Aditi's Rangapravesha
Program
Rāga: Gambhīra Nāṭai
Tāḷa: Khaṇḍa jāthi Triputa
Composer: Sri M.S. Sukhi
Choreographer: Smt. Roopa Anand
A mallāri is a traditional temple procession performed to begin the day, wherein the deity is carried into the temple. The dancer offers flowers and takes the blessings of the Gods, her Guru, the orchestra, and Mother Earth before she commences the Rangapravēsha.
Mallāri
Rāga: Hamsadhwani
Tāḷa: Khaṇḍa gathi Ādi
Composer: Sri Adi Shankaracharya
Choreographer: Smt. Roopa Anand
The Gaṇeśa Bhujaṅga Stotra is a compilation of verses that praise and describe all the vibrant qualities of Lord Ganesha, the leader of the Ganas and the son of Lord Shiva. Lord Ganesha’s blessings are sought at the beginning of any endeavour, as he is the remover of obstacles.
Ganesha Bhujanga Stotra
Rāga: Saraswathi
Tāḷa: Ēka
Composer: Sri Mahesha Swamy
Choreographer: Smt. Roopa Anand
A kavithwam is an invocatory composition in praise of a specific deity, consisting of worshipping verses interspersed with rhythmic portions. This kavithwam praises Goddess Saraswathi, the embodiment of knowledge and the arts. She is the divine goddess who plays the Veena and nurtures her devotees.
Saraswathi Kavithwam
Rāgamālika
Tāḷa: Ādi
Composer: Sri Agastya
Choreographer: Smt. Roopa Anand
In this krithi, the devotee surrenders to Devi: the Mother Goddess, or the supreme being, who keeps the universe in balance by residing within the 9 chakras. With the compassionate guidance of Devi, the devotee finds purpose in life, and is freed from all the sorrows of previous lives.
I would like to dedicate this composition to my grandmother, Smt. Lalitha Melkote.
Devi Kriti
Rāga: Ābhōgi
Tāḷa: Ādi
Composer: Sri D. S. Srivathsa
Choreographer: Smt. Roopa Anand
The varṇa is the main composition of a mārga, which is structured intricately to combine complex rhythmic sections, or nritta, with lyrical portions, or abhinaya, and narratives, or sanchaaris. This varṇa praises Lord Venkateshwara as the one who protects all three worlds and whose blessings rid his devotees of their worries. It expresses the story of Srinivasa Kalyana, the divine marriage of Goddess Padmavati and Lord Venkateshwara, when He descends on Earth.
I would like to dedicate this composition to my grandfather, Sri. Srinivasa Murthy Balepur.
Varna
Rāgamālika
Tāḷa: Ādi
Composer: Sri Harihara Kavi
Choreographer: Smt. Roopa Anand
This composition extols Lord Shiva, or Nataraja, the Lord of Dance. It describes His powerful Tandava, the divine dance through which He demonstrates the cycles of creation, preservation, and destruction. As He descends upon the Earth, His matted locks cradle the Goddess Ganga, the crescent moon sways upon His head, and the entire cosmos trembles and dances with Him.
Shiva Kriti
Rāga: Madhuvanti
Tāḷa: Ādi
Composer: Sri N. S. Chidambaram
Choreographer: Smt. Roopa Anand
In this abhinaya composition, the nayika confides in her friend about the moment she first laid eyes on Lord Muruga. Struck by love, she is unable to forget His divine image and longs to be in His presence again.
Padam
Rāgamālika
Tāḷa: Ādi
Composer: Sri Purandara Dasa
Choreographer: Smt. Roopa Anand
A devaranama is a devotional composition, and this one celebrates the many playful and divine acts of Lord Krishna. It praises him as the melodious flute player, who brings happiness and blessings across the universes. From tricking Bhasmasura into his own demise in the form of Mohini, to diverting Karna’s arrow to protect Arjuna, Lord Krishna’s leelas are both clever and compassionate. In wonder, the dancer asks: “Lord Krishna, where did you learn all of this?
Devaranāma
Rāga: Kuntalavarāḷi
Tāḷa: Ādi
Composer: Dr. M Balamuralikrishna
Choreographer: Smt. Roopa Anand
The thillāna is the vibrant finale to the Bharatanatya mārga, marked by elaborate rhythmic patterns and a joyous melody. This particular composition proclaims that no thillāna can compare, as it is enchanted with the music from Lord Krishna’s flute. The rāga is poetically described as flowing hair and shimmering moonlight. This composition is followed by the mangaḷam, which concludes the repertoire.
