Prayer
Musicians Sri Balaji Mahadeven (Percussion), Shri Susheela Narasimhan (Violin), Chi. Prasanna Rajan (Flute), and Geeta Shankar (Veena) accompanied vocalist Shruthi Aravindan and my Guru Smt. Naina Shastri in a prayer to begin the performance.
Pushpanjali
A traditional Bharatanatyam recital always begins with a Pushpanjali, which means “offering of flowers." The dancer enters the stage for the first time with flowers in her hand, and offers them to Lord Nataraja, the God of Dance. This is followed by the “Namaskara," which is where the dancer asks Mother Earth for forgiveness for stamping on her; then, the dancer seeks blessings from the Gods, Gurus and parents. Lastly, the performer acknowledges the musicians and audience. Immediately following the Pushpanjali is a short prayer to Goddess Saraswathi, the Goddess of Knowledge.
Jathiswaram
A pure dance piece, the Jathiswaram is a combination of various “adavus” - the fundamental steps of Bharatanatyam. Different adavu patterns follow the rhythmic musical notations going from slower, simple combinations to more complex and faster steps.
Shiva Stuthi- Bho Shambho
This piece is in praise of Lord Shiva, the Lord of Dance.
Varnam
This is the longest and the most rigorous piece of a Bharatanatyam recital. The Varnam is a test of the performer’s stamina, storytelling skill and the understanding of lyrics, music and beats. A Varnam is a combination of “abhinaya” (expression) parts and pure dance parts. In a Varnam, the dancer depicts a few stories related to the God/Goddess in praise of whom the song is composed.
Devaranama - Chikkavane Ivanu
A pure “abhinaya” piece, Devaranamas are quite literally “songs of Gods”. A deeply devotional piece with heavy undertones of complex philosophical ideologies are conveyed through simple lyrics. Most Devaranams are in praise of Lord Krishna, incarnation of Lord Vishnu, one of the Holy Trinity, who is the protector of the Universe.
Padam - Panimathi Mukhi
Another pure “abhinaya” piece, Padams are compositions in praise of a Deity who is usually a male. While there are Padams with “bhakti,” or devotion, as the predominant emotion, most Padams are love poems. This is a slow piece with minimal footwork and body movements. The lyrics are enhanced through deep emotions expressed in a dancer's face and hand gestures. “Panimathi Mukhi” is an old and iconic composition of Maharaj Swathi Thirunal. The Nayika, or heroine, is pouring her heart out to her friend while lamenting the separation from her Beloved, who in this case is Lord Vishnu himself.
Paluke Bangaramayena
Paluke Bangaaramaayena is a popular Telugu composition of Kancherla Gopanna. This piece is a song in praise of Lord Rama. Steeped in "Bhakti Rasa" (devotion), Shri Raamadaasa completely surrenders to the Lord and hopes that He will come to bless and protect this humble creature of the Earth. This item was choreographed by me, and is a demonstration of my understanding of the song's meaning, rhythm, and melody - factors that I have mastered over my years of learning this art form.
Thillana and Mangalam
Traditional Bharatanatyam recitals conclude with a Thillana. This piece is a fast-paced dance with most of it being a complex combination of rhythmic patterns of footwork and body movements. There is a small lyrical segment at the end of the Thillana, which is in praise of Lord Muruga, the second son of Lord Shiva, and younger brother to Lord Ganesha. The Mangalam that follows this piece acts as an "end cap" to the performance, where the dancer gives thanks to the audience for watching, and to the Gods, Guru, parents, and musicians for the performance.
Highlights
This video contains pictures and short clips from each dance.