Margam brochure

T A T

T V A M 2016 Summer Concert Series Austin, Texas

A S I

TAT

TVAM

ASI

Proudly presents

Rukmini Vijayakumar in MARGAM August 27, 2016 Zach Theatre - Kleberg Stage and Lobby 1421 W. Riverside, Austin, TX 78704 6-8 pm 2

Rukmini has performed as a bharatanatyam soloist in Khajuraho, Modhera, IIC, Hampi, Kartik Fine Arts, Bharat Kalachar, Narada Gana Sabha, Bharat Bhavan, Bhopal and several other renowned festivals.

Rukmini Vijayakumar is the director of her Art Space, LshVa in Bangalore & the artistic director of Raadha Kalpa Dance Company. She was awarded the title of ‘Arsha Kala Bhushanam’ by Swami Dayananda Saraswati in 2012.

She has performed in many venues in India and abroad. She is much appreciated for her unique style, innovative choreography, athleticism, arresting emotions and attention to detail. She uses Karanas, in the tradition of Dr Padma Subramanyam, in combination with her Bharathanatyam training to expand her vocabulary of movement whilst exploring avenues of expression. She has trained extensively under Late Guru Narmada and Guru Sundari Santhanam.

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MARGAM - A Traditional Bharathanatyam Repertoire 1) DEVI STUTI Ragamalika Talamalika Composer: Rajkumar Bharati The Devi stuti is taken from the Musical Album, ‘Pradarshana’. It exalts the various forms of the Devi and praises her beauty. The Mother Goddess, in her myriad forms, appears as Kali, the warrior, a destroyer of evil; Parvati, a loving mother full of love and grace; as Rajarajeshwari, the one who rides on the chariot of spiritual prowess, and as Annapurneshwari, the provider and nourisher of the universe. The dancer describes these forms and seeks refuge in her.

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2) VARNAM Raga: Charukeshi Tala: Adi Composer: Lalgudi Jayaraman The Varnam is the central piece of a Bharathanatyam recital.

This varnam is interpreted from the perspective of a Gopika yearning for lord Krishna. There is a parallel between her physical separation and longing and her spiritual desire to ‘know’ Him truly. She traces her life from her childhood, recounting the hours she spent with him. Playing tricks on neighbors, running wildly through the village, causing havoc, playing in the rain. The rain clouds remind her of him. The Dark blue clouds a refection of his dark skin. She asks, “How can he pretend that he still doesn’t know that she longs for him?”

She asks if he has thought of ways to ignore her and come to stand before her now, leaving her desolate. She then talks of how she searched for him, the day he left Vrindavan, running around madly to see him, only to find him gone to another world of kingly duties.

The tune of his flute is intoxicating! She says that the whole world exists because of his music. Trees grow, plants flower, the winds blow and all she can do is dance in that absolute joy of being one with him. She gave him her heart without any second thoughts, and yet he does not recognize her now. She is like the waves that swell in the moonlight, the creepers that are wet in the stormy rain. She is falling apart without his love. She asks him to come back to her; to remember all the times they shared; to be with her; to allow her to KNOW him. Finally, does Krishna come?

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4) APSARA Lyrics: Rukmini Sanskrit lyrics: Dr Shankar Composition: D Srivatsa Tala: Adi Apasara, is a piece that comically describes the small fights that Shiva and Parvati have as a married couple.

Parvati tells Shiva to go away and that she feels that he does not love her anymore. Shiva pleads with her to tell him the real reason for her distress. Parvati then questions him about why he has not brought her any flowers and says that he doesn’t invite her to dance with him anymore. Shiva explains that Nandi, the bull he rides on, is ill and because of which he couldn’t go into the forest. He also says that she can come to dance with him anytime she wishes since she is his wife after all!

Parvati then asks him about why he never speaks to her anymore. That he is always smiling to himself and sitting quietly meditating. She also accuses him of going away early in the morning and returning late at night.

For which Shiva explains that a smile involuntarily appears on his face when meditating and that he has many Ganas (devotees) to take care of, and hence he is late.

Finally, Parvati brings out the real reason for her anger. Goddess Ganga is always close to Shiva and that is why he does not need her anymore...

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5) BHAJAN: SRI RAMACHANDRA Tulasi Das Bhajan Raga: Hamsanandi Tala: Mishra Chapu This famous Tulsi Das Bhajan is about Sri Rama’s love for Sita. The whole song is interpreted through the eyes of a devotee who is watching Lord Rama fall desperately in love with Goddess Sita, from the moment he sets eyes on her. Every time Sri Rama feels he now can enjoy the time he has with her, his kingly duties prevent him from being with the one his heart desires. His unassuming, stately, kind, loving and virtuous manner are heartbreaking when he puts his kingdom before himself and before his family.

After he is married, he is banished. He is broken when he thinks he has to leave Sita behind. He tells her to stay back as the forest is no place for a lovely woman.

Sita, being the strong woman that she is, refuses and says that she will go with him. Sri Rama is secretly overjoyed, but he cannot express it as it would be wrong, for he is also worried for her safety.

In the forest when they begin to lead a peaceful life, Ravana abducts her and at this moment all of Sri Rama’s worst nightmares seem to have come true! He questions his decision to allow her to come into the forest with him, and is heartbroken. Finally, when they attack Lanka and wins Sita back, he is happy. To finally go back to his own kingdom with her. But even there, he is not allowed to be with her when his subjects question her integrity. He is saddened and hurt to realize that he needs to prove her virtue so that no one questions her again. He asks for her to take the Agni Pariksha, but Sita decides that she will not take it and instead chooses to go back to her Mother ( Mother Earth) as she cannot stand the humiliation anymore.

Sri Rama, is heartbroken that he could never be with his one true love. Every time that he thought it was all over, his kingly duties demands more of him. Finally, he is left without Sita.

Without Sita, there is no Ramayana, or Rama.

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6) THILLANA Raga: Kadanakuthuhala Tala: Adi Composition: Balamuralikrishna The Thillana is a rhythmic and melodious piece that has a combination of Nritta (dance) sequences. The verse at the end of the Thillana beckons Krishna, asking him to come quickly and answer the wishes of the dancer.

Kadanakuthuhala, is the raga of happiness and has an absolutely carefree quality to the rendering of musical notes and in turn the dance.

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DANCE WITH RUKMINI - MASTERCLASS WORKSHOP Date: Sunday, August 28th, 2016 Time: 8 am- noon Venue: 620 Dance Center Address: 15500 Stroup Cir, Lakeway, TX 78734 Workshop Description: Technique includes: Body conditioning, Alignment, Strength and Stretch for dancers, Sequencing.

Abhinaya: Approach to abhinaya pieces, using space, characters, etc.

This 4 hr workshop is set apart by the unique approach to training the classical dancer. It will attempt to create a dancer that is physically strong and trains with awareness of muscular alignment, to prevent injury and increase the efficiency of movement. The dancers will go through stretch and strength routines that comes from yoga, pilates, bharathanatyam and anatomy. This will be followed by a session of bharathanatyam techniques, sequencing, alignment, body and spatial awareness etc. These are life long lessons unlike an item which they can learn and use for a few months.

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I N

G R A T I T U D E

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Dear Rasikas!

What an exciting summer has it been for Tat Tvam Asi here in Austin, TX! This specially curated Summer Concert Series showcased an amazing array of spectacular dance & music productions by renowned and much loved artists such as Rama Vaidyanathan, 11

Divyaa Unni & Rukmini Vijayakumar and their super talented musical ensemble.

Our guests had the unique privilege of being part of a unique offering that highlighted the power and versatility of classical dance and music.

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At Chitravali, we were left spellbound by the magnificent way Rama Vaidyanathan brought together 3 different mediums of art. It was story telling at its finest, a unique coming together of Rajasthani miniature paintings, Hindustani music and Bharathanatyam, to celebrate the magical concept of Krishnamaya !

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At TARA, we explored the concept of the Panchakanyas while diving deep into the lives of 5 mythological queens to talk about the relevance of myth, exploration of historical sites and the power of storytelling.

TARA was the coming together of Divyaa’s research into the less told story of the brave & intelligent Queen Tara.

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Her interpretation of TARA was deeply emotional and her elegant and subtle, yet powerfully emotive abhinaya, struck a chord with our rasikas. This was followed by a much enjoyable interactive session with the artists where insights into the creative process behind TARA was shared.

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We are also extremely grateful to all our workshop participants and their family for their commitment and dedication towards this art form. They are truly ensuring that this tradition is going to live on and we promise to keep up our commitment towards creating more learning opportunities for serious dance students to train under these amazing artists.

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We are very grateful to be able to bring these exceptional works of art to Austin and we could not have done this without the patronage and support of the art connoisseurs in this city. It is your invaluable support that allows us to continue doing meaningful work!

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I thank you ALL on behalf of the entire TAT TVAM ASI team, and all our performing artists, for supporting our work and helping make Austin more culturally diverse and artistically vibrant !!!

Sincerely Yours, Sruthi Mohan tattvamasi2015@gmail.com

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