Preksha - Brochure

Nritya Sharada presents P eofksha

THE GURU

Gurumai Mrs. Meera Ganapathy Dhanu Gurumai is a versatile, disciplined, and renowned dancer and choreographer in the realm of Bharatanatyam. This vivacious and devoted personality was initiated into the world of dance by her parents at an early age of 3 and performed her Arangetram at the tender age of 8. She became a success story in her teens and carved a niche for herself in the world of classical dance. She is a distinguished disciple and an exponent in Bharatanatyam and has been trained at the feet of the Gurus of Sri Raja Rajeshwari Bharata Natya Kala Mandir, Matunga, Mumbai for over 6 decades under their tutelage. She has had the privilege of learning dance from 'Kalaimamani' late Guru A.T. Govindaraja Pillai and 'Kalaimamani' late Guru T.K. Mahalingam Pillai. She is still a sincere and devoted student of 'Padma Shri' 'Kalaimamani' Guru Kalyanasundaram Pillai. Along with her sister, the renowned Vani Ganapathy, she has performed over 1500 performances in India and abroad. The two sisters have also been fortunate to perform regularly for the foreign delegates at the Raj Bhavan, Mumbai. Her performances in the presence of the King and Queen of Nepal, the President and Prime minister of Romania, Bharat Ratna M.S. Subbulakshmi, President Nelson Mandela, the late Prime ministers of India Shri Jawaharlal Nehru and Shri Lal Bahadur Shastri, the 75th birthday of late Shri Satya Sai Baba, the Mysore Dussehra festival and many more have brought accolade to her. Her recent achievements are performing at the Kalidas Mahotsav at Nagpur, 78th Akhil Bhartiya Sahitya Sammelan in Nashik, Tyagaraja festival in Delhi, in the presence of the ex-President of India – late Shri A.P.J. Abdul Kalam for the 60th diamond jubilee of the school from where she started her first dance lesson. She has now established her Bharatanatyam dance academy 'Nritya Sharada'. Her endeavour is to follow the tradition of her Gurus and impart knowledge. Under her loving wings, Nritya Sharada has seen many students performing their Arangetram. She is very grateful to her parents and her Gurus for her achievements in the world of Dance.

THE ARTIST P eksha is a vibrant and versatile personality who has taken to dance as a way of life. Dance is her passion and she has been enthralling everyone with her graceful moves since a very early age. She has been learning Bharatanatyam from the tender age of 6 under the tutelage of her Guru, Mrs. Meera Ganapathy Dhanu of Nritya Sharada Bharata Natya Kala Mandir, who is an exponent in the traditional Thanjavur Parampara of Bharatanatyam. Preksha has a Masters in Medical Biotechnology and has worked as a Junior Scientist. She is intelligent and puts her heart in whatever she does. A lover of nature, she loves trekking and just looking at the sky change its hues. Preksha is eternally grateful to her Guru for moulding her into the wonderful artist and beautiful person she has blossomed into. Preksha is indebted to her Guru for not only the guidance but also the immense love she has showered upon her and her amazing dedication in teaching her this divine art form. Preksha is also grateful to her parents and her family for their support and encouragement.

Bharatanatyam Bharatanatyam is a major genre of Indian classical dance that originated in the Hindu temples of Tamil Nadu and neighbouring regions. It is known for its grace, purity, tenderness, expressions, and statuesque poses. Its theoretical foundations trace to the ancient Sanskrit text 'Natya Shastra' and is perhaps the oldest classical dance tradition of India. The tradition states that 'Bharata' is a mnemonic of 'Bha' for Bhava (feelings or emotions), 'Ra' for Raga (melody, framework for musical notes) and 'Ta' for Tala (rhythm). Combined with 'Natyam' (dance), the compound word Bharatanatyam connotes a dance which harmoniously expresses emotions to melody and rhythm. Lord Shiva is considered the God of this dance form. Though this dance form is over 2000 years old, it has always been an evolving art. Its basic ideals and principles continue to be practically unchanged although its repertoire and form of presentation have been undergoing continuous innovation over the years.

Arangetram Arangetram literally means ascending the stage for the first time. It marks the completion of the initial training of the student and her blossoming into an accomplished dancer. The Arangetram, is like a graduation ceremony, marking the beginning of a dancer's life, when she may cross the threshold from a student to a professional artist. It is an age-old convention of mora than 2000 years as recorded in Silapathikaram, an ancient Tamil classic, that an Arangetram should be held after a minimum of 7 years of rigorous training at the Guru's feet. It celebrates years of dedication of both the student and the teacher to this graceful dance form. At the same time, Arangetram is not the last step in Bharatanatyam, but the beginning of a journey to realize the true and entire meaning of the traditional dance form. On this auspicious occasion, the artist presents her art with great devotion seeking the blessings of her Guru and the divine lord of dance, Nataraja.

THE PROGRAM Vinayaka Stuti: Pushpanjali: This is a prayer song The artist offers floral invoking the blessings tributes and salutations to of Lord Ganesha for the dancing Lord Nataraja the success of the and seeks the blessings programme. and the good wishes of the Guru, the Orchestra and the Rasikas (audience). Raagam – Gambheera Naattai Taalam – Aadi

Ganesh Vandana: Omkar Swaroopa – This item Alarippu: The word Alarippu means a is in praise of Lord Ganesha, the destroyer of all 'flowering bud'. It is traditionally the first obstacles. The saint poet Tukaram has dance piece that Bharatanatyam dancers visualised Lord Ganesha in the form of 'OM' – learn and perform in this type of classical the Pranava Mantra. dance recital. It is an invocation piece, Raagam – Hamsadhwani symbolising the offering of respect to both Taalam – Aadi God and the audience. Taalam – Roopakam

Jathiswaram: It is a prelim technical performance of Nritya composed of swaras and jathis. It is devoid of any abhinaya (emotions), in which intricate sequence are fused with repetitive musical notes. The dance deals with the execution of adavus (basic steps) and mudras (hand gestures), combined in definite groups. The artist performs a sequence (Korvai) to the rhythm of the beat presenting to the audience the unity of music, rhythm and movements. Raagam – Kalyani Taalam – Roopakam Devi Stuti: Saraswati Namostute – This performance is in praise of Goddess Saraswati. It introduces Abhinaya or expressive dance. Raagam – Saraswathi Taalam – Roopakam

Varnam: This performance marks the arrival into the sanctum sanctorum core of the repertoire. It is the most enthralling, interesting and challenging item and is performed as the centrepiece in a Bharatanatyam Rangapravesh. Varnam is a piece-de-resistance that displays all three aspects of Bharatanatyam – Nritta (abstract, fast movements), Nritya (expressions through gestures and body motion), and Natya (dramatic element of Abhinaya). The passages of Nritta are set to Theermanams and Swarams and are alternated with passages of Natya which are set to lyrics. The artist depicts four captivating anecdotes from Krishna's life: Krishna being gently chided by Yashoda for stealthily feasting on butter, Kaliya Nartanam – subduing of the poisonous Kaliya naag, Raas-kreeda – an engaging dance by Radha and Krishna, And the bond of friendship between Krishna and Sudama. Raagam – Sree Taalam – Aadi Parmananda Pachvisanti: It is an ancient stotra which describes Arham Purushakar Meditation to its core. Arham Purushakar Meditation is one of the many programmes run by Arham Vijja Foundation, the brain child of Param Pujya Upadhyay Shri Pravin Rishiji Marasa. This stotra beautifully describes the soul, which is blissful, pure and endowed with endless happiness.

Natraj Padam: Aadum Abhang: Majhe Manorath Purna Kari Chidambarama – It is a vibrant Deva – It is a famous Marathi Padam eulogising the cosmic Abhang written by Sant Namdev in dance of Lord Shiva or Nataraja. the praise of Lord Vitthala. It describes the ecstasy of dance Raagam – when performed by the Lord in Taalam – the golden halls of Chidambaram. The artist displays the most beautiful sculpturesque poses or Karanas by Lord Nataraja. Raagam – Behaag Taalam – Aadi

Thillana: This item is the culmination Mangalam: The traditional concluding of the recital. A fantasy of abstract prayer indicating an auspicious dance, this item is studded with ending. The artist concludes the vibrant scintillating footwork, lively Arangetram with Namaskaram movements, and rhythm. This is a seeking pardon for the shortcomings, display where the tempo gradually if any, during the recital. builds up to a brilliant climax. There is a certain verve and excitement in the intricate rhythms, Gatthas (footwork) and graceful beauty of classical sculptures in the stances, adavus (combination sequences). The mood of the dance is one of joyous celebration. Raagam – Hindolam Taalam – Aadi





Ensemble: Nattuvangam & Choreography: Gurumai Mrs. Meera Ganapathy Dhanu Composition & Vocal: Shri. P.S. Krishnamurthy Mridangam: Shri. Shankar Narayan Violin: Kum. Mangala Vaidyanathan Moorsing: Shri. Shaktidharan / Shri. Gopalan Costumes: Shri. D.S. Aiyyelu, Chennai Make-up & Hair: Shri. Anil Vasudevan Compere: xxxx Stage Decoration: xxxxxxx Lights & Sound: Shri. Chandrashekhar Concept Designing: Mr. Vishal Mardia (Simply Wish, Bengaluru) Photographs: Shri. Anil Chaudhari

P eksha