Vidyalatha Jeerage
Bharatanatyam Performer, Choreographer & Teacher
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Performance Description
Pushpanjali
Raga: Amruthavarshini
Tala: Aadi
Composer: Saroja Natarajan
Choreographer: Guru Narmada
Pushpanjali is a traditional opening piece in Bharatanatyam, where the dancer offers flowers to the deities, the stage, and the audience as a mark of respect and invocation. The word "Pushpanjali" literally means "offering of flowers." This dance serves as a salutation, seeking blessings for a successful performance. It typically includes a combination of graceful movements, simple rhythms, and often ends with a namaskara (a respectful salutation). Pushpanjali sets the tone for the recital, introducing the dancer's grace and devotion.
Ganesha Krithi
Raga: VegaVahini
Tala: Aadi
Composer: Muttuswaami Dikshitar
Choreographer: Vidyalatha Jeerage
Gajananayutham" is a popular invocation piece in Bharatanatyam, dedicated to Lord Ganesha, the elephant-headed deity who is revered as the remover of obstacles and the god of beginnings.
Jathiswaram
Raga: Saveri
Tala: Rupaka
Composer: Tanjore Quartet
Choreography: Smt. Rukmini Devi Arundale
The Saveri Jathiswaram is a classical Bharatanatyam piece set in the raga Saveri and Adi tala. As a pure dance item (nritta), it showcases intricate footwork and rhythmic patterns without any abhinaya (expressive dance). The Jathiswaram combines jathis (rhythmic syllables) with swaras (musical notes), allowing the dancer to explore the nuances of timing, grace, and coordination. This piece is often performed after the Alarippu in a Bharatanatyam recital, serving as a display of the dancer's technical prowess and control over rhythm and melody.
Mamavathu Shri Saraswathi
Raga: Hindola
Tala: Aadi
Composer: Mysore Vasudevachaarya
Choreography: Vidyalatha Jeerage
"Mamavathu Shri Saraswathi" is a popular kriti composed by the famous Carnatic composer Mysore Vasudevacharya. It is set in the raga Hindolam and Adi tala. This kriti is a devotional song that praises Goddess Saraswati, the goddess of knowledge, wisdom, music, and the arts.
In this composition, the devotee seeks the blessings of Saraswati to bestow knowledge and remove ignorance. The raga Hindolam, with its soothing and melodic nature, enhances the devotional and serene mood of the song. "Mamavathu Shri Saraswathi" is often performed in Bharatanatyam recitals, either as a standalone piece or as part of a repertoire, highlighting the dancer's ability to combine expressive abhinaya with the beauty of the music.
Varnam
Raga: RamaPriya
Tala: Aadi
Composer: Vid. Mahesh Swamy
Choreography: Vidyalatha Jeerage
Varnam is the centerpiece of a margam which combines the dancer’s skills nritta and abhinaya to tell stories. This varnam focuses on the Ramayana and contains significant sancharis (Stories),
1. The story of Rama helping the sage Kaushika highlights Rama's role as a protector of the righteous. Kaushika, a priest, was repeatedly terrorized by an Asura who disrupted his poojas by throwing meat and water. Seeking protection, Kaushika requested Rama's help. When the Asura attempted to disrupt the pooja again, Rama intervened, defended Kaushika, and ultimately slew the Asura, ensuring that the priest could perform his rituals in peace
2. The story of Rama and Ahalya is a significant episode from the Ramayana, illustrating themes of redemption and divine grace.
Ahalya, a woman of unparalleled beauty, was created by Brahma and given in marriage to the sage Gautama. One day, while Gautama was away, Lord Indra, the king of the gods, disguised himself as Gautama and approached Ahalya. Deceived by his appearance, Ahalya welcomed him. When Gautama returned and discovered the deception, he was furious and cursed Ahalya to turn into stone, condemning her to remain in that state until she was redeemed.
Years later, during his exile, Lord Rama, accompanied by his brother Lakshmana and the sage Vishwamitra, passed through the forest where Ahalya lay in her petrified form. As Rama’s foot touched the stone, Ahalya was released from her curse, restored to her human form. She was purified and forgiven for her transgression. Gautama, witnessing her redemption, accepted her back, and she was reunited with her husband. This story emphasizes the power of Rama's divine grace and the theme of forgiveness and redemption.
3. The story of Sita's Swayamvara is a key event in the Ramayana, where Sita chooses her husband through a contest of strength.
King Janaka, Sita's father, set up a Swayamvara, a ceremony where a princess chooses her husband from a gathering of suitors. The challenge was to lift and string a mighty bow, the celestial bow of Lord Shiva. Janaka declared that whoever could perform this feat would win Sita’s hand in marriage.
Kings and princes from across the lands, including Ravana, attempted the challenge but none could even move the bow. When it was Lord Rama’s turn, he respectfully approached the bow, effortlessly lifted it, and as he attempted to string it, the bow broke in half. This remarkable feat amazed everyone, and Rama was declared the victor. Sita then placed a garland around Rama’s neck, symbolizing her choice, and they were married.
Javali
Raga: Behag
Tala: Aadi
Composer: Sri Venkatadri Shyama Rao
Choreography: Vidyalatha Jeerage
"Idene Sakhi" is a well-known Kannada song often performed in Bharatanatyam as javali or somethings even as Padam. It portrays a conversation between the heroine (nayika) and her friend (sakhi), where the heroine confides her feelings of love and longing for her beloved. The song captures the essence of waiting and yearning, with the dancer using expressive abhinaya to convey the emotions of desire and anticipation. This piece is celebrated for its delicate and nuanced portrayal of romantic emotions, making it a favorite in Bharatanatyam performances.
Venkatachala Nilayam - Devaranama
Raga: Sindhu Bhairavi
Tala: Aadi
Composer: Shree Purandara Dasaru
Choreography: Vidyalatha Jeerage
Venkatachala Nilayam," composed by Thyagaraja, are a profound expression of devotion to Lord Venkateshwara, the deity of the Tirumala temple. The song begins by extolling Lord Venkateshwara as the resident of the sacred Venkatachala hill, setting the divine context. It praises the deity with various names, each highlighting a different aspect of his divine nature, such as "Narayana" (protector of the universe), "Keshava" (one with beautiful hair), and "Mukunda" (giver of liberation). The lyrics convey a deep plea for divine grace and liberation, reflecting the devotee's longing for spiritual freedom. Through vivid imagery and reverent descriptions, the song underscores the sanctity of Venkatachala and the supreme refuge provided by Lord Venkateshwara, making it a poignant and spiritually uplifting composition.
Thillana
Raga: Paras
Tala: Aadi
Composer: Sri Pooci Sreenivasa Aiyengar
Choreography: Rukmini Devi Arundale
Paras Thillana is a captivating and energetic dance piece often performed in Bharatanatyam recitals, typically towards the end of the performance. Set in the raga Paras and executed in Adi tala (an 8-beat rhythmic cycle), this vibrant composition is celebrated for its intricate rhythms and dynamic footwork.
As a climactic piece, the Paras Thillana serves to showcase the dancer’s virtuosity and ability to maintain perfect timing. It often concludes with a devotional segment, such as a tribute to Rajarajeshwari, adding a touch of spirituality to the performance.
Mangalam
Raga: Revathi
Tala: Aadi
Music Composer: Balasubramanya Sharma
Lyrics: Sugganahalli Shadakshari
Choreography: Vidyalatha Jeerage
Mangalam is a traditional concluding segment in a Bharatanatyam recital, performed at the end of the performance. It serves to express gratitude and seek blessings from the deities, the audience, and all involved in the recital