Kum. Jwala Priyadarshini Rejimon
15 Aug 2015, 4:30pm
Zionsville Performing Arts Center
Ragam: Saraswathi Thalam: Adi
Composer: Madhurai R. Muralidharan
Pushpanjali is the invocatory piece in a solo performance. It comes from the ancient language ‘Sanskrit’ where ‘pushpam’ means ‘flower’ and ‘anjali’ means ‘offering with folded hands’. In this dance, the performer offers flowers to Lord Nataraja, the presiding deity of dance. She then seeks the blessings of her Guru, the accompanying artists, and the Sabha, or audience.
Ragam: Gambeera Natai
This is a shlokam, or prayer, where the dancer prays to Lord Ganesha to bless her so that she may render the complete performance seamlessly without any obstacles.
Ganesha Vandana--Shri Mahaganapathi Ravathumam
Ragam:Gaula Thalam: Misra Chapu
Composer: Muthuswamy Dikshithar
In this piece, the composer praises Lord Ganesha as the root of everything. She describes him as the remover of obstacles, the embodiment of knowledge, and the one who is worshipped by all. The composer compares Ganesha’s bright aura to a thousand suns and proclaims that he can ultimately offer salvation to mankind.
Ragam: Malayamarutham Thalam: Rupaka
Allarippu is commonly performed to a basic rhythmic cycle of 3, 4, 5, 7 or 9 beats. This Allarippu is set to 3 beats, and will be rendered along with the beautiful Thirupugal. Here the dancer starts her movements in accordance to the Natyarambhe position. This is a pure Nritha piece, so there is no abhinaya (expressions).
Ragam:Hamsanandi Thalam: Rupaka
Composer: K.N. Dandayudhapani Pillai
Jathiswaram is another pure Nritha piece that consists of short footwork passages. Each segment has a variety of complex rhythmic patterns woven together. The dancer executes different sets of footwork in a set tempo with the underlying melody of the Swarams. It is a piece that allows the dancer to exhibit mastery over Nritha and rhythm.
Ragam:Ragamallika Thalam:Misra Chapu
Composer: Thanjavur Arunachalam Pillai
This piece introduces the Abhinaya, or the expressive aspect of this dance form. Here, the composer talks about a Nayika, (the heroine) who imagines herself as the lover of Lord Nataraja, who majestically dances in Thillai Ambalam. He describes the heroine’s love and devotion for her Lord. In one of the verses, the composer writes ”Karpanai ketaada gaganithil nindradum adbhutha natanam”, which means that nothing can parallel Lord Nataraja’s dance, and that he transcends every level of imagination that the human mind is capable off. She tells her Sakhi, or friend, that her separation from her Lord makes her feel weak. She feels that her soul is sinking by being distanced from him. The Nayika reveals her feelings, and expresses her desire of marriage to him. She continues the conversation with her friend questioning, “Oh my dear Sakhi, will this ever be a reality or it is just my imagination?”
Ragam: Sankarabaranam Thalam: Adi Thalam
Composer:K.N. Dandayudhapani Pillai
The Varnam is lengthiest item in the Margam and is considered to be the most complex dance piece. Varnams are usually 30-40 minutes in length, and they alternate between Jathis (footwork passages) and Sahityams (expressive segments). This item challenges the dancer’s endurance, Nritha capability, and rhythmic knowledge at different speeds.
Sakhiye Indah Jalam is a Pada Varnam in Tamil where the main bhava (emotion) is Shringaram (love), which is one of the most predominant rasas (emotion) of the navarasa’s (the 9 basic emotions in dance).
This piece is a dialogue between the heroine and her friend, where the heroine says “Sakhiye indah jalam Yenadi Yendan Samiye vara Cholladi Idu Samayam,” which translates into “Dear friend, why are you behaving so distant towards me? Please go and tell my lord to come here. This is the right time to bring him.” The heroine continues to tell her friend that she thinks of her Lord day and night, and that she misses him so much that she cannot even eat or continue to live normally. She eagerly looks forward to the time when her Lord will come and comfort her, and end all of her sorrow. As her love and yearning for him heightens, she strongly comes to believe that he, who protected the great Pancha Pandavas, will definitely be moved by her deep devotion and accept her.
HONORING GURU, GUESTS, AND ORCHESTRA
Chief Guest: Sri. V.V. Sundaram
Guest of Honor: Smt. Hema Rajagopalan
Guest of Honor: Sri. K. P. Singh
Guru: Smt. Mangala Anand
Devarnama--Gummana Karayadhirai Amma
Ragam:Ragamallika Thalam:Chathushra Eka Thalam
The episode begins with Krishna as a very young boy, who steals butter and is caught by his mother, Yashodha. She threatens to call the Gumma, or the imaginary demon, if Krishna does not behave. Little Krishna pleads with his mother saying, “Gummana kareyadire, Amma ninu”, which means, “Mother, please don’t call the Gumma.” He makes several promises to be a very obedient child. He agrees to do everything she wishes. Krishna brings up his previous naughty acts, and assures that he will never repeat them. Meanwhile, Yashoda enjoys every moment of his desperate act of persuasion, and tries hard to be serious with him. However, she eventually gives in and embraces her child, as she feels blessed to be his mother.
Ragam:Ragamallika Thalam:Thisra Chapu
Arpudhashirpiyadi Ponnama is a fast paced padam that depicts Lord Shiva as a magnificent shilpi (sculptor). Lord Nataraja is the Lord of Dance but he is also an artist in many aspects. She describes the unique appearance of Shiva with both Gangai and Mangai within him, and praises him as the one who dances with the Bhoota Ganas. He majestically stands on his divine golden feet and is praised for his endless wisdom and valor.
Ragam: Kamas Thalam: Adi
Brocheva Yevarura is a kriti in praise of Lord Rama. In this piece, the composer depicts the emotions of a bhakta (devotee). The devotee asks his lord “brochevar yevarura ninuvina raghuvara”, meaning “who will protect me other than you, my lord Raghuvara?” This piece has depictions of some of the famous episodes from Ramayana, in the form of Sancharis. The few episodes that will be depicted are the Ahalya Moksham, Shabari and Sita Swayamvaram.
Ahalya Moksham: Ahalya was the wife of the Sage Gautama Maharishi. In this episode, Indra seduces Ahalya in Gautama’s absence. When Gautama returns, he finds them together and out of rage, he curses both of them. Indra flees the scene, and Ahalya is turned to stone by Gautama’s curse. Many lifetimes later, Rama incidentally finds Ahalya, and blesses her. After receiving Rama’s blessing, she returns to her human form.
Shabari: Shabari was an old woman, and a huge devotee of Lord Rama. She was previously informed by Sage Mathanga that one day, Lord Rama will come to her home, so she eagerly awaits his arrival for many years. When Rama finally comes, she offers him handpicked berries. However, she does not want Rama to eat sour berries, so she tries each berry before offering it to him. Even though the berries were bitten by Shabari, Rama still eats them,
and in doing so, he gives her salvation. Shabari’s long life ends in her happiest moment after being blessed by Lord Rama
Sita Swayamvaram: In this episode, King Janaka, who is in possession of Lord Shiva’s massive bow, makes an announcement that he will give his daughter’s hand in marriage to the man who is strong enough to string the bow. Many kings come from all over the country to attempt to string the bow, but none are able to even lift it off the ground. When Rama comes forward, he pays his respects to the king and Shiva’s bow before starting. He lifts it off the ground, and when he attempts to string it, the bow breaks in half. King Janaka immediately gives his daughter’s hand in marriage to Rama.
VOTE OF THANKS
Ragam:Thilang Thalam:Adi thalam
Composer: Lalgudi G. Jayaraman
Tillana is traditionally the last piece in the Margam and hence concludes the dance repertoire for an Arangetram. This piece is usually fast paced with vibrant short Nritha passages and has the lyrics dedicated to the Ishta Devatha, or the preferred diety, of the composer. Tillana is the finale piece, with the intent to conclude on an upbeat and energetic mood.
Ragam:Sourastra Thalam:Adi Thalam
Composer: St. Thyagaraja
This is the concluding piece where the dancer once again receives blessings from Lord Nataraja, and offers her thanks to the guru, accompanying artists and the audience.
National Anthem : Sai Pinnamneni
Nattuvangam: Smt. Mangala Anand
Vocal: Smt. Arthi Kumar
Mridangam: Sri. G. Ganeshan
Flute: Sri. C. K. Patanjali
Violin: Sri. C. K. Vijayaraghavan
Photographer: Dr. Kannan Natarajan
MC: Smt. Aparna Satheesan
Videographer: Sri. Biju Zacharia, Asianet TV, USA
Thank you for attending Jwala’s Bharatanatyam Arangetram