Program
Pushpanjali
RAGAM : Shanmukhapriya
TALAM : Adi
COMPOSER : Smt. Anuradha Sridhar
CHOREOGRAPHY: Guru Chandna Talluri
The dancers offer Pushpāñjali , as a garland of gratitude, with folded hands and a devoted heart to the various sacred forms of the eternal Brahman - Ganeśa the Omkara Roopa, Shanmukha, the preceptor of the sacred knowledge of Omkara, Śakti, the Mulaprakriti, who gives rise to Omkara nāda, Śiva the Brahman himself, the silent source from whom Omkara arises and Bhagavān Śri Satya Sai who is Sarva Deva Svarūpa, encompassing all these divine forms of the Brahman.
Ananda Nartana Ganapathi
RAGAM : Nattai
TALAM : Adi
COMPOSER : Ootukkadu Venkata Subbaiyar
CHOREOGRAPHY: Guru Chandna Talluri
The dancers offer this vibrant performance as a salutation to the blissfully dancing Ananda Nartana Ganapati, combining rhythmic nrtta footwork with expressive abhinaya to bring His presence alive. Omkāra, the primal cosmic sound, resonates deeply in the Mūlādhāra Chakra—the foundational energy center within the body and mind of human consciousness. Lord Ganapati, the presiding deity of this chakra, embodies the essence of Om. His presence activates and stabilizes this vital center, removing obstacles and guiding the first step of our spiritual journey.
Kancha Dalaayataakshi
RAGAM : Kamala Manohari
TALAM : Adi
COMPOSER : Muthuswami Dikshitar
CHOREOGRAPHY: Guru Chandna Talluri
The dancer performs this piece as to Goddess Kamakshi, describing Her beauty through facial expressions and various mudras. like the lotus mudra, parrot-beak mudra, etc., emphasizing the nrtya (expressive dance) aspect of Bharatanatyam. The Goddess is worshipped as Kamakshi, the loving divine mother with beautiful lotus-like eyes. Just like the parakeet that sings as it swings in the cage, the goddess Shakthi who is caged in Śiva, the Brahman, resonates the divine melody of Omkara, setting the dynamic rhythm of the cosmos in motion.
NARTANAALAYA - THE TEMPLE OF DANCE
Nartanaalaya- The temple of dance established in 2011 is an institution aimed at preserving and propagating the ancient dance form of Bharatanatyam and Kuchipudi. Classes are offered in Sunnyvale, Mt. House and San Ramon. Each student is assured individual attention and motivation to participate in dance productions and programs.
Sree Varalakshmi Namastubhyam
RAGAM : Shree
TALAM : Roopaka
COMPOSER : Muthuswami Dikshitar
CHOREOGRAPHY: Guru Chandna Talluri
Another dance piece which shows the beauty and benevolence of Goddess Varalakshmi using pure dance movements (Nṛtta), expressive gestures (Nṛtya), and storytelling (Nāṭya), with hand gestures like the Padma Hasta (lotus mudra) ??, highlighting the full range of Bharatanatyam.
Goddess Śri Varalakshmi’s radiant form, shining brighter than thousands of suns, reflects her limitless supreme power. Yet, moved by sincere devotion, when we venerate her through the Varalakshmi Vratam, she compassionately dispels illusion and gently guides our mind toward inner calm and union with Brahman (bhavanā bheda caturE).
Guest of Honor :
Roopamu Joochi
RAGAM : Thodi
TALAM : Adi
COMPOSER : Tiruvarur Ramaswamy Dikshitar
CHOREOGRAPHY: Guru Chandna Talluri
Varnam is the central piece of a Bharatanatyam performance, where the dancer displays both technical mastery and emotional expression, highlighting the dancer’s endurance, grace, precision and artistry.
At the macrocosmic level, the eternal, unperceivable Brahman pervades all, resonating as Omkāra throughout creation.
At the microcosmic level, the formless Brahman remains a challenge for the devotee to connect with. The various sacred forms of deities help devotees connect with the divine more easily. In this evocative piece Rūpamu jūci, dancers, as devotees, question and plead with Lord Shiva like a close friend, yearning for divine closeness.
Jeevula Pantalu - Sivapadam
RAGAM : Shankarabharanam
TALAM : ADI
COMPOSER : Samaveda Shakmukha Sharma
MUSIC:
Garimella Balakrishan Prasad
CHOREOGRAPHY: Guru Chandna Talluri
The dancer uses rhythmic patterns and simple melodies of this folk song to explore fresh expressions and vibrant movements, adding joyous celebration and cultural richness to the performance.
Lord Śiva is the source of Omkāra, the primordial seed of sound from which all creation arises. He plants the seeds of karma and lovingly nurtures all beings, watching over His creation with effortless care, like an eyelid protecting the eye.
Kanna Karmega Vanna
RAGAM : Mālkauns
TALAM : Adi
COMPOSER : Nagpur Srinivasan
CHOREOGRAPHY: Guru Chandna Talluri
Shri Krishna loved butter as a child, the whole of Vrindavan was tired of his mischief when it came to stealing butter. One day, tired of Shri Krishna's mischief, his mother Yashoda tied him up in a big stone. When she looked at him after a while, he was happily eating the sand. Annoyed by his actions she hit him with a stick and asked him to open his mouth. Once he opened his mouth, she found the whole world in his mouth. Once a huge black serpent came to Brindavan and started living in the river of Yamuna. Because of his presence the water of the river turned poisonous. People of Vrindavan were leading a miserable life. Lord Krishna decided to fight the snake, soon the snake was defeated and lord Krishna asked the snake to leave it and never come back again. The last section is jealous and raged by Kauravas against the Pandavas success and prosperity. With the help of Shakuni, The composition masterfully captures the essence of viraha bhakti—the devotional sentiment arising from separation from the divine. invited the Pandavas over to his court for a game of dice also known as gambling. Shaguni was a master of gambling and owned a pair of dice which magically did his bidding and produced numbers desired by him. Yudhisthira lost all of his wealth and eventually his kingdom in the game. He was then enticed by Duryodhan to place his brothers. Yudhisthira fell for it and put his brothers on stake losing them too. He then placed himself and lost again.Duryodhan now played another trick and told yudhisthira that he still had his wife Draupati to place as a bet and if Yudhisthira won he would return everything to Pandavas. Yudhisthira fell for the bet, losing her too. At this point Duryodhan ordered that Draupati was now a slave to him and be brought to the court. Duryodhan’s younger brother Dushana dragged Draupati to the royal court pulling her by the hair insulting her dignity and asserting that she is now their servant. Draupati’s helpless call to Lord Krishna shows that when one surrenders completely, divine help arrives. The dancer depicts how lord Krishna saves Draupati from the humiliation inflicted by Dushanana.
Tandava Keli
SONG :
RAGAM :
TALAM : Adi
COMPOSER : Yadla ramadasu
CHOREOGRAPHY : Guru Chandna Talluri
Tonight, our dancer will take you on a spiritual journey transcending to oneness through the power of meditation, chakras, and mudras. The dancer will depict the activation of various chakras, from the Mooladhara to the Sahasrara. The dance will express the transformative power of these practices, showcasing the transcendence of the soul. Each gesture and step will illustrate the journey towards ultimate unity and divine presence. This Shiva Bhajan was exclusively choreographed into a Tillana for Sahana.
Thillana
RAGAM : Dhanashri
TALAM : JhOmpaTa
Music: Lalgudi G. Jayaraman
Composer: Swaati Thirunaal
CHOREOGRAPHY : Guru Chandna Talluri
Tillana, the lively climax of the Arangetram exhibits exuberance of rhythm with sculptured poses and pure dance. This Thillana- Geethadhuniku thakadheem nadrukita thom is one of the gems of divine ancient art of Thanjavur/Pandallanur style Bharatanatyam. The dancers with their rhythmic movements & beautiful postures offer the true complexity and the ecstasy of human spirits by divine purity and vitality to convey a feeling of supreme bliss with Nritta Korvais patterns.
