Vidyalatha Jeerage
Bharatanatyam Performer, Choreographer & Teacher
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Performance Description
Raga: Valachi
Tala: Adi
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Tamil
The performance opens with a Pushpanjali, a traditional Bharatanatyam invocatory piece where the dancer offers symbolic flowers and salutations to the stage, the guru, the musicians, and the divine. Set in Raga Valachi, this composition is vibrant and welcoming, establishing the spiritual mood of the recital.
The piece then transitions into the kriti “Gajavadana Karuna Sadana”, composed in Raga Sriranjani, a beautiful homage to Lord Ganesha, the remover of obstacles. Through dynamic movements and expressive gestures, the dancer praises Ganesha as the merciful elephant-faced deity—Lambodara, Shankara Bala, and Sumukha—the one whose presence sanctifies every beginning.
This combined presentation of Pushpanjali and Ganesha Kriti sets the tone for the performance: rooted in reverence, rich in rhythm, and filled with devotion.
Pushpanjali and Ganesha Kriti
Raga: Saveri
Tala: Rupaka
Composer: Tanjore Quartet
Choreography: Smt. Rukmini Devi Arundale
A hallmark of Bharatanatyam’s nritta tradition, the Jathiswaram is a pure dance piece that celebrates form, rhythm, and musicality without the use of abhinaya or storytelling. This item showcases the dancer’s technical precision, control, and grace, weaving together complex rhythmic patterns with melodic movement.
Set in Raga Saveri, known for its serene and devotional character, and structured in Rupaka Tala, this composition features a well-balanced interplay between jathis (rhythmic syllables) and swaras (musical notes). The dancer navigates these sections with intricate footwork and coordinated body movements, demonstrating mastery over the adavus, or foundational steps of Bharatanatyam.
Originally choreographed by Smt. Rukmini Devi Arundale, this Jathiswaram is both a visual and rhythmic delight—challenging yet elegant. It serves as a platform for the dancer to display pure technique, while maintaining the aesthetic beauty of classical Indian dance.
This performance by Shruthi exemplifies the balance of discipline and artistry—a vibrant expression of Bharatanatyam’s timeless tradition.
Jathiswaram
Raga: Reetigowla
Tala: Adi
Adapted from: Śrī Krishna Ashtottara Shatanama Stotram
Music Composition: Vidwan Sri Thirumale Srinivasa
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Sanskrit
The Varnam holds a place of honor in any Bharatanatyam recital—serving as the central and most elaborate item that combines nritta (pure dance) with abhinaya (expressive storytelling). It tests the dancer’s stamina, emotional range, and command over rhythm and expression.
This particular Varnam is a devotional adaptation of the Śrī Krishna Ashtottara Shatanama Stotram, a Sanskrit hymn that praises Lord Krishna through 108 of his sacred names. Set in the emotive Raga Reetigowla, the piece explores Krishna’s divine journey through richly choreographed sancharis (Stories).
In the first half, we witness Vasudeva’s midnight escape—a scene filled with tension and quiet urgency—as he carries the newborn Krishna across the stormy Yamuna River, protected by Adishesha. This is followed by the Poothana Samhara, where the infant Krishna, with divine innocence, liberates the demoness Poothana from her karmic burden. The choreography here contrasts Krishna’s gentle form with his underlying cosmic force.
The second half features a striking Geethopadesha sanchari, where Krishna becomes the charioteer and guide to Arjuna on the battlefield of Kurukshetra. In this powerful segment, the dancer portrays Arjuna's confusion, Krishna’s calm authority, and the spiritual clarity offered through the Bhagavad Gita. The moment is not just dramatic—it is transformational, representing Krishna as the eternal guru who leads seekers from doubt to wisdom.
Interwoven throughout are subtle moments of Krishna’s sweetness and charm—his flute playing, his relationship with the Gopikas, and his divine compassion—all portrayed through elegant abhinaya and expressive nuance.
This Varnam is both a devotional homage and a spiritual journey—experience Krishna not only as the playful child of Vrindavan, but also as the universal teacher who reveals the essence of dharma, love, and self-realization.
Varnam
Raga: Keeravani
Tala: Adi
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Tamil
A devotional composition invoking Devi Meenakshi, this kriti is a prayerful surrender to the Divine Mother as the eternal refuge and source of strength. Set in Raga Keeravani, and Composed by Papanasam Sivan, this piece celebrates Meenakshi not only as a compassionate goddess but also as a warrior queen, scholar, and nurturer of the arts. A Meenakshi Kalyanam sanchari is woven into the performance, depicting her sacred union with Lord Sundareswarar. Through graceful abhinaya and commanding presence, the dancer honors the Divine Feminine in all her powerful dimensions.
Devi Kriti
Raga: Kedaragowla
Tala: Adi
Composer: Paapanasam Sivan
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Tamil
This composition is a powerful ode to Lord Nataraja, the cosmic dancer who resides in Chidambaram, radiating bliss through his eternal dance. Set in the meditative Raga Kedaragowla and rhythmic Adi Tala, “Ananda Natamidum Paadan” captures the divine energy and grandeur of Shiva’s Ananda Tandavam.
The lyrics vividly describe the Lord’s resplendent form—damaru and trishula in hand, crescent moon and Ganga in his matted locks, and his ankleted feet striking the rhythm of the universe. As he dances amidst fire and silence, adorned with tiger skin and sacred ash, he becomes the embodiment of destruction and renewal.
Through expressive abhinaya and dynamic movements, Shruthi brings to life this cosmic vision, echoing the duality of Shiva—ferocious yet serene, untamed yet compassionate. The rhythmic syllables and pure dance sequences mirror the pulse of the cosmos, inviting the audience into a space of spiritual elevation.
This Padam, composed by Paapanasam Sivan, is not just a portrayal of Nataraja—it is an offering, a surrender to the source of rhythm, silence, and timeless grace.
Shiva Padam
Raga: Charukesi
Tala: Adi
Composer: Purandara Dasa
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Kannada
This playful yet profound Devaranama composed by Saint Purandara Dasa captures the essence of Vatsalya Bhakti—devotion expressed through the tender lens of a mother’s love for Lord Krishna. In this piece, a mother—possibly Yashoda or a Gopi—asks Krishna, “Elladi bande?” (Where have you been, dear one?), gently accusing him of mischief with loving frustration and affectionate wonder.
Set to charming music and rich with colloquial Kannada, the composition paints delightful scenes: Krishna sneaking into temples, drinking milk without permission, wearing jasmine garlands, and returning with sandal paste and pearl-like tears. His innocent smile melts the scolding mother’s heart as she tries to keep up with his divine leelas.
Through expressive abhinaya, Shruthi brings alive the playful mischief, soulful innocence, and irresistible charm of Muddu Ranga—the darling Krishna of every devotee’s heart. This item allows the dancer to explore humor, affection, and surrender, all while drawing the audience into the warm intimacy of Krishna’s world.
Devaranama
Thilana
Raga: Simhendramadhyamam
Tala: Adi
Composer: Madurai Sri N. Krishnan
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Tamil
The recital concludes with a vibrant Thillana, traditionally placed at the end of a Bharatanatyam performance to showcase rhythmic dexterity, agility, and joyful expression. Set in the majestic Raga Simhendramadhyamam and Adi Tala, this Thillana by Madurai Sri N. Krishnan masterfully blends complex jathis with a profound devotional sahityam.
The lyrical section pays homage to Lord Annamalaiyar, the formless and eternal flame of Arunachala, who is revered as the supreme teacher even by Lord Muruga himself. The composer, identifying as Krishna Dasa, offers a heartfelt prayer seeking protection and divine grace—“Kākka idu sammayam”—pleading that this moment of offering may be accepted by the Lord.
This Thillana, rich in both technical brilliance and spiritual emotion, brings the performance to a powerful and uplifting close. Rendition combines intricate footwork with expressive storytelling, offering her final salute to rhythm, divinity, and the audience.
Mangalam
Raga: Raga Malika
Tala: Adi
Composer: Dr. M. Balamuralikrishna
Choreography: Guru Smt. Vidyalatha Jeerage
Language: Sanskrit
A Bharatanatyam recital traditionally concludes with a Mangalam—a benedictory piece that offers gratitude and seeks blessings for peace, well-being, and auspiciousness. This Mangalam, composed by Padma Vibhushan Dr. M. Balamuralikrishna, is a musical salutation to Lord Srinivasa of Tirumala, the embodiment of divine grace and compassion.
Set in the tranquil Raga Malika, the piece praises the Lord as the one whose form is revealed in the Vedas, who brings joy to his devotees, and who is as radiant as countless moons. Each verse celebrates his qualities—the remover of obstacles, beloved of musicians, and protector of all beings.
Through graceful movements and serene expression, Shruthi brings this concluding item to life, offering a heartfelt salutation to the divine, the audience, the guru, and the sacred art of Bharatanatyam itself.
