Bharatanatyam Arangetram of Shivani Kulkarni
The Margam
1. Mallari
Ragam: Gambheera Nattai
Talam: Chatushram
Mallari is an invocation of a temple deity, normally played in temples when an idol of the deity is taken on a procession around the premises. A mallari does not contain any words, instead comprising sounds known as “sollakattus,” and is a pure dance item.
2. Gajananam
Ragam: Gambheera Nattai
Directly following the Mallari is this short devotional Ganesh sloka. In this piece, the dancer depicts the elephant-headed god, Ganesh—the son of Mother Uma, the Destroyer of Suffering, the one with lotus-like feet.
3. Alarippu
Talam: Misra Chappu
Alarippu is often the first dance that a student learns; starting with the eyes, neck, and shoulders, the dancer incorporates each body part to symbolize the blossoming of a flower.
4. Jathiswaram
Ragam: Rasikapriya
Talam: Adi
In this pure dance item, the dancer combines rhythmic syllables (jathis) with musical notes (swaras). The Jathiswaram does not contain any lyrics and involves intricate footwork and energetic body movements.
5. Govindan Kuzhalosai Kettu
Ragam: Ragamalika
Talam: Adi
In this Keerthanam on Lord Krishna, the dancer describes how all life is entranced by the divine musicality of Krishna’s flute.
6. Maaye
Ragam: Simhendra Madhyamam
Talam: Adi
Varnam is the most elaborate and challenging item of a dancer’s margam and alternates between nritta and abhinaya, between pure dance and expression. This devotional Varnam depicts Devi, the Mother Goddess, as Meenakshi of Madurai.
7. Sharada Kouthuvam
Ragam: Valachi
Talam: Misra Chappu
The opening of the second half of the margam is a Kouthuvam, or poem, that depicts Saraswati, goddess of knowledge, wisdom, and the arts. This Kouthuvam is in Marathi.
8. Shiva Panchakshara Stotram
Ragam: Ragamalika
Talam: Khanda
This piece is an acrostic poem on Shiva, Lord of Dance, with stanzas corresponding to each syllable of the devotional incantation “Namah Shivaya,” meaning “salutations to Lord Shiva.” In each stanza, the dancer depicts a different aspect of Shiva.
9. Thillana
Ragam: Hamsanandi
Talam: Adi
Thillana is composed of intricate footwork, rhythmic body movements, and sculpture-like poses, leading on to a beautiful finale of the dance recital. In this piece, the dancer will praise Lord Murugan/Kartikeya, god of war, who rides a peacock.
10. Yei Oh Vitthale (Abhang)
Ragam: Brindavana Saranga
Talam: Eka
An abhang is a Marathi devotional poem sung in praise of the god Vitthal. This beautiful abhang, added to the margam in dedication to Shivani's family, was composed by the poet-saint Namdev.
11. Mangalam
Conclusion
Mangalam marks the closing of a margam. The dancer thanks God, her guru, Mother Earth, and the audience for their support throughout her performance.