Nandi Arangetram Brochure final (1)

Arangetram, literally meaning ascending the stage, PUSHPANJALI Varnam, the central item in Bharatanatyam repertoire showcases the
celebrates the graduation of the Bharatanatyam technical skill, dramatic capacity and endurance of the dancer. The longest item,
student and is the first formal solo presentation of Tala: Roopaka it is the crest and crowning piece of a Bharatanatyam recital. It combines in itself
the Bharatanatyam dancer to an audience. Choreography: Guru Chitra Vishveshwaran both abhinaya and nritta. While the latter embellishes the rhythmic aspect of the
Arangetram is an important occasion in the career composition, the lyrics explain the heroine or nayaki’s love, admiration, adulation
of any Bharatanatyam dancer. After several years Pushpanjali is an invocatory dance where the artist offers flowers as a and longing for her master, Lord Brigadeeshwar who is none other than Lord Shiva.
respect to God, Guru and the audience.
of arduous training, when the Guru is confident that INTERMISSION
the disciple can sustain a solo performance, the NARAYAN SHLOKA AND KAUTHUVAM
DURGA DEVI STOTRAM- AYIGIRI NANDINI
Arangetram is announced. Arangetram, a momen- Tala: Chaturshra Eka
tous rite of passage, is therefore an honor to the Raga: Nateya Composer: Sri Adi Shakaracharya
Choreography: Guru Chitra Vishveshwaran Choreography: Guru Sudha Raghuram
guru; it marks the first milestone in the disciple’s jour-
ney into the ocean of Bharatanatyam. On this spe- The dance will describe the ten avathars or reincarnations of Lord This devotional verse is addressed to Goddess Mahishasura Mardhini,
cial day, the dancer performs with utmost devotion Vishnu or Narayan, the Hindu God of preservation. The avatars are matsya (fish), the fierce form of Goddess Durga, who killed demon Mahishasura.
kurma (tortoise), varaha (wild boar), vamana (Bhramin), Narasimha (half man and
as offering to her Guru, and the God of dance, half lion), Parashurama, Rama, Krishna, Buddha and Kalki. Lord Narayan is said to MAHADEVA SHIVA SHAMBHO
Lord Nataraja. descend in the form of an avantar to restore cosmic order.
Tala: Adi
Bharatanatyam is the most ancient of all classical GANESHA STUTI Raga: Revathi
dance forms in India. It is an artistic yoga for reveal- Composer: Thanjavur Shankara Iyer
ing the spiritual through the corporeal. It is a blend Tala: Roopaka Choreography: Sudha Raghuram
Raga: Ragamalika
of ‘Nritta’ (the rhythmic movement of the body), Composer: Shri Pu Thi Na This dance will describe Lord Shiva who is one of the three major
‘Nrithya’ (the combination of rhythm with expres- Choreography: Guru Lalitha Srinivasan deities of Hinduism. Lord Shiva has many benevolent and fearsome forms. In the
sion through eyes, hands and facial movements) benevolent aspect, he is depicted as the omniscient yogi who lives an ascetic life
and ‘Natya’ the dramataic element. The main fea- The song in the language Kannada will describe the virtues of Lord on Mount Kailash as well as a householder with wife Parvathi and his two children
Ganesha. He is endowed with bright and beautiful face. He has a long trunk and Ganesha and arthikeya. In the fierce aspect, he is often depicted as a slayer of
tures of Bharatanatyam are ‘Abhinaya’ ears. He is the son of Lord Shiva. His smile is sweet and he loves to eat the sweet, demons.
(expression), ‘Rasa’ (emotion), and ‘Mudras’ (hand Modak. His small eyes are sharp. He removes all our troubles and destroys our
gestures). All dances are structured around ‘Nava arrogance. KANNADA POEM, ‘MOODA BELAGAITHU’
Rasas’, the common emotions of happiness, anger,
disgust, fear, sorrow, courage, compassion, wonder JATHISWARAM Tala: Adi
Raga: Bouli
and serenity. The dance is accompanied by the Tala: Roopaka Composer: Shri Chikkadevaraja Wodeyar
classical Carnatic music. Raga: Vasantha Choreography: Guru Lalitha Srinivasan
Choreography: Guru Rukmini Arundale of Kalakshetra
This dance will describe a mother after her daily chores of boiling milk
This is a pure dance composition in which the dancer weave several and churning buttermilk finds her little son still sleeping in the cradle. She asks him,
patterns to a basic music composition. The audience is introduced to ‘Nritta’, the cajoles and pleads with him to wake up, so that she can dress him up and he can
rhythmic aspect of Bharatanatyam. Jathiswaram is a beautiful fusion of melody, go play with his friends. The son refuses to get up. Finally, the mother lifts her child
exquisite line and intricate rhythm in abstract dance without abhinaya and mime. from the cradle and takes him away.

VARNAM-MANAVI THILLANA

Raga: Shankarabharanam Tala: Kanda eka
Raga: Adi Raga: Hindolam
Composer: Ponnayya Pillai Choreography: Guru Rukmini Arundale of Kalakshetra
Choreography: Guru Rukmini Arudnale of Kalakshetra
The crowning glory of a Bharatanatyam performance, Thillana is a
celebration of pure joy in dance.. This fast paced dance number marks the end of
a dance recital. Intircate footwork, rhythmic patterns, technique, sculpturesque
poses, and devotional abhinaya combine to perform an exhilarating finale. The
music of the Thillana is a repeating sequence of mnemonics played in a single
raga and a tala at three speeds. This Thillana is dedicated to Goddess Tripura
Sundari.

MANGALAM

This dance is rendered as a benediction where in the dance once
again thank and pays her respects to God, her parents, her Guru and everyone in
the audience.

Sudha Raghuram, Director of Shivalaya School We would like to thank you all for
of Dance, has received training in Bhara- attending Nandini’s Bharatanatyam
tantyam from Guru B.K. Vasanthalakshmi, Guru Arangetram. This is auspicious milestone
Vasantha Vedam and Guru Lalitha Srinivasan in her life, and we are blessed that she
all eminent dance teachers from Bengaluru, was able to share this precious moment
India. She has also been trained in Kathak and with you. Thank you again for your
Folk dances of India. She founded Shivalaya
School of Dance 17 years ago and went on to encouragement and blessings.
culturally enrich the lives of many through the
world’s oldest classical dance form with the ~ Mallick, Geetha, & Vijay Vobbilisetty
support from Wilmingtom, NC’s and Montgomery, AL’s vibrant Indian
American community. Apart from training many students, Sudha was
selected in the Touring Artist Program by the NC Arts Council. She has
been the recipient of the Folk Art Apprenticeship grant awarded by
the Alabama State Council on the Arts every other year since 2000.
She was also awarded the prestigious Dance Fellowship in 2013. The
Alabama State Council on the Arts selected Sudha in the Alabama
Touring Artist Program for 2013 and 2014 to promote Bharatanatyam
and other Indian dances in various public schools in Alabama. Sudha
and her students perform regularly for Indian Cultural associations in
Montgomery, Birmingham, Tuscaloosa, Auburn, Birmingham Museum
of Art and multi-cultural events in AUM, ASU and Huntington College.
Sudha presented a solo recital for Sai Nrithyotsav, Bengaluru, India in
January 2014. She has had the opportunity to conduct dance work-
shops in Montgomery Ballet schools, Baldwin Magnet and BTW
school. Sudha and her dance school were recently featured in the
Alabama Public Television Program, ‘Journey Proud’. In 2015, her
choreographic work ‘Cinderella’ was well received by the audience.
She also has successfully presented dance debuts or Arangetrams of
her students. To Sudha, Bharatanatyam is not just an art form, it is a
way of life. She is of the view that dance teaches students discipline,
grace, strengthens them physically, nourishes their minds and gives
them tremendous confidence on the public stage. Her main goal is
to introduce Indian dances to the mainstream through performances
and workshops. An avid advocate of Indian classical dance, Sudha
hopes to preserve this ancient dance form to be carried on to the
next generation.

Nandini Vobbilisetty, a sophomore at Hoover
High School, has been learning Bharatanatyam
under Smt. Sudha Raghuram since the age of 7.
Aside from Bharatanatyam, Nandini loves Bolly-
wood, hip hop, and contemporary. She has
performed for Indian Cultural associations in
Montgomery, Birmingham, Tuscaloosa, Auburn
and multicultural events in AUM, ASU, and Hun-
tington College. She had the opportunity to
participate in many talents shows at her schools.
Along with growing her passion for dance, Nan-
dini has many educational interests. She has participated and won in
competitions, such as Science Olympiad and Technology Fair. She
now takes her first step into the world of professional dance with all of
the support and blessings from her guru, family and friends.

JULY 17, 2016

Sudha Raghuram, Director of Shivalaya School
of Dance, has received training in Bhara-
tantyam from Guru B.K. Vasanthalakshmi, Guru
Vasantha Vedam and Guru Lalitha Srinivasan
all eminent dance teachers from Bengaluru,
India. She has also been trained in Kathak and
Folk dances of India. She founded Shivalaya
School of Dance 17 years ago and went on to
culturally enrich the lives of many through the
world’s oldest classical dance form with the
support from Wilmingtom, NC’s and Montgomery, AL’s vibrant Indian
American community. Apart from training many students, Sudha was
selected in the Touring Artist Program by the NC Arts Council. She has
been the recipient of the Folk Art Apprenticeship grant awarded by
the Alabama State Council on the Arts every other year since 2000.
She was also awarded the prestigious Dance Fellowship in 2013. The
Alabama State Council on the Arts selected Sudha in the Alabama
Touring Artist Program for 2013 and 2014 to promote Bharatanatyam
and other Indian dances in various public schools in Alabama. Sudha
and her students perform regularly for Indian Cultural associations in
Montgomery, Birmingham, Tuscaloosa, Auburn, Birmingham Museum
of Art and multi-cultural events in AUM, ASU and Huntington College.
Sudha presented a solo recital for Sai Nrithyotsav, Bengaluru, India in
January 2014. She has had the opportunity to conduct dance work-
shops in Montgomery Ballet schools, Baldwin Magnet and BTW
school. Sudha and her dance school were recently featured in the
Alabama Public Television Program, ‘Journey Proud’. In 2015, her
choreographic work ‘Cinderella’ was well received by the audience.
She also has successfully presented dance debuts or Arangetrams of
her students. To Sudha, Bharatanatyam is not just an art form, it is a
way of life. She is of the view that dance teaches students discipline,
grace, strengthens them physically, nourishes their minds and gives
them tremendous confidence on the public stage. Her main goal is
to introduce Indian dances to the mainstream through performances

Nandini Vobbilisetty, a sophomore at Hoover High School, has been
learning Bharatanatyam under Smt. Sudha Raghuram since the age
of 7. Aside from Bharatanatyam, Nandini loves Bollywood, hip hop,
and contemporary. She has performed for Indian Cultural associa-
tions in Montgomery, Birmingham, Tuscaloosa, Auburn and multicul-
tural events in AUM, ASU, and Huntington College. She had the op-
portunity to participate in many talents shows at her schools. Along
with growing her passion for dance, Nandini has many educational
interests. She has participated and won in competitions, such as
Science Olympiad and Technology Fair. She now takes her first step
into the world of professional dance with all of the support and bless-
ings from her guru, family and friends.

JULY 17, 2016

Arangetram, literally meaning ascending the stage, PUSHPANJALI Varnam, the central item in Bharatanatyam repertoire showcases the
celebrates the graduation of the Bharatanatyam technical skill, dramatic capacity and endurance of the dancer. The longest item,
student and is the first formal solo presentation of Tala: Roopaka it is the crest and crowning piece of a Bharatanatyam recital. It combines in itself
the Bharatanatyam dancer to an audience. Choreography: Guru Chitra Vishveshwaran both abhinaya and nritta. While the latter embellishes the rhythmic aspect of the
Arangetram is an important occasion in the career composition, the lyrics explain the heroine or nayaki’s love, admiration, adulation
of any Bharatanatyam dancer. After several years Pushpanjali is an invocatory dance where the artist offers flowers as a and longing for her master, Lord Brigadeeshwar who is none other than Lord Shiva.
respect to God, Guru and the audience.
of arduous training, when the Guru is confident that INTERMISSION
the disciple can sustain a solo performance, the NARAYAN SHLOKA AND KAUTHUVAM
DURGA DEVI STOTRAM- AYIGIRI NANDINI
Arangetram is announced. Arangetram, a momen- Tala: Chaturshra Eka
tous rite of passage, is therefore an honor to the Raga: Nateya Composer: Sri Adi Shakaracharya
Choreography: Guru Chitra Vishveshwaran Choreography: Guru Sudha Raghuram
guru; it marks the first milestone in the disciple’s jour-
ney into the ocean of Bharatanatyam. On this spe- The dance will describe the ten avathars or reincarnations of Lord This devotional verse is addressed to Goddess Mahishasura Mardhini,
cial day, the dancer performs with utmost devotion Vishnu or Narayan, the Hindu God of preservation. The avatars are matsya (fish), the fierce form of Goddess Durga, who killed demon Mahishasura.
kurma (tortoise), varaha (wild boar), vamana (Bhramin), Narasimha (half man and
as offering to her Guru, and the God of dance, half lion), Parashurama, Rama, Krishna, Buddha and Kalki. Lord Narayan is said to MAHADEVA SHIVA SHAMBHO
Lord Nataraja. descend in the form of an avantar to restore cosmic order.
Tala: Adi
Bharatanatyam is the most ancient of all classical GANESHA STUTI Raga: Revathi
dance forms in India. It is an artistic yoga for reveal- Composer: Thanjavur Shankara Iyer
ing the spiritual through the corporeal. It is a blend Tala: Roopaka Choreography: Sudha Raghuram
Raga: Ragamalika
of ‘Nritta’ (the rhythmic movement of the body), Composer: Shri Pu Thi Na This dance will describe Lord Shiva who is one of the three major
‘Nrithya’ (the combination of rhythm with expres- Choreography: Guru Lalitha Srinivasan deities of Hinduism. Lord Shiva has many benevolent and fearsome forms. In the
sion through eyes, hands and facial movements) benevolent aspect, he is depicted as the omniscient yogi who lives an ascetic life
and ‘Natya’ the dramataic element. The main fea- The song in the language Kannada will describe the virtues of Lord on Mount Kailash as well as a householder with wife Parvathi and his two children
Ganesha. He is endowed with bright and beautiful face. He has a long trunk and Ganesha and arthikeya. In the fierce aspect, he is often depicted as a slayer of
tures of Bharatanatyam are ‘Abhinaya’ ears. He is the son of Lord Shiva. His smile is sweet and he loves to eat the sweet, demons.
(expression), ‘Rasa’ (emotion), and ‘Mudras’ (hand Modak. His small eyes are sharp. He removes all our troubles and destroys our
gestures). All dances are structured around ‘Nava arrogance. KANNADA POEM, ‘MOODA BELAGAITHU’
Rasas’, the common emotions of happiness, anger,
disgust, fear, sorrow, courage, compassion, wonder JATHISWARAM Tala: Adi
Raga: Bouli
and serenity. The dance is accompanied by the Tala: Roopaka Composer: Shri Chikkadevaraja Wodeyar
classical Carnatic music. Raga: Vasantha Choreography: Guru Lalitha Srinivasan
Choreography: Guru Rukmini Arundale of Kalakshetra
This dance will describe a mother after her daily chores of boiling milk
This is a pure dance composition in which the dancer weave several and churning buttermilk finds her little son still sleeping in the cradle. She asks him,
patterns to a basic music composition. The audience is introduced to ‘Nritta’, the cajoles and pleads with him to wake up, so that she can dress him up and he can
rhythmic aspect of Bharatanatyam. Jathiswaram is a beautiful fusion of melody, go play with his friends. The son refuses to get up. Finally, the mother lifts her child
exquisite line and intricate rhythm in abstract dance without abhinaya and mime. from the cradle and takes him away.

VARNAM-MANAVI THILLANA

Raga: Shankarabharanam Tala: Kanda eka
Raga: Adi Raga: Hindolam
Composer: Ponnayya Pillai Choreography: Guru Rukmini Arundale of Kalakshetra
Choreography: Guru Rukmini Arudnale of Kalakshetra
The crowning glory of a Bharatanatyam performance, Thillana is a
celebration of pure joy in dance.. This fast paced dance number marks the end of
a dance recital. Intircate footwork, rhythmic patterns, technique, sculpturesque
poses, and devotional abhinaya combine to perform an exhilarating finale. The
music of the Thillana is a repeating sequence of mnemonics played in a single
raga and a tala at three speeds. This Thillana is dedicated to Goddess Tripura
Sundari.

MANGALAM

This dance is rendered as a benediction where in the dance once
again thank and pays her respects to God, her parents, her Guru and everyone in
the audience.