Solo Bharatanatyam at Naatiya Utsavam by Ragamalika TV

Jwala performed Bharatanatyam for Ragamalika TV as part of Naatiya Utsavam in June 2016. The video was aired on Kalaingar TV during the Navarathri festival time. The video was recorded at Chicago Temple. Thanks to all at Ragamalika TV for this amazing opportunity ! Here is the link to the video https://www.youtube.com/watch?v=LA1kgtDMQus

A report on my arangetram by Sri. Bhavanvitha Venkat

Jwala Rejimon's Arangetram - Indiana
15th August 2015,
A Report - Bhavanvitha 
bhavanvitha@gmail.com

Jwala Rejimon's Arangetram - Indiana, 15th August 2015
Thanks to technology we now have access to good performances more so of young talent available easily. For young dancers.. it means that they can now reach larger audience from around the world making it easy to get recognition. I had the opportunity to view a Bharatanatyam Arangetram - 15th August 2015 performed in Indiana, by young Jwala. She is the disciple of Smt Mangala Anand.

About Guru: Smt Mangala Anand trained under Smt. Padmini Ramachandran (Natyapriya Institute- Bangalore who learnt from veteran Guru. Padmashri. Vazhuvoor Ramaiah Pillai) and from Guru B Bhanumati (who had the privilege of the tutelage of Padmashri K.N.Dandayuthapani Pillai at Chennai, Padmabhushan Dr.K.Venkatalakshamma, the doyen of Mysore Palace tradition and Padmabhushan Smt. Kalanidhi Narayanan). 

Abhinaya Items:
Here is a report on the abhinaya items of the margam in the arangetram. The items were choreographed by her Guru and consisted Varnam, a Sabdam and a Devarnama in the margam following the invocation and nritta items. Young dancers take to the high energy and pace of the nritta items of the margam with comfort and alacrity. Past the nritta items, the weave of the emotion is what is eagerly awaited in the margam.



Interpretation behind the abhinaya items helps us to appreciate the performance a lot better. There is an added advantage where the choreographer happens to be the Guru as the explanation is conveyed to the disciple first hand. In her performance Jwala steadily graduated through abhinaya and showed her understanding of the lyrics, musical notes. The jathis smoothly flowed perhaps owing to the lineage of the Gurus style. Smiling face of Jwala was lighting them all through.

Shabdham--Thillai Ambalam Ragam:Ragamallika Thalam:Misra Chapu Composer: Thanjavur Arunachalam Pillai
The romantic elements unfurled in the sabdam and varnam. The intensity of Thillai Ambalam requires elevated expression where the Nayika is in a state of wonder, praise and devotion and very intense in her seeking of her Lord. The anxiety and lingering doubt whether she would at all meet Him make the expression challenging. She is all searching for her Lord and conveys the same to her Sakhi in the very abode of Lord Nataraja, in Chidambaram. Jwala's performance to the choreography was neat. Note the prominence given to dance in this lyric!

Varnam--"Sakhiye Ragam: Sankarabaranam Thalam: Adi Thalam Composer:K.N. Dandayudhapani 
The young dancer took to the varnam with more ease. In the "Sakhiye.." Jwala's portrayal of the nayika is one of involvement. Her Guru's training in the delicate portrayal, and distinctness are visible. It's the dancer who opens the doors of the choreographic content and to its expressive interpretation. In this item Sakhiye... the nayika finds in her friend an ideal confidante, to at first share her feelings about her lover, then seek help from her in a pleasing manner and finally opening her heart and appealing to her friend to bring her nayaka to her. The devotion and complete faith in the Lord conveyed by the lyricist need special note. The dancer's talent lies in depicting the nayika through the gradual ascension and intensity of this feeling through the item. With her smiling face Jwala initiates the item at first chiding her sakhi about the delay, then describes her generous Lord and convinces her sakhi to take up the task of uniting her with the nayaka. The depiction of Sri Venkateswars, Lord Rama, and Lord Krishna, stand out.



Devarnama :- Gummana Karayadhirai Amma Ragam:Ragamallika Thalam: Chathushra Eka Thalam Composer: St. Purandaradasa
Sri Purandaradasa's weave of a beautiful incident between Yasoda and Krishna is found in this devotional item. Created with crisp choreography it makes you feel a mother's love to her supreme naughty child. The item starts with the episode of Krishna stealing butter. Yasoda confronts him while in that act. as he pleads to melt her heart... Jwala becomes Yasoda who introduces Gumma the imaginary demon to control the mischief supreme, Lord Krishna. The ragamalika was rendered beautifully to moving moments of Krishnaleela and to Yasoda's predicament. Jwala depicts both roles distinguishing them skillfully. Her portrayal of Krishna is very impressive. We are blessed with such a divine lyric from Purandaradasa, and being dancers even more fortunate to enact it.
Conclusion
Through the above abhinaya items, Jwala performed an intense seeker of Lord Shiva wondering and in awe to a Nayika who comes out confident about her Nayaka, Lord Vishnu, and a mother who with all love and affection disciplines her dear son Krishna. Quite an expansive range of emotions she displayed and so much for her to explore in the beautiful dance form Bharatanatyam. Looking forward to watch her performances.
It is interesting to note that in some of the performances of dancers abroad, a similar depth in the emotional portrayal is found as in dancers from India. One reason, as in this performance, is perhaps a continuing Guru Shishya Parampara. The connect to culture and traditions of the younger generation is intact in India or abroad. Congratulations to Jwala and her supporting artists.
Orchestra Ensemble: Nattuvangam: Smt. Mangala Anand; Vocal: Smt. Arthi Kumar; Mridangam: Sri. G. Ganeshan; Flute: Sri. C. K. Patanjali; Violin: Sri. C. K. Vijayaraghavan; 

This was published in  http://priyalasya.com/

My solo performance at Muthamizh Peravai on 31 Dec 2015

Here are some pictures of my solo performance at T N Rajarathinam Pillai auditorium on 31st December 2015. Thanks to Sri. Sundaram mama and Cleveland Thyagaraja Aradhana. This performance was organized as part of Cleveland festival. Also thanks to all the friends and well wishers who attended and encouraged me on that day.

Cleveland Thyagaraja Aradhana 2016

The Cleveland Thyagaraja Aradhana is the largest Indian classical music festival in USA. It was first celebrated in 1978 and has now grown to be a 12-day celebration with more than 10,000 attendees with 3,000 appearing for the opening weekend. The year 2016 was the Festival's 39th year. The Aradhana Committee is a group of volunteers who spearhead the planning and organization of the Cleveland Thyagaraja Festival. They work closely with various other Carnatic music organizations in the United States and Canada to bring artists to Cleveland for the festival.

The Festival is scheduled, as always, around Easter. This year, it began on Wednesday March 23rd and continued until Sunday April 3rd, 2016. This year's Festival was dedicated to the memory of Dr M.S. Subbulakshmi, Ariyakudi Ramanuja Iyengar, and Alathur Brothers. Ticketed programs are marked in the schedule. Tickets were available for purchase at the venue. Season tickets were available for $200 per person for all programs. For those who couldn't attend in person, the Festival will also was webcasted by iCarnatic. 

As part of the celebrations, classical dance competitions were held during the last weekend of the program. 100s of participants competed in each category. Jwala Rejimon won second prize in the junior division this year. Here are some pictures...

Finalists from the junior division

My arangetram program

Kum. Jwala Priyadarshini Rejimon

Bharatanatyam Arangetram

15 Aug 2015, 4:30pm

Zionsville Performing Arts Center

Pushpanjali

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.

Shlokam 

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. 

Allarippu

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).

Jathiswaram 

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.

Shabdham--Thillai Ambalam 

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?”

Varnam--Sakhiye 

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

Composer:St. Purandaradasa 

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.

Padam--Arputhashilpiadi Ponnama 

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.

Krithi--Broche Va 

Ragam: Kamas                                   Thalam: Adi                        

Composer:Mysore Vasudevachar 

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

Tillana

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.

Mangalam

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

---------------------------------------

ORCHESTRA ENSEMBLE

Nattuvangam:                                     Smt. Mangala Anand

Vocal:                                                  Smt. Arthi Kumar               

Mridangam:                                         Sri.G. Ganesan

Flute:                                                    Sri. C. K. Patanjali              

Violin:                                                  Sri. C. K. Vijayaraghavan

TECHNICAL TEAM

Photographer:                                                  Dr. Kannan Natarajan      

MC:                                                 Smt. Aparna Satheesan

Videographer:                                   Sri. Biju Zacharia, Asianet TV, USA

Thank you for attending my Bharatanatyam Arangetram