Brochure

Ganeshanjali

(Om Gajamukha)

Ragam: Ganamurthi
Thalam: Adi
Composer: N.G. Ravi

Pushpanjali is the most common invocatory piece in which the dancer offers flowers and invokes the blessings of the gods, pays respect to the guru, the orchestra, the mother earth and the audience. With the chant of the “Om” or ‘AUM” that represents the union of body, mind and spirit, the whole universe joined together, and referring to Gajamukha or the elephant faced god Ganesha, this pushpanjali seeks blessing from the one-toothed lord, the scribe of the Vedas.

Ganeshanjali

(Om Gajamukha)

Ragam: Ganamurthi
Thalam: Adi
Composer: N.G. Ravi

Pushpanjali is the most common invocatory piece in which the dancer offers flowers and invokes the blessings of the gods, pays respect to the guru, the orchestra, the mother earth and the audience. With the chant of the “Om” or ‘AUM” that represents the union of body, mind and spirit, the whole universe joined together, and referring to Gajamukha or the elephant faced god Ganesha, this pushpanjali seeks blessing from the one-toothed lord, the scribe of the Vedas.

Thevaram

(Thodudaiya cheviyan)

Ragam: Gambheera Nattai Thalam: Adi Composer: Thirunavukkarasar/ Thiru Nyaana Sambandhar

Thevaram or they and haram, a garland that the dancer offers to Lord Shiva. Thevaram denotes the first seven volumes of the Tirumurai, collection of Tamizh Saiva devotional poetry dedicated to the works of the three most prominent tamizh poets of the 7th century, the Nayanars, Sambandhar, Thirunavukkarasar and Sundarar.

Jatiswaram

Ragam: Ragamalika Thalam: Misra Chapu Composer: Tanjore Quartet
Jatiswaram is a combination of “Jathis” (rhythmic syllables) and “swaras” (musical notes). This is a pure dance or “nritta” where the dancer displays her versatility in elaborate foot work and graceful movements of the body.

Jatiswaram

Ragam: Ragamalika Thalam: Misra Chapu Composer: Tanjore Quartet
Jatiswaram is a combination of “Jathis” (rhythmic syllables) and “swaras” (musical notes). This is a pure dance or “nritta” where the dancer displays her versatility in elaborate foot work and graceful movements of the body.

Varnam

(Swami Nee Manam Irangi)

Ragam: Sriranjani Thalam: Adi Composer: Paapanaasam Sivan
Varnam is the central and most elaborate item in the Bharatanatyam arangetram repertoire. It alternates between nritta (pure dance) and abhinaya (conveying theme or story). There is perfect synchronization of the various elements of dance, thus giving the dancer abundant scope for displaying her rhythmic talents with rich and variegated abhinaya. This varnam in the first sanchari describes the life of tamizh poet and devotee of Lord Murugar, Arunagirinadhar. The dancer later portrays the stubborn, lovelorn woman (Viraha Naayika) who is pining for Lord Muruga, son of Uma, the one who is kind and benevolent.

Nachiyar Thirumozhi

(Vaaranam Aayiram)

Ragam: Ragamalika Thalam : Adi Composer: Andal

Nachiyar Thirumozhi is a set of 143 verses composed by Andal, one of the twelve alwars in Sri Vaishnava tradition. In this famous decad of ten verses, commonly referred as “Vaaranam Aayiram”, Andal describes her dream wedding with Shriman Narayana according to the scriptures (vedic tradition).

The ten steps described here are the major portion of any Indian wedding.

 

    1. Reception of the bride groom (mapillai azhaippu, janavasam)
    2. Announcement of wedding ceremony (nichayatartham)
    3. Elders’ consent and Sister-in-law (nathanar kodi uduttal) to dressup the bride
    4. Tying the holy string on hand (kappu kattal)
    5. Removing the obstacles (pidi surrudal)
    6. Holding the hands together (panigrahanam)
    7.  Walking seven steps together, wedding vows (agni pradakshina saptapati)
    8. Stepping on the stone (shilarohanam, ammi midittal)
    9. Offering of puffed rice (laja homam, pori idudal)
    10. Sprinkling yellow holy water (manjal neerattal)

Nachiyar Thirumozhi

(Vaaranam Aayiram)

Ragam: Ragamalika Thalam : Adi Composer: Andal

Nachiyar Thirumozhi is a set of 143 verses composed by Andal, one of the twelve alwars in Sri Vaishnava tradition. In this famous decad of ten verses, commonly referred as “Vaaranam Aayiram”, Andal describes her dream wedding with Shriman Narayana according to the scriptures (vedic tradition).

The ten steps described here are the major portion of any Indian wedding.

 

    1. Reception of the bride groom (mapillai azhaippu, janavasam)
    2. Announcement of wedding ceremony (nichayatartham)
    3. Elders’ consent and Sister-in-law (nathanar kodi uduttal) to dressup the bride
    4. Tying the holy string on hand (kappu kattal)
    5. Removing the obstacles (pidi surrudal)
    6. Holding the hands together (panigrahanam)
    7. Walking seven steps together, wedding vows (agni pradakshina, saptapati)
    8. Stepping on the stone (shilarohanam, ammi midittal)
    9. Offering of puffed rice (laja homam, pori idudal)
    10. Sprinkling yellow holy water (manjal neerattal)

Keerthanam

(Sundara Natarajam)

Ragam: Kharaharapriya Thalam: Adi Composer: Otthukkadu Venkata Subbaiyyar
This brisk, quick moving piece is in praise of Lord Nataraja. Sundara Nataraja.. Sundari Hridayesham.. handsome Nataraja, the lord who danced gloriously in the temple of Chidambaram. The lord who resides in Shivakama Sundari’s heart. The poet calls upon us to constantly meditate upon the most merciful lord of Chidambaram.

Padam

(Om Namo Narayana)

Ragam: Karnaranjani Thalam: Chapu Composer: Ambhujam Krishna
A padam explores a particular theme or emotion. The emphasis is on the expression to convey an emotion through a monologue or dialogue. This heart melting composition evokes Narayana in the form of the young Guruvayurappan. Om, with a melting heart I utter my salutations to Narayana, without Guruvayurappan’s name, what else is salvation, health and prosperity?

Padam

(Om Namo Narayana)

Ragam: Karnaranjani Thalam: Chapu Composer: Ambhujam Krishna
A padam explores a particular theme or emotion. The emphasis is on the expression to convey an emotion through a monologue or dialogue. This heart melting composition evokes Narayana in the form of the young Guruvayurappan. Om, with a melting heart I utter my salutations to Narayana, without Guruvayurappan’s name, what else is salvation, health and prosperity?

Thillana

Ragam: Atana Thalam: Adi Composer: Ponniah Pillai
A lively, rhythmic piece where the dancer weaves beautiful dance patterns to melodious music and intricate footwork. The Sahityam in this thillana refers to Pashupati or Shiva’s consort Parvathi. The poet extols her as the Queen and the Goddess who has no equal in this world, one whom he repeatedly calls and keeps her in his heart.
Om Shri Gurubhyo Namaha. Sincere thanks to Guru Smt. Padmini Ravi for her continued support, guidance and unique choreographies.