens, flowers and birds of Brindavan.

This item is on Krishna ( or Vishnu ), one of the six Gods in our exploratory theme of the margam. Followers of Krishna belong to the Vaishnava tradition of devotional Hinduism. Krishna is known for his Raas Leela which is the Bhakti-Shringara depicted here. He is the most widely worshipped because of his central role in the Mahabharata expounding the Bhagavad Gita.

Baaro Krishnaiah - Kannada - Ragamalika - NEW

Raga:

Tala:

Composer:

Choreographer:

Description

Brindavani Venu Abhang

Raga: Aberi

Tala: Adi

Composer: Sant Bhanudasa, 16th century poet

Choreographer: M Subhashini Vijay Santhanam

Paithan city was famous seat of learning for a long time. In ancient times it was also a prominent commercial town, and home to the Eknath family for generations. Shri Bhanudas was born in shaka1436 (1514 A. D) and was a great grandfather of saint Eknath.

******
**

Shri Bhanudas was a pious and religious person, a faithful and ardent devotee of the Vitthal of Pandharpur. His devotion to that god was once challenged when the King of Vidyanagar came for a visit to Pandharpur. When he saw the exquisite beauty of the idol of Vitthal there, he was fascinated by it and he took away the idol to his own capital. Pandharpur, a place of pilgrimage for the followers of the Varkari cult, became void of life itself! All the saints came to Bhanudas and requested him to bring back the idol of Shri Vitthal, so that the city would again be alive! Shri Bhanudas then promised to do so and by the power of his ardent devotion, he succeeded in bringing back the idol to Pandharpur.

******
**

The story eulogizes Bhanudas as great devotee who was a favourite of God Vitthal. It is really no wonder that a family which had the benediction of so holy a person like Bhanudas was graced by another religious minded person like Eknath within three generations. From Bhanudas to his son Chakrapani and his son, Suryapani.

**The verse goes:**

Who is playing so melodiously on the flute in Brindavan?

The sound of the music is enveloping the Govardhana hill

The peacocks are spreading their wings and

Sit listening and watching Lord Krishna the leader of the Yadavas play the flute in amazement

The cows have forgotten to graze

The cows and tigers are standing next to each other listening to Krishna

The chirping birds have fallen silent

All animals and people have forgotten their enmity

The sound emerging is intensely beautiful

anklets are making matching rhythmic sounds

The Devas in the heavens are watching and praising Lord Krishna

I, Bhanudasa have attained the bliss from Prema Bhakti or devotional love

Bhagyada Lakshmi Keertana

Raga: Sree

Tala: Adi

Composer: Purandara Dasa

Choreographer: Avijit Das

Oh, Goddess of Fortune ! Laksmi devi !
Do arrive with your anklets ushering in auspiciousness with a sweet jingling sound!
Do manifest like butter emerging out of buttermilk upon churning!
Come and shower on us a rain of gold and fulfill our aspirations !
Come shining bright like the countless rays of the sun !
Come and bless us; Oh, Devi, who has taken incarnation as Sita !
When you arrive, the hearts of all the devotees are filled with bliss!
They celebrate the day like it is a festival!
And every single day that they worship you is certainly like a festival!
Please do come and bless all the sages and good people assembled to pray here!
Oh, lotus eyed Devi who is the pride of Mahavishnu!
Come and appear before us wearing the shining golden bracelets on your wrists and the auspicious vermilion mark on your forehead! Oh, Consort of Purandaravithala !
Welcome to You who shine auspiciously in the hearts of great sages !
Oh, Queen of Alagiri Ranga or Maha Vishnu!
Come to our worship on Friday when streams of ghee and sugar will overflow !

Poonachandrika Thillana - NEW

Raga:

Tala:

Composer:

Choreographer:

Description

© 2020 by Oak Fern Web Development