Welcome to an evening of exciting dance performance by Ramya Kannan.

On behalf of From within Dance Academy and Ramya'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!

Ramyais 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.

Tam Tam Tam Todayamangalam

Raga: Nattai

Tala: Adi

Composer: Traditional

Choreographer: Dhananjayans - contemporary

We commence the event with **Pushpanjali **\- an offering of flowers. This is an item where the Bharatanatyam dancer salutes God, Guru and the audience. We include a verse in praise of Lord Ganesha. The verse goes –

The one who rides on a mouse, who holds sweets in his hand, who has fan like ears, who wears a long sacred thread, who has a short stature , who is the son of Lord Nataraja, and who is the remover of all obstacles, I pray to thee.

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.**

Tandai Muzhanga Shabdam

Raga: Ragamalika

Tala: Misrachapu

Composer: Gurus Dhananjayan - contemporary

Choreographer: Gurus Dhananjayan

The shabdam has both nritta (abstract pure dance) and abinaya (expression and emotion) components. In tonight’s performance, the shabdam is in praise of Lord Muruga, the son of Lord Shiva and Parvathi. The story, from his birth to his blossoming as a young man who woos and marries Valli is depicted.

It starts by describing the Lord as a young baby, who is crawling on his hands and knees, making his ankle bells tinkle and chime.

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His mother, Parvathy, sings him a loving lullaby.

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Next, he is described as a toddler, who is taking his first steps holding onto his mother’s hands.

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She is filled with delight as he says his first words that are as sweet as honey to her ears, and smiles and laughs at her with all his charm.



As he grows up, he is described as the one with a beautiful body, with the light brown hue of the tender mango leaves.

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He has jet black eyebrows, wears a vermillion mark on his forehead, and emanates the fragrance of sandalwood.

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“The son of Shiva, please come to me.”



“The one who rides on a blue peacock holding a spear in his hand – when can I get a glimpse of you?

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When will you come and bless me with your love and fill my heart with bliss?”

Lord Muruga decides to woo Valli, a tribal girl living in the forest.

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He comes to her in the garb of an old man who after having had a meal, wants to quench his thirst.

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He requests her for water.

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As she is pouring the water, he grabs her hand and proposes to her.

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She flatly refuses his advances and tells him to leave her alone.

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Then Muruga asks his brother Ganesha to come in the form of an elephant.

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Valli is very afraid of the elephant and runs and hides behind the old man.

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Muruga reveals himself and marries Valli.

In the concluding verse, the smile of the Lord is compared to priceless gems and pearls.

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The poet concludes with a reference to Thiruchendoor Muruga who lives in a temple near the seashore and beseeches him to come and bless him.

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Shabdham in ragamalika, and misra chapu thalam - composed and choreographed by the dhananjayans.

Ramya Kannan 2019 Varnam - NEW

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Ramya Kannan 2019 Pasuram - NEW

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Ramya Kannan 2019 null - NEW

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Bho Shambho

Raga: Revathi

Tala: Adi

Composer: Dayananda Saraswathi - 1930-2015

Choreographer: M. Subhashini Vijay Santhanam

**This song is in praise of the Lord of dance, Lord Nataraja. The Lord who manifest by himself ‘Swayambhu’, Source of Ganges, Shankara, oh merciful lord who redeems me from this ocean of life, samsAra, without gunas, one who is beyond time, past, present and future, truth beyond gunas, beyond all things finite, oh infinite, blissful, wondrous, ever the same lingA, All the sages worship at your feet oh Lord of the world.**

Kalyani Thillana

Raga: Kalyani

Tala: Adi

Composer: Mysore Vasudevacharyar - 1865-1961

Choreographer: Guru M R Krishnamurthy

The last item in any Bharatanatyam performance is the Thillana and is mainly a nritta piece or pure dance number in praise of the Lord Krishna.

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There is a short verse which means – who else is going to be my savior oh God of Gods Shri Krishna or Vasudeva? Come and protect me.

Mayilattam - Special Item - NEW

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