Program Brochure
Puspanjali
Puspanjali, a sacred dance offering, marks Sanjita's debut on stage. This traditional invocation honors Lord Nataraja, the God of Dance, with a symbolic offering of flowers. The name "Puspanjali" combines the Sanskrit words "Pushpa" (flowers) and "Anjali" (offering of the hand), signifying a reverent gesture. Through this dance, Sanjita seeks the blessings of the Almighty, her esteemed Gurus, the accompanying musicians, and the audience, asking for a successful and auspicious beginning to her performance. The dance culminates with a heartfelt sloka (verse) dedicated to Lord Ganesha, the remover of obstacles. Sanjita humbly prays to the Elephant-faced god, "May your blessings guide me in all my endeavors, and may my path be smooth and obstacle-free, always."
Gam Ganapathee
Following Pushpanjali is a beautiful Keerthanam in praise of Ganesha's resplendent beauty, describing his lotus-like feet, which are worshiped by none other than Lord Brahma himself. The song highlights Ganesha's benevolent nature, which alleviates the worries of his devotees and embodies a treasure trove of virtuous qualities. The song is further enriched by the incorporation of intricate swaras, skillfully woven into complex rhythmic patterns, which beautifully complements the lively dance honoring the joyous Lord Ganesha.
Alarippu
In Tamil, Alarippu means “a flowering bud.” This dance is considered a warm-up piece as it showcases “Nritta” which means pure dance. Alarippu is based on rhythm alone and brings out the special charm of pure dance executed at different speeds. This piece highlights the dancer’s controlled movements and focused concentration in her preparation for more complex and elaborate dances. This will be performed to the rendition of Fur Elise by Beethoven in a 3 beat rhythm cycle
Verses from Lalitha Sahasranamam and Mahishasura Mardini Stotram
This dance is composed of a medley of slokas from Lalitha Sahasranaman, a Hindu religious text from the Brahmanda Purana and from Mahishasura Mardini Stotram, authored by Adi Shankara. This item is composed of Dhyana slokas from Lailtha Sahasranamam which portrays the beauty of Goddess Bhuvaneswari, who sits on the lotus flower with a smiling face, dressed to perfection in red color and protects her devotees. The first hymn of Mahishasura Mardini extols the virtues of the beloved consort of Lord Shiva, Goddess Durga, who resides on the majestic Vindhya mountain peak, and is the cherished sister of Lord Vishnu. Praised by Lord Indra himself, Goddess Durga's triumph over the buffalo demon Mahishasura is a resplendent depiction of the eternal victory of good over evil. The battle between Goddess Durga and Mahishasura is brought to life through a vibrant jathi, showcasing the majestic choreography. The dance pays tribute to Goddess Bhuvaneshwari, the supreme creator and destroyer, who weaves the fabric of existence and annihilates all that is evil, restoring balance to the universe.
Varnam
Sadhinchane O Manasa (Pancharatna Kriti)
The Varnam is the central piece and most intense item in a Bharatanatyam Arangetram repertoire, showcasing the dancer's mastery of intricate footwork and expressive facial gestures. Regarded as one of the esteemed Pancharatna Krithis, this dance embodies the essence of devotion and surrender. The lyrics, "Saadinchane O Manasa" (Oh Mind, you have achieved…), pose a poignant question, highlighting the boundless wonders of Lord Krishna's exploits. With grace and precision, the dance recreates iconic scenes from Krishna's life, including his divine revelation to Mother Yasoda and his counsel to Arjuna on the Kurukshetra battlefield. Tyagaraja's words, laced with devotion and a hint of playful chiding, marvel at Krishna's seeming contradictions - preaching patience, tolerance, and self-control while defying logic with his actions. The saint's fervent plea, "I have followed your advice, yet you remain elusive," showcases his intense longing and Bhakti for Lord Krishna, making this Varnam a true masterpiece of devotion and artistic expression.
Rama Geetham
A beautiful medley of Tumu Narasimha Dasu's compositions (Ancestor of Sanjita from 18th Century) has been crafted to showcase a devotee's fervent devotion (Bakthi) to Lord Rama. Steeped in the Bhakthi movement, his works offer a glimpse into the rituals and practices of a bygone era. In Hinduism, Rama is revered as an incarnation (Avatar) of Lord Vishnu. This dance piece portrays a devoted follower who hastens to behold Lord Rama at dawn's break, awakens him with songs of praise, and relives episodes from his illustrious life. The dancer brings to life the redemption of Ahalya, cursed to be a stone, liberated by Rama's feet; the tale of Kurma avatar; and the charming scene of Sita, entranced by Rama's presence, while playing ball with her friends. Through this musical extravaganza specially composed for this occasion by Guru Swamimalai Suresh, the devotee's ardor and Lord Rama's divine presence converge in a celebration of faith and devotion.
Bho Shambho
“Bho Sambho” composed by Swami Dayananda Saraswati, praises Lord Shiva. This enchanting hymn reveres Shiva as the supreme manifester of the universe, whose cosmic dance embodies the five fundamental activities: creation, preservation, destruction of divisive forces, illusion, and ultimate salvation. As the embodiment of the five elements - water, air, fire, earth, and space - Shiva manifests as the very fabric of existence. His joyful dance gives rise to this wondrous universe, and the one who discovers the divine dancer within attains supreme bliss. Karanas or poses signify his cosmic creation. Lord Shiva, the infinite ocean of compassion, is also the embodiment of forgiveness. The tale of Ravana, who dared to challenge Shiva's power by attempting to lift Mount Kailash, serves as a testament to this. Shiva's gentle yet firm rebuke crushed Ravana's arrogance, and the humbled king sought redemption through the power of music. Offering his very being as an instrument, Ravana's soulful repentance on the Rudra veena mesmerized Shiva, who forgave him with a gracious smile."
Thillana
Thillana which is typically performed towards the end of a dance recital is a vibrant, lively dance item that is characterized by its fast-paced footwork and intricate rhythms.. The complex rhythmic structure is executed in the form of Korvais(paragraphs) set to three speeds. This Thillana is in praise of Lord Muruga, the elder son of Goddess Parvathi.
Mangalam
Alameda Manga Nee
‘Mangalam’ signifies an auspicious ending and is performed at the end of a dance recital. This item pays tribute to Alamelu Manga, the beloved consort of Lord Venkateshwara and the revered deity of composer Saint Annamacharya. The lyrics "Alamelu Manga Nee Abhinava Rupamu" extols the beauty and splendor of Goddess Lakshmi, whose presence fills Lord Venkateshwara's heart with joy. This vibrant dance piece celebrates the beauty of Alamelu Manga with liveliness and playfulness. As the grand finale, Mangalam expresses gratitude to the divine, the Gurus, and the audience for their blessings and support, culminating the recital on a note of appreciation and devotion.
