Vidyalatha Jeerage
Bharatanatyam Performer, Choreographer & Teacher
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Performance Description
Pushanpajali Raga: Nattai
Tala: Adi
Choreography: Guru Smt. Vidyalatha Jeerage
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 Nattai, this composition is vibrant and welcoming, establishing the spiritual mood of the recital.
Ganesha Raga: Sowrashtram
Tala: Adi
Composer: Tygaraja
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Telugu
This vibrant composition is an invocation to Lord Ganesha, the remover of obstacles and the Lord of wisdom. The pallavi calls upon all devotees to worship and seek the blessings of Sri Ganapati with sincerity and devotion.
The anupallavi praises Him as Vāgādhipati—the Lord of speech—joyfully adored through sacred offerings and celebration.
In the charanam, the composer paints a festive devotional scene, describing offerings of fruits and the rhythmic resonance of dance and music. With humility, Tyagaraja centers his heart at the divine feet, expressing deep bhakti through lyrical beauty and rhythmic vitality.
Rich in expressive storytelling and energetic movement, this piece sets an auspicious and joyful tone for the performance.
Pushpanjali and Ganesha Kriti
Raga: Kalyani
Tala: Adi
Composer: Tanjore Quartet
Choreography: Smt. Vidyalatha Jeerage
The Jathiswaram is a pure dance (nritta) composition and one of the foundational pieces in the traditional Bharatanatyam margam. It brings together rhythmic syllables (jathis) and melodic swaras, without lyrical content, allowing the dancer to communicate entirely through movement.
Set in the radiant raga Kalyani and structured in Adi Tala, this composition offers a vibrant and expansive canvas for intricate footwork, graceful lines, and dynamic stage patterns. The symmetry of the tala supports rhythmic precision while allowing the choreography to unfold with clarity and balance.
This Jathiswaram showcases strong araimandi, clean adavus, controlled energy, and musical alignment with the orchestra. It highlights the dancer’s command over technique, stamina, and laya, establishing confidence and setting a powerful tone for the recital.
Rooted in the timeless compositions of the Tanjore Quartet, this piece reflects both tradition and disciplined training, forming an essential milestone in the Bharatanatyam journey.
Jathiswaram
Narasimha Kauthvam
Talam: Khanda Chapu
Raga: Raga Malika
Lyric Composer: Vid. G. Gurumurthy
Music & Vocal: Vid. Balasubramanya Sharma
Choreography: Guru Smt. Vidyalatha Jeerage
Language: Sanskrit
This Narasimha Kauthvam is a devotional composition in praise of Narasimha, the fierce incarnation of Lord Vishnu.
Kauthvams are traditionally invocatory pieces in Bharatanatyam, dedicated to a specific deity and presented with strong rhythmic patterns and expressive storytelling. This composition highlights the powerful moment when Vishnu incarnated as Narasimha — half man and half lion — to destroy evil and restore dharma.
When the arrogant demon Hiranyakashipu tried to harm his own son for being a devotee of Vishnu, the Lord manifested in this fierce form to protect his devotee Prahlada and uphold righteousness.
The sahitya vividly describes Narasimha as broad-chested, brave, victorious, and roaring with power. His presence is fierce and commanding, yet his purpose is compassionate — to protect devotion and eliminate injustice.
This Kauthvam combines strong rhythmic movements with expressive abhinaya, capturing both the intensity and the protective grace of Narasimha. It serves as a powerful reminder that divine strength always rises to defend truth and restore balance.
Raga: Gambeera Nattai
Tala: Adi
Music Composition: Shri Balamurali Krishna
Choreography: Guru Smt. Vidyalatha Jeerage
Language: Telugu
“Amma Ananda Dayini – Akara Ukara Makara Rupini” is a powerful Varnam dedicated to the Divine Mother, who is praised as the embodiment of the sacred syllable Om — A, U, and Ma — symbolizing creation, preservation, and dissolution. Through this invocation, the composition presents the Devi as the ultimate source of all cosmic energy and the sustaining force behind the universe.
The piece reflects on the well-known episode of Mahishasura, who once overpowered the three worlds. When even the gods were unable to defeat him, Brahma, Vishnu, and Shiva combined their divine energies. From this radiant light emerged Durga, the supreme Shakti, who destroyed Mahishasura and restored balance and righteousness. This story symbolizes the triumph of divine strength over negativity and the ultimate power of the Divine Feminine.
In the Pallavi, the devotee addresses the Mother as the giver of bliss and expresses deep faith and gratitude. By placing complete trust in her, the devotee feels blessed and fulfilled. The Anupallavi and subsequent charanams describe the Devi as radiant like countless rays of the sun, yet pure, serene, and compassionate. She is beyond change and untouched by impurity. She embodies all nine emotions that shape human experience and grants endless spiritual joy to those who surrender to her.
The repeated invocation of “Shive, Shive” becomes a heartfelt prayer — a personal call for grace, guidance, and protection. As the composition unfolds, the devotee seeks clarity about truth and reality, asking the Mother to reveal what is eternal and meaningful. She is praised as Uma, the compassionate consort of Shiva, and as the eternal nectar of bliss and the essence of sacred music.
In the concluding verses, the Devi is worshipped as the supreme Parashakti — beyond the three gunas and beyond all limitations. She is revered by Brahma, Vishnu, Shiva, Ganapati, Subrahmanya, sages, devas, and celestial beings alike. Through inner devotion and surrender, the seeker becomes free from ignorance and negativity.
As a Varnam — the central and most demanding piece in a Bharatanatyam recital — this composition beautifully combines strength, devotion, philosophy, and emotional depth. “Amma Ananda Dayini” is ultimately a celebration of the Divine Mother as both powerful protector and compassionate guide, the source of strength, wisdom, and true bliss.
Varnam
Raga: Kamas
Tala: Adi
Composer: Mysore Vasudevacharya
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Telugu
“Brōcēvārevarurā” is a deeply devotional composition in which the devotee turns to Lord Rama with complete surrender and longing. The central part of the pallavi—“Who will save me other than You, O descendant of Raghu?”—expresses total dependence on the Lord as the sole refuge. There is no alternative, no second protector; the devotee seeks only Rama’s grace.
In the anupallavi, Rama is praised as the One worshipped by the great deities beginning with Brahma, the four-faced creator. Yet, the devotee gently questions why the Lord appears distant. If even the One revered by celestial beings seems aloof, where can the devotee turn? With humility, he declares that he cannot leave the lotus-like feet of the Lord, who is the very treasure of compassion.
The charanam deepens this emotional appeal. Addressing Him as Seetāpatē, the Lord of Sita, the devotee asks whether He has no affection toward him. He reminds Rama that His feet were worshipped by Hanuman, the embodiment of unwavering devotion, and pleads for his lament to be heard. The composition then recalls the powerful episode of Gajendra Moksham, where the Lord, as Vishnu, rushed to rescue the elephant king seized by a crocodile. Despite his immense strength, Gajendra could not free himself and ultimately surrendered completely, offering a lotus and calling upon the Lord. Moved by that sincere prayer, the Lord arrived immediately on Garuda, destroyed the crocodile, and granted liberation. By invoking this episode, the devotee gently reminds Rama of His boundless compassion and saving grace.
The plea culminates in a heartfelt surrender: to cleanse all sins, to hold his hand firmly, and never let go. Rich in bhakti and emotional intensity, Brōcēvārevarurā becomes a profound exploration of longing, humility, and unwavering faith—portraying the soul’s complete surrender at the lotus feet of Lord Rama.
Rama Kriti
Raga: Shankarabharana
Tala: Mishra Chapu
Composer: Muvallur Sabhapati Iyer
Choreography: Smt. Rukmini Devi Arundale
Language : Telugu
This composition portrays the Vasakasajjika Nayika — the heroine who prepares herself with joyful anticipation for the arrival of her beloved.
In this piece, Radha eagerly waits for Lord Krishna, here addressed as Rajagopala Swami. She repeatedly looks down the path, hoping to see him approaching. Her beautiful, restless eyes reflect excitement and longing.
She adorns herself carefully — decorating her hair with fresh jasmine flowers, applying fragrant sandal paste, and arranging her chamber beautifully. Under the soft glow of moonlight, she stands at the doorway, glancing again and again toward the path, unable to contain her anticipation.
Her mind is completely absorbed in thoughts of Krishna. No matter what anyone says, she thinks only of him. She softly sings sweet words, imagines speaking with him, playfully conversing, embracing him, and expressing her affection.
Through the friends who describe her state to Krishna, the composition vividly captures her emotional world — her innocence, excitement, impatience, and deep love.
At a deeper level, Radha’s longing symbolizes the soul’s yearning for union with the Divine. Her preparation represents devotion, surrender, and the readiness of the heart to receive grace.
This piece offers rich scope for expressive abhinaya, beautifully portraying anticipation, tenderness, and divine love.
Padam
Raga: Bowli
Tala: Adi
Composer: Shri Annamacharya
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Telugu
“Sriman Narayana” is a deeply devotional composition dedicated to Lord Vishnu, especially worshipped as Venkateswaraof Tirumala.
The Pallavi is a powerful declaration of surrender. The devotee repeatedly chants “Sriman Narayana” and seeks refuge at the Lord’s sacred feet — “Your divine feet are my ultimate refuge.” This repetition emphasizes complete faith and total surrender.
In the Anupallavi, the Lord is praised through beautiful imagery associated with the lotus. He is described as the beloved of Goddess Lakshmi, whose face shines like a lotus. He is lotus-eyed, lotus-naveled, and eternally associated with purity and grace. He is also the one who rides Garuda and is adored by Brahma, the creator seated on a lotus. Each reference highlights his beauty, compassion, and supreme divinity.
In this presentation, we also witness glimpses of the Dashavatara — the ten incarnations of Lord Vishnu. Through these divine manifestations, Vishnu descends to earth again and again to protect dharma and restore balance whenever righteousness declines. Each avatar represents compassion, protection, and the promise that the Divine will always guide and uplift humanity.
The Charanam expands into deeper philosophical praise. The Lord is described as the supreme being — the ultimate reality beyond all. He is the fortune of great yogis, the highest Purusha, the supreme soul present in everything, from the vast cosmos to the tiniest particle. Finally, he is invoked as the Lord of Tirumala, the divine deity of Tirupati, to whom the devotee surrenders completely.
This composition beautifully blends devotion and philosophy. It expresses unconditional surrender to the Lord, recognizing him as both the personal deity who protects devotees and the supreme universal consciousness that pervades all existence.
“Sriman Narayana” remains one of the most cherished hymns in the Carnatic and devotional tradition, celebrated for its simplicity, depth, and spiritual power.
Devaranama
Thilana
Raga:Sumanesha Ranjani
Tala: Adi
Composer: Shri Shathavadhani Dr. R Ganesh
Choreography: Guru Smt. Vidyalatha Jeerage
Language : Sanskrit
This vibrant Thillana in Raga Sumanesha Ranjani is composed by the distinguished scholar, poet, and composer Shatavadhani Ganesh, who was recently honored with the prestigious Padma Bhushan by the Government of India for his exceptional contributions to literature and the arts.
Traditionally performed toward the conclusion of a Bharatanatyam recital, a Thillana is known for its lively rhythmic patterns, intricate footwork, and dynamic energy. While primarily centered on nritta (pure dance), this composition also carries meaningful sahitya that adds devotional richness.
The sahitya beautifully praises Lord Rama as the radiant jewel of the solar dynasty, noble in name and flawless in character. He is described as accomplished in many virtues and arts, and as the beloved of Sita, the daughter of Mother Earth. His glory is compared to a pure and fragrant flower — symbolizing the perfection, grace, and righteousness that define his life and actions.
This Thillana seamlessly blends rhythmic brilliance with devotional depth. It showcases technical precision, stamina, and joyous movement, while offering a heartfelt tribute to the ideals of dharma, strength, and compassion embodied by Lord Rama.
Mangalam
Raga: Madhyamavati Malika
Tala: Adi
Composer: Shri Purandharadasaru
Choreography: Guru Smt. Vidyalatha Jeerage
Language: Kannada
Aditi concluded her Rangapravesha with this auspicious Mangalam, marking a serene and graceful completion to her milestone performance.
The composition opens with a joyful affirmation that the day itself is blessed — the day, the star, the moment, and the alignment are all auspicious. It reflects the belief that when blessed by divine grace, every aspect of time becomes sacred.
In the Charanam, the composer expresses gratitude for the blessed darshan of Vittala, lovingly addressed as Purandara Vittala Raya. The greatest blessing of the day, he declares, is the opportunity to behold the Lord’s presence.
As the concluding piece of Aditi's Rangapravesha, this Mangalam served as a humble expression of gratitude — offering thanks to the Divine, the Guru, the accompanying artists, family, and all who gathered to bless her. It brought the evening to a peaceful and auspicious close.
