Welcome to an evening of exciting dance performance by SHRUTI CHADALAVADA.

On behalf of From within Dance Academy and SHRUTI'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!

SHRUTIis 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.

Gambeera Nattai Mallari - 8 Count

Raga: Ghambeera Nattai

Tala: Adi

Composer: Traditional

Choreographer: M Subhashini Vijay Santhanam

**Mallari is a piece of music generally played when accompanying the Lord’s procession through the streets adjacent to the temple. In this invocation, we invoke the Lord to take his seat on the stage so that we may have a successful performance. **

Mayura Deyura New Shlokam - NEW






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.

Bindumalini Jathiswaram

Raga: Bindumalini

Tala: Adi

Composer: Pramath Kiran and A P Krishna Prasad, our own orchestra members, composed in 2017

Choreographer: M Subhashini Vijay Santhanam

A Jathiswaram is a song made of only swaras (the 7 basic notes) and jathis (complex beats or talas) to which the dancer dances. It is a pure Nritta piece without any Abhinaya (or facial expression). It is a dance item in which the dancer displays her versatility in elaborate footwork and graceful body movements.

** The dancer performs several adavus (footwork, basic steps) along with 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. A Jathiswaram is composed of at least one SolluKattu (bundle of musical syllables ) and several Korvai’s. When an adavu is set to a particular Thalam (rhythm) and Kalam (tempo) it becomes a Korvai. In a Jathiswaram, several Korvai’s are strung together as beads, concluding in a Theermanam or Muktaya. A Jathiswaram highlights the melody, rhythm and movement in dance. It evokes the harmony and joy of dance in spectators**

Sarasi Jakshulu Shabdam

Raga: Ragamalika

Tala: Misrachapu

Composer: Vadivelu of the Tanjore Quartet - early 19th century

Choreographer: Kalakshetra

The Shabhdam is an item where Abhinaya is first introduced in a Bharathanatyam performance. This Shabdham is about Lord Krishna. The Gopi is addressing him asking how is it fair for him to come and steal the silk sarees of bathing maidens and hang them out of reach high up on the trees? Is it fair to watch us helpless she argues.

She asks him if he thinks of himself as wise to have spied on her and noted the exact spot where she had placed her pots of churned butter on the attic and come after it when hungry to break and drink up all her buttermilk?

Further, she says, you are the consort of the Great Goddess Lakshmi who is the essence of all beauty and prosperity. Does it look nice that you come and play pranks on the poor cowherd women of this small village?

She finally says, i concede that I really do cherish that you come after me and hide my sarees and take my butter. I wish to always see you and all the people in the village too always want to talk about you, joke and laugh with you. We miss you when you go and hide yourself in the neighboring beautiful hill Oh Lord Padmanabha. We bow to you, please do come back and bless us.

Manavi Shankarabharanam

Raga: Shankarabharanam

Tala: Adi

Composer: Ponaiah Pillai of the Tanjore Quartet (early 19th century)

Choreographer: Kalakshetra and Sancharis by Subhashini

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 Brigadheeshwara of the Tanjore temple. Will you not listen, beautiful Lord of my heart, to my loving pleas and prayers ? The heroine or nayika sings, plays various instruments and dances to appease her Lord to no avail. She wonders if he can hear. My love for you never diminishes and I am pining for you she laments. As she dances, she remembers Lord Shiva’s beautiful dance in the temple of Chidambaram. She tells him that she longs to merge the sound of her bells with his as they dance in happy union. Please pay heed to me oh Brigadheeshwara, one who is the presiding deity of the sacred town of Tanjore. I put all my faith upon you to deliver me.
You are always in my thoughts my Lord. The heroine gets frustrated that she is missing her love. But cheers up when she sees the Lord’s dancing form and her faith is renewed that he will come and take her to be his.

She says, your beauty and regal elegance is beyond compare and my mind is lost in your thoughts so deep that everyone thinks I am mad. I am sinking in the ocean of desire and my condition has become pitiable.

Why do you turn away from me in anger? There is no man who can be compared to you.

The five flowers of Cupid's bow have pierced my heart and my suffering is deepening, how can this leave you so indifferent ? Of the whole world, you are king of all kings, as the poets sing, with magnanimity you bestow fulfillment, you are the remover of all difficulties, please show some compassion to me..


Raga: Neelambari

Tala: Adi

Composer: Lingaraj Urs, 1823-74, Mysore Court

Choreographer: M Subhashini Vijay Santhanam

This song is in praise of Devi or the Supreme Mother Goddess who is at once powerful and so benevolent. She is like a wave of beauty and love and protects those who have sought her refuge. She is the wave of compassion, the rainbow in the rain, the cause of flowers in bloom and the fragrance in the flower.

The Goddess is a lover of all arts and particularly music. Just like a bee that is intoxicated by the sweet nectar of the lotus flower, she is enchanted by good music. She has beautiful well proportioned limbs and captivates the heart of Siva, who is the enemy of cupid. The devotee prays for her protection. Amongst all the items of decorating oneself, she is the bindi. She has the most tender feet red as the young(rising) sun or red like the bandhuka flower, she has mercy to protect those seeking refuge at her feet and endowed with most beautiful qualities, she defeats all evil this Daughter of the mountain, Goddess Parvathi, the primal the use of the world. She is so magnetic that she attracts her devotees effortlessly to herself.

She has a radiant smile that wins the heart of Shiva (enemy of Manmatha), she is the one praised by all the Vedas, she has jet black hair with the deep color of the black bug, she is most compassionate and has delicately chiseled hips, she is served by the gods and the poet Lingaraja worships her with his words that are like lotuses at her feet.

New Padam - NEW






Keerthanam : Govardhana Giridhara

Raga: Darbari Kanada

Tala: Adi

Composer: Narayana Teerthar

Choreographer: Vijaykumar Srinivasan

**Oh Govinda who lifted Govardhana mountain, protector of Gokula (from the torrential rains sent by Lord Indra), you give us infinite happiness.**

**Oh Lord who has a marked chest denoting the resting place of his consort Sri Lakshmi and who wears the shining Kausthubha gem, please destroy fears of good people and protects us. **

**You the Lord who felled the enemy of devas, your feet are always worshiped by Sri Tulasi or Bhoodevi, You who have such a pure and rich legacy of leelas of always upholding what is right and protecting your devotees, establishing what is holy all over the world. **

**Fragrant like honey, fond of dancing and decorated with beautiful gems and ornaments you are so beautiful. Praise be to you and your lotus feet says the poet Narayana Theertha!**

Ahirbhairavi Thillana

Raga: Ahirbhairavi

Tala: Adi

Composer: Dr. M Balamurali Krishna (1930-2016)

Choreographer: Avijit Das

**The last item in any Bharatanatyam performance is the Tillana and is mainly a nritta piece or pure dance number in praise of Lord Krishna. The short verse describes his playing of the flute as most delicate and enticing. The music that blossoms from Krishna’s flute is most melodious because of his mastery over Raga, Tala and all sound. **

Ramachandraya Janaka Mangalam

Raga: Kurinji

Tala: Adi

Composer: Bhadrachala Ramadas (Kancherla Gopanna (Telugu: కంచెర్ల గోపన్న) (c 1620 – 1680 CE), popularly known as Bhadradri Ramadasu or Bhadrachala Ramadasu)

Choreographer: Avijit Das

This finale is a song in praise of Lord Rama hailing him to be ever surrounded by auspiciousness and well being.

All glories to Rama, the Lord of the daughter of Janaka, Sita, the one who always fulfills my desires

**He is the ever smiling Lord of Kosala, who is honored by Indra and other celestial beings Rama is dark hued and adorned with sandalwood paste, fine bracelets and gem studded earrings and wears a garland of Tulsi leaves and has well proportioned limbs. All auspiciousness is wished upon the son of Devaki. Here the reference is to the Krishna Ava\tar of Lord Vishnu, the great pure teacher who gave us the Bhagawad Gita. All glories to the one who has lotus like eyes, moon like face and rides on the eagle vehicle, Garuda. Glories to the who is an expert in Vedas and Vedanthas, Who likes his devotees to come to him with pure minds and happy faces, all glories to that Lord who is ever present in the gentle being of Ramadasa, the presiding deity of Bhadrach**

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