Welcome to an evening of exciting dance performance by Ishika Parulkar.

On behalf of From within Dance Academy and Ishika'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!

Ishikais 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.

Ganaraj Rangi

Raga: Natta, Darbari Kannada, Bahar

Tala: Adi

Composer: Pandit Hridaynath Mangeshkar & Shanta Shelke (contemporary) 1937 to present

Choreographer: Smt. M Subhashini Vijay Santhanam

We begin the recital with the Pushpanjali an offering of flowers in salutation to God, Guru and Audience.

**The Pushpanjali is composed by Shri NG Ravi and Smt Neela Ramanuja. It includes solfa syllables along with the names of Lord Ganesha. Ganesha is known as the god of wisdom, literature and worldly success. He is the eldest son of Lord Shiva and Goddess Parvati (Uma). Due to some tragic circumstances, he has the head of an elephant over the body of a child. Lord Shiva blessed the child, Ganesha that he will be the lord of beginning and people will worship him first, before any other God.**

**In this song, the Dancing Ganesha is praised. His bells are jingling as he dances and the sound of it is reaching the heavens. He wears yellow silk robes around his waist and is ever agile to perform brisk dance movements and shines bright in his attractive, bedecked form. Sage Narada is the Singer and Goddess Saraswathi is accompanying on the Veena, Lord Bhrama is wielding the cymbals and Lord Vishnu plays on the drums to which the youthful Lord Ganesha performs. All the Devas are assembled to watch the dance performance. Lord Shiva and Goddess Parvathi are also seated and watch their son - Lord Ganesha - dance with great pride!**

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.

Ragamalika Jathiswaram

Raga: Ragamalika

Tala: Mishra chaapu taalam

Composer: Traditional

Choreographer: Kalakshetra

"Jathiswaram" is a pure dance item performed to a musical score in a particular ragam and talam. The dancer executes basic steps and complex movement patterns to rhythmic syllables (jathis) and musical notes (swaras).

Jaganatha Shabdam

Raga: Ragamalika

Tala: Misra chapu

Composer: Smt. Neela Ramanuja

Choreographer: Shri. Avijit Das and Guru. M Subhashini Vijay Santhanam

This shabdam is in praise of Lord Jagannatha--, who is none other than Lord Vishnu himself. It is based on the Sri Jagannatha ashtakam verses.--

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The verses say - The Lord, who plays his flute on the banks of the Yamuna river--, he who is like a bumblebee who tastes the lotus-like faces of the gopis--, he, whose lotus feet are worshiped by Lakshmi--, Shiva--, Brahma--, Indra-- and Ganesha--, may that Jagannatha Swami be the object of my vision--.

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He, who, on the shore of the great ocean--, resides in a palace situated on the Nilachala Hill-- accompanied by His brother Balabhadra-- and between Them, His sister Subhadra, who bestows all the demigods with the opportunity to serve Him--, -may that Sri Jagannatha-swami be the object of my vision.

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When Lord Jagannatha's Ratha-yatra or cart is moving along the road--, (keep hands on waist), at every step assemblies of brahmanas sing His praises. Upon hearing them, Jagannatha, being an ocean of mercy-- and the true friend of all the worlds, becomes favourably disposed towards them -- may that Sri Jagannatha-deva be the object of my vision. One who carefully recites this sacred jaganastamkam--, upon becoming sinless and pureheart will attain entrance into Vishnuloka--

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This shabdam also portrays the story of how Lord Jagannatha came to be worshipped in that form. The story goes, there was a King in central India by the name of Indradyumna-- who was a great devotee of Lord Vishnu. He longed to see the Lord in his most perfect form. After some searching, he sensed such a deity located deep inside a dense forest. He immediately set out on a pilgrimage, only to find that the deity had mysteriously disappeared.

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The king became very sad. In his sorrow, he received a divine direction to find a log of wood floating on the sea shore by Puri--. From this divine log, a sculpture of the Lord himself was to be carved out. The King found this log and brought it out of the sea. But he did not know of a carpenter who was fit for such a huge task. At last, Lord Vishnu himself took pity on his devotee--. He disguised himself as a carpenter-- and came to the King--.

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After some discussion, the King was convinced that he was fit for the job. The carpenter had only one condition - that he was to work alone in a closed room for 21 days-- and asked the King to promise that nobody was allowed to disturb him or open the door during this period--(slowly). The King agreed to his condition--. However, after about 15 days, the queen became very anxious-- that there was no sound coming from within--- and that the carpenter hadn’t asked for any food either--. She worried that he might be dead and urged the King to open the door--. The king finally agreed and opened the door--. But when they went in, there was no trace of the carpenter. All they saw were the 3 unfinished idols of Lord Jagannatha--, Balabhadra-- and Subhadra--. A divine voice told the King to install the idols for worship--. This is how the temple of Lord Jagannatha in Puri came to be.

Roopamu Joochi

Raga: Todi

Tala: Adi

Composer: Muthuswami Deekshitar 1775 to 1835

Choreographer: Quartet / Kalakshetra

The Varnam is the central and most elaborate item presented in any Bharatanatyam repertoire. It includes complex rhythmic passages along with interpretive dance and stories supporting the main idea of the lyrics This Varnam is steeped in Sringara and is the primary Rasa in the lyrics. The heroine’s affection is directed towards Lord Shiva or Lord Tyagesha the presiding deity of Thiruvaroor temple. She says, having set my eyes on your wondrous form, my heart is filled with love and I approach you only to find you upset and angry at me. You are the Lord of the world and you remove all three kinds of sufferings of your devotees. Why are you not doing the same for me?

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The three tApa or sufferings are:

1. AdhyAtmika, sufferings arising from one's own mind and body;
2. Adhidaivika, sufferings arising from nature; and
3. Adhibhautika, sufferings arising from other living entities.

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I am always engrossed in worshiping and glorifying you with a heart filled with love and joyfully recount and praise all your acts of prowess and valor. Cupid is considered the most attractive and handsome man. The heroine or nayika says, you are so handsome that you would equal a crores of Cupids. Please do not play tricks on me, my Lord. With flower arrows, the God of Love, is striking at me and this love is causing me so much pain and I am unable to stop myself now. The time is right for you to take me to be yours. Frequently, I focus my mind at your feet and take solace and console myself good naturedly. You are the most honored Sri Thyagesha who resides in Thiruvaroor, please don’t delay in offering protection to me.

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.

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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.

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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

Tukaram Abhang "Sunderte dhyan" - NEW

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Poorna chandrika thillana - NEW

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Bhoomi Mangalam

Raga: Revathi

Tala: Adi

Composer: Vedas - Shri Ravi Shankar album "Chants of India"

Choreographer: M Subhashini Vijay Santhanam

Bhoomi mangalam Udaka mangalam
Agni mangalam Vayu mangalam
Gagana mangalam Surya mangalam
Chandra mangalam Jagat Mangalam
Jeeva mangalam Deha mangalam
Mano mangalam Aatma mangalam
Sarvamangalam Bhavatu Bhavatu Bhavatu
Sarvamangalam Bhavatu Bhavatu Bhavatu
Sarvamangalam Bhavatu Bhavatu Bhavatu

May there be tranquillity on earth, on water,
in fire, in the wind,
in the sky, in the sun,
on the moon, on our planet,
in all living beings, in the body,
in the mind and in the spirit.
May that tranquillity be everywhere, and in everyone.

This is a Mantra of Universal Goodwill.. It signifies that may all elements in the Universe be in harmony, goodness, peace and love.

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