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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We are excited to celebrate this joyous occasion with you!
Bharatanatyam Arangetram
of
Manasvi Kotha
Manasvi is an upcoming Junior at Milpitas High School. She has been learning the art of Indian classical dance — Bharatanatyam, from the age of 7 after moving to California. She showed very interest and continued her journey. As a student of Guru Supriya Puranik, Manasvi has learned Bharatanatyam for 9 years. She has mastered the intricacies of mudras, adavus and presentation of Bhava (emotions), and has participated in several events, including solo and group performances. Her journey in dance has led her to become a very passionate young woman, as she enjoys connecting with her heritage, whilst expressing herself though emotion and steps. Manasvi was once a very shy little girl, unsure of her capabilities, however she has built resilience and self confidence through the transformative process of dance. Arangetram marks a significant milestone in Manasvi's dance journey, as it symbolizes the culmination of years of hard work, dedication and artistic growth.
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 piece where the dancer begins by offering flowers to Nataraja, the Lord of Dance. The dancer then seeks the blessings of the teacher and the musicians, and presents a short sloka to Lord Ganesha, the God of knowledge and prosperity, who removes all obstacles and brings joy and happiness into the lives of his devotees.
In this pure dance composition, the dancer weaves complex steps in diverse paces and beats. It introduces the audience to Nritta, the rhythmic aspects of Bharatanatyam, and Theermanas, the pleasing patterns of vocal notes and rhythmic syllables of the mridangam. The high and low tones of Swaras give an absorbed impression of music naturally flowing into dance.
The dancer describes the virtues of Lord Ganesha—the God of knowledge and prosperity, and the remover of obstacles. As Nritya Vinayaka, he dances with joy after defeating demons and partaking of modaks.
Varnam, the central item in the Bharatanatyam repertoire, showcases technical skill, dramatic capacity, and endurance—combining abhinaya and nritta. Here, Krishna is shown as his mother’s beloved child, the Gopis’ favorite little Krishna, his friends’ beloved companion, and as the people’s savior and protector.
This hymn envisions the eternal dance of the formless Shiva… “You are self-created and carry the Ganga in your matted locks. You are merciful and enable one to cross the cycles of birth and death… Oh supreme one who dances to the beat of the damaru… The sky forms your endless clothing… You are unseen in form, forever dancing, lord of the stage, spotless in nature.”
A vibrant, fast-paced piece characterized by intricate footwork, graceful movements, and joyful abhinaya. It demands exemplary rhythm, timing, and synchronization to capture its unique charm.
Introduced in the curriculum by Guru Smt. Sucheta Chapekar and carried forward by Smt. Supriya Puranik. The bhajan “Prabhu Kar Sab Dukh Door Hamare” implores the Divine to remove sorrows, expressing a deep yearning for spiritual solace.
The performance concludes with an auspicious prayer dance where the dancer pays salutations to God, the Guru, musicians, the stage, and the audience.