OHLONE COLLEGE Directions
43600 Mission Blvd, Fremont, CA 94539
4:00 PM – 8:00 PM
Seating begins at 3:30 PM
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Bharatanatyam Arangetram
of
Manasvi Kotha
Manasvi is an upcoming junior at Milpitas High School who has been devoted to the art of Bharatanatyam since the age of seven, shortly after moving to California. What began as an introduction to her cultural roots soon grew into a profound passion, nurtured under the guidance of her Guru, Smt. Supriya Puranik. Over the past nine years, Manasvi has diligently honed her skills, mastering the intricacies of mudras, adavus, and the expressive power of bhava (emotions). She has presented her art in numerous solo and group performances, where her dedication and artistry have been clearly reflected. Through Bharatanatyam, Manasvi has not only deepened her connection to her heritage but also discovered a powerful medium of self-expression. Once a shy and reserved child, she has blossomed into a confident and resilient young woman, her growth shaped by the discipline and transformative nature of dance. Her Arangetram marks a significant milestone in this journey — a culmination of years of commitment, perseverance, and artistic growth. It represents not only her mastery of technique but also her evolution into a dancer capable of conveying stories, emotions, and tradition with grace and authenticity.
Bharatanatyam is the most popular classical Indian dance-form prevalent in South India, originating from the temples of Tamil Nadu. It is one of the most beautiful, subtle, sophisticated and graceful dance-forms in the world, as well as one of the oldest classical dance traditions in India. Its splendor is demonstrated by the dancer using ‘Nritta’, a technique involving rhythmic movements and intricate footwork, ‘Abhinaya’, facial expressions to interpret the delicate nuances of a lyrical piece of music or poetry, and ‘Mudras’, expressive hand gestures. It is a composite art blending drama, music, poetry, color, and rhythm, allowing the dancer to convey inner sense of artistic and spiritual expressions, seeking union with God.
Its name is derived from three essential components: bhā — bhava (expression), rā — raga (melody), and ta — tālam (rhythm).
Pure dance is expressed through three elements: Nritta (rhythmic movement), Nritya (expression and emotion), and Natya (dramatic portrayal).
Arangetram literally means “ascending the stage.” is viewed as the first public solo dance performance by the dancer. This is the culmination of several years of sustained training and preparation by the Guru and the disciple following the Guru-Shishya Parampara, a traditional method of passing the skill to the next generation. ‘Arangetram’ is a significant milestone in a dancer’s career.
Guru Supriya Puranik, a disciple of Smt. Sucheta Bhide Chapekar, founded Nrityabhakti Dance Academy in the USA in 2002. She holds a Master’s degree in Bharatanatyam from Pune University and a Visharad Degree in Kathak from Akhil Bharatiya Gandharva Mahavidyalaya Mandal.
Over the years, Supriya has performed at programs across India and the San Francisco Bay Area. She has choreographed ballets and dance presentations based on Navras (nine emotions), Ashtanayika (eight types of heroines described by Bharata in the Natya Shastra), Kalaswad, Raga Ranga (based on different ragas), Nrityanand (based on different instruments), and Nrityalankar (based on different alankars).
Smt. NCS Ravali is a young and promising Carnatic vocalist with a unique vocal style and mature musical imagination that brings out the best of Carnatic music in her performances. She has been learning Carnatic music for the last twenty years. She received her initial training from her father, Late Sri N. C. Lakshmanacharyulu, and continued under the tutelage of Smt. N. C. Vani and Dr. Vyzarsu Balasubramanyan, Hyderabad.
Sri. Srinath Bala is a versatile percussionist with varied styles blended rhythmically into one. Initiated by Late Sri Krishnan (Palghat Mani Iyer style), he received intensive guidance under Sri R. Ramesh (Karaikudi Mani style) in Chennai, and later, under Maestro Umayalpuram K. Sivaraman.
Smt. Sandhya Srinath is an innately talented artist who showcases her true artistry in every bow. A gold medalist in her master’s program and an early A-grade awardee for All India Radio, she has firmly established the school of Late Shri V. Janakiraman (AIR Delhi), while absorbing the styles of legends Lalgudi G. Jayaraman and Prof. T. N. Krishnan.
Smt. Supriya Puranik leads the Nattuvangam with precision and grace, bringing decades of performance and choreography experience to the stage as the founder of Nrityabhakti Dance Academy.
Pushpanjali is an invocatory dance that marks the beginning of Manasvi’s performance. It is an offering of pushpa (flowers) to the Divine, seeking blessings for a successful presentation. The dancer offers salutations to Lord Nataraja, to the stage, to the Guru, to the accompanying musicians, and to the audience. In this performance, Manasvi dedicates her Pushpanjali to Lord Ganesha, the remover of obstacles and the harbinger of knowledge, prosperity, and joy. Through her devotion, she seeks to invoke his blessings, dispel hindrances, and bring happiness into the lives of all his devotees.
Jatiswaram is a pure dance piece that highlights the beauty of rhythm, movement, and musicality in Bharatanatyam. It introduces the audience to graceful postures and intricate tirmanams (sequences of rhythmic patterns), showcasing the dancer’s command over technique. This composition weaves together a variety of complex steps performed in diverse tempos, seamlessly blending with the melodious flow of swaras (musical notes). In this performance, Manasvi will bring forth the elegance of structure and the joy of rhythm, as music and movement unite in perfect harmony.
In this performance, Manasvi pays homage to Lord Ganesha, the divine embodiment of wisdom, prosperity, and the remover of obstacles. The piece portrays Ganesha as Nritya Vinayaka — the master of dance — celebrating his joyous spirit. With vibrant movements, the dance depicts his triumph over demons and his delight in partaking of modaks, symbolizing abundance and bliss.
Varnam is the centerpiece of the Bharatanatyam repertoire and the most demanding item of the performance. It combines intricate nritta (pure dance) with expressive abhinaya (dramatic storytelling), showcasing the dancer’s technical mastery, stamina, and emotional depth. As the longest and most elaborate composition, Varnam represents the pinnacle of both artistic and physical expression in Bharatanatyam. In this presentation, Manasvi brings to life the many facets of Lord Krishna — cherished as a beloved child by his mother, adored by the Gopikas, treasured as a dear companion by his friends, and revered as the eternal savior and protector of his people. Through intricate rhythm and heartfelt expression, the piece paints a complete portrait of devotion and love for Krishna in all his divine roles.
This Padam is a lyrical offering in praise of Lord Rama, the embodiment of virtue, compassion, and divine majesty. Through expressive abhinaya, Manasvi portrays Rama in all his splendor — adorned with a golden crown and ornaments, radiating joy and serenity, revered by sages and saints, and enthroned beside Sita as the supreme protector and king. The piece highlights Rama’s many facets: the beloved of his devotees, the refuge of the righteous, and the preserver of dharma, celebrated with devotion and grace.
Thillana is a vibrant and dynamic presentation in Bharatanatyam, celebrated for its lively rhythm, intricate footwork, and graceful body movements. It is characterized by fast-paced sequences that combine precision, timing, and synchronization, culminating in an expression of pure joy and exhilaration. Often performed toward the conclusion of a recital, Thillana showcases the dancer’s mastery of rhythm and technique while radiating energy and charm.
This Padam is a devotional piece that praises the many divine aspects of Lord Shiva, the cosmic dancer and embodiment of supreme consciousness. Through expressive abhinaya, the dancer depicts Shiva as the one who carries the sacred Ganges upon his matted locks, radiating both power and compassion. This presentation blends grace and devotion, offering reverence to Lord Shiva while celebrating his eternal presence as Nataraja, the Lord of Dance.
Mangalam is the auspicious conclusion of the performance, where the dancer offers heartfelt salutations to the Divine, the Guru, the accompanying musicians, the stage, and the audience. This prayerful finale is both an expression of gratitude and a blessing, marking the end of the recital with reverence and grace.