1:30 PM EST
  • Seating Starts
2:00 PM to 4:00 PM
  • Pushpanjali - 'Krishna Kauthuvam'
  • Alarippu
  • Jatiswaram
  • Shabdam - 'Ramayana'
  • Varnam - 'Kanna'
4:00 PM to 4:30 PM - Intermission
  • Snacks, Tea/Coffee
4:30 PM to 7:00 PM
  • Shiva Padam - 'Nrithyathi Nrithyathi'
  • Amba Padam - 'Devi Stuti'
  • Orchestra Interlude
  • Meera Bhajan (Devotional Piece) - 'Payoji Maine'
  • Special Presentation
  • Tillana - 'Durga'
  • Mangalam
7:00 PM
  • Dinner

Program Details

Pushpanjali - 'Krishna KAvithuvam

As Indian dance traditionally took place in temples, it became customary for dancers to initiate their performances by presenting flowers as an offering to the deity, hence the name Pushpanjali- offering of flowers.

  • Raagam: Aarabhi
  • Taalam: Adi
  • Composer: Dr. Madurai R. Muralidharan

This exquisite opening piece is an intricate Kavithuvam, which glorifies Lord Krishna and his divine virtues.
The enchanting flute player, with his charisma and playful demeanor, captivates every heart. Krishna's triumph over Kalinga the serpent symbolizes the divine manifestation of Lord Vishnu. Vedika meticulously mastered this intricate composition under the guidance of Guru Dr. Madurai R. Muralidharan in a special workshop hosted by the esteemed Shishya School.

Alarippu

Alar, Alaru is a Dravidian word and in most Dravidian languages, the verbal form means 'to blossom'. Alarippu literally means 'flowering', that is, opening of the body and limbs to get prepared to execute more difficult pieces to be taken up subsequently.

  • Raagam: Nattai
  • Taalam: Misra Chapu

Prior to initiating the principal dances within a repertoire, it is customary to execute an Alarippu.
Serving as a warm-up, this dance allows the dancer to prepare both body and mind for the forthcoming intensity of the performance. Starting with subtle eye and neck movements, the dancer progressively transitions to intricate footwork, gradually intensifying the tempo as the piece progresses.

Jatiswaram

  • Raagam: Kalyani
  • Taalam: Roopakam

Jatiswaram, a challenging pure dance item (nritta), features adavus choreographed to rhythmic syllables (jatis) and Swara patterns set in a specific Raaga and Taala. This piece is set to the ragam Kalyani and Roopaka Taalam. Interestingly, Guru Sukanya showcased the same jatiswaram during her own Arangetram.

Shabdam - Ramayana

  • Raagam: Ragamaalika
  • Taalam: Misra Chapu

Shabdam, a classic Bharathanatyam piece, integrates intricate footwork and expressive facial gestures to narrate a story typically divided into segments. Preceding each segment is a traditional section called Jati, showcasing pure footwork. This Shabdam is choreographed to a 7-beat rhythm and draws its narrative from the Ramayana. It portrays the tale of King Lord Rama, highlighting his courage, virtues as a devoted son, righteous king, and loving husband, emphasizing his role as the embodiment of goodness through his piety and righteousness.

Varnam - "Kanna"

  • Raagam: Raagamaalika
  • Taalam: Aadi
  • Composer: Smt.Lalitha (Saraswathi Gana Nilayam)

Varnam stands as the most enthralling, interesting, and challenging piece in a Bharathanatyam recital. It serves as the piece de resistance, showcasing the dancer's expertise. Achieving perfect synchronization of Bhava, Raaga, and Taala, it provides abundant scope for the dancer to display rhythmic talents alongside rich and varied abhinaya. Additionally, it serves as a measure of one of the 'Dashapraanas' (the 10 vital characteristics of a good dancer), namely 'ashrama' (endurance), as it is the longest and most demanding item. Here, the dancer employs footwork to dance the Adavu-Jatis, hands and hastaas to convey the song's meaning, and subtle facial expressions for the inner emotion portrayed through saatvika abhinaya.


Varnam is the most elaborate, beautiful, and significant piece in Bharathanatyam, encompassing aspects of NRITTA, NRITYA, and BHAVA, interwoven with complex rhythmic patterns and rich melodies. In this piece, the dancer extols the glory of Lord Krishna, depicting him as her charming playmate. The first half illustrates his youthful adventures by the banks of the Yamuna, praising his exploits such as defeating Kalinga, displaying the universe to his mother, and captivating the gopis in rasleela. Enthralled by Krishna, the dancer summons his presence, marveling at how the peacock feather adorning his head seems to dance in rhythm with his movements.

The second half shifts focus to Krishna's prowess as a king, warrior, and husband, with the dancer praising his multifaceted skills. This item serves as a true testament to the dancer's prowess, challenging her on all levels. Please feel free to applaud whenever you are moved to do so.

This Varnam is set to Raagam Raagamaalika and Aadi Taalam, composed by Smt. Lalitha of Saraswathi Gana Nilayam, who is Sukanya's teacher's Guru herself. Within the Shishya school, this Varnam is a cherished legacy handed down from teacher to student.

In fact, Guru Sukanya herself performed this Varnam during her Arangetram.

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Padams and Krithis

Padams and Krithis, characterized as abhinaya pieces, typically feature lyrics expressing themes of love or devotion to God, performed at a slower tempo. The dancer portrays the diverse moods and emotions of the Naayikaa, providing ample opportunity for the expression of a wide range of sentiments and nuanced emotions.

Shiva Padam - "Nrithyathi Nrithyathi"

  • Raagam: Shankarabharanam
  • Taalam: Adi
  • Composer: Swati Thirunal

The Shiva Padam holds a unique significance within the Bharathanatyam repertoire, portraying the embodiment of the God of Dance. This beautiful item is a song dedicated to Shiva and his Vaahanam(vehicle) Nandi. It showcases Shiva's ability to vanquish evil, his role as the divine consort of Shakti, and his ascetic life in the Himalayas, offering Moksha to his devotees.


Shiva, the ascetic dwelling in the Himalayas, represents the embodiment of Moksha or spiritual awakening. In this piece, Lord Shiva's dance resonates with the rhythmic syllables of "dhrkttom dhrkttom," accompanied by the beat of the Damaru, Shiva's drum played by Nandikesvara. He's adorned with a crescent moon, worshiped by sinless sages, and is the consort of Lord Padmnabha's sister. He skillfully alleviates the suffering of the distressed, defied Yama, and stands amongst the virtuous. Nandi, which means "giving delight" or "giving joy," is the sacred bull of the Hindu god Shiva. Nandi is Shiva's Meditative Bull and his closest accomplice.

The Shiva Padam, originally choreographed by Dr. Madurai R. Muralidharan, has been modified by Guru Sukanya to enhance the unique bond between Shiva and his companion Nandi.

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Amba Padam - "Devi Sthuthi"

  • Raagam: Ragamalaika
  • Taalam: Adi
  • Lyrics from: The Siddhakunchika Stotram and the Devi Mahatmayam.
  • Music composition: GS Rajan

This item is an ode to the magnificent and multifaceted Goddess, through the sacred Beeja Mantra describing her as the central energy in the Divine Srichakra. When she confronts evil, she embodies strength and empowerment, while also personifying the universal mother-a figure of beauty, passion, and boundless compassion.


Astride the lion and holding the spear, Goddess Durga signifies the victory of truth over evil. She symbolizes an empowered woman, who can fight evil within and outside, who is beautiful, strong, authoritative, powerful and yet kind and compassionate. She is the universal mother.

The Beej Mantra "Om Aim Hreem Kleem Chamundaye Viche" , the Sri Chakra (a sacred geometric diagram and a powerful spiritual symbol in Hinduism) and yoga mudras are beautifully demonstrated in this dance.

Vedika learned this item in a Shishya school curated workshop with Guru Rama Vaidyanathan.

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Meera Bhajan (Devotional Piece) - 'Payoji Maine'

  • Raagam: Misra Pahadi
  • Taalam: Adi
  • Composer: Meera Bai

Payoji Maine, a bhajan or a beautiful composition written in the 16th century by the famous Saint Poet Meerabai, where she glorifies the importance of chanting the Lord's name.

Meera Bai, regarded as one of India's greatest devotees, speaks of receiving the most precious wealth-the divine name of the Lord. She expresses gratitude to her Guru and the Lord for bestowing upon her the invaluable gift of devotion. This treasure, the divine name, remains unfading and unstealable, but rather multiplies with each passing day. Guided by her Guru, she navigates the boat of truth across the ocean of life. While her beloved is Lord Krishna, here Lord Rama symbolizes the 'Supreme Being' and Guru.

Tillana and Mangalam

  • Raagam: Revathy
  • Taalam: Aadi
  • Composer: Madurai N. Krishnan

The Tillana, a nritta composition, is known for its graceful and exquisite pure dance movements, complemented by captivating poses and intricate patterns. Each adavu is executed at three distinct speeds: Vilambit (slow), Madhya (medium), and Dhrut kaala (fast), meticulously combined to create scintillating teermaanams.

Concluding with a Dhrut kaala tempo, it leaves the audience impressed and spellbound. Set to a specific raaga and taala, the tillana consists of pallavi, anupallavi, and sahitya sections, praising either the deity of the temple or the king who sponsored its construction. This particular tillana celebrates the valor and strength of Goddess Durga, lauding her triumph over all forms of evil.