Translations & Glossary

Alarippu: Typically the first item performed in a Bharatanatyam showcase. It consists only of Nritta (pure dance/non-narrative) movements. It begins with simple movements and building in rhythm and complexity.

Benarasi anga of Kathak: Referring to the Benaras Gharana of Kathak. Established in the city of Varanasi (Benaras) by Pandit Janaki Prasad. Previously limited to hereditary practitioners, those dancers that now train with teachers linked to the Gharana are taking forward the cultural capital of Benrasi Kathak.

Goddess Saraswati: The Goddess of Knowledge in Hindu mythology. She is the dispeller of Darkness, the one who bestows abundance and uplifts those living in ignorance. She is also revered as the Goddess of Music and Dance.

Jhaptaal: A rhythmic cycle in Hindustani music of 10 beats. The bols are Dhi Na Dhi Dhi Na, Ti Na Dhi Dhi Na.

Keerthanam: Another item in the Bharatanatyam performance, a Keerthanam is a composition in praise of a deity. The stories are often mythological and devotional in nature. It consists of a mix of Nritta (pure dance) and Abhinaya (emotive storytelling).

Khandita Nayika: An archetype of heroine in the Natyashastra (a textbook for Indian Art Forms). The Khandita Nayika is described as someone consumed by anger and betrayal after discovering her lover's infidelity.

Lucknowi anga of Kathak: Referring to the Lucknow Gharana of Kathak. Based in the city of Lucknow, the seat of teh Royal Nawabs, the city and its rulers were great patrons of Kathak. Many generations of dancers flourished under their patronage. They emphasized thehraav (stillness) and nazakat (elegance) in their performance.

Natwari bol: Neumonic syllables (bols) that were created to mimic Kathak movements as closely as possible. Previous to the addition Natwari bols, dancers would dance to 'tabla bols' or 'pakhwaj bols' (tabla and pakhwaj are instruments).

Padam: An item in the Bharatanatyam showcase. A Padam is a piece that emphasizes Abhinaya (emotional expression) and storytelling, often focusing on love and longing. The stories are often told from the heroine's point of view.

Raag Megh Malhar: A raag in Hindustani music. Megh Malhar is a pleasing and sweet melody. The raga is believed to have the power to bring rain and is often associated with the relief and rejuvenation that rain brings. 

Ragam Saveri: A Carnatic music ragam which creates the mood of compassion.  

Ragam Shivaranjani: A popular Carnatic raga known for its melancholic and soothing qualities. It's often associated with emotions of sorrow, compassion, and even romance. 

Rupak Taal: A rhythmic cycle in HIndustani music of 7 beats. The bols are Ti Ti Na, Dhi Na, Dhi Na.

Saraswati Vandana: A devotional couplet in praise of a deity. In this case, in praise of Hindu Goddess Saraswati.

Talam Adi: A rhythmic cycle or tala in Carnatic music of 8 beats.

Talam Rupakam: A rhythmic cycle or tala in Carnatic music, providing the rhythmic framework for the Padam.

Taalam Viloma Kandam: A rhythmic cycle of 5 beats divided as 3 and 2.

Tarana: A type of musical composition that blends Kathak bols, tabla bols, vocals and sargam of a Raag. Typically fast-paced and features at the end of a performance.

Teentaal: A rhythmic cycle in Hindustani music of 16 beats. One of the most commonly performed taals (time cycle). The bols are Dha Dhin Dhin Dha, Dha Dhin Dhin Dha, Dha Tin Tin Ta, Ta Dhin Dhin Dha.

Thaat: A stylised pose taken at the end of a movement phrase. Typically done in the Vilambit laya exploration of a taal.

Vilambit: Vilambit refers to Vilambit laya. The slowest tempo of rhythm that would be performed at the start. The artist can choose to improvise with thaat, aamads and other such items of the Kathak repertoire.

Yama: According to Hindu mythology, he is the god of death and justice, ruler of the underworld, and judge of the dead.

Saraswati Vandana:

Ya Kundendu Tusharahara Dhavala Ya Shubhra Vastravrita

Ya Veena Varadanda Manditakara Ya Shveta Padmasana

Ya Brahmachyuta Shankara Prabhritibhir Devaih Sada Pujita

Sa Mam Pattu Saravatee Bhagavatee Nihshesha Jadyapaha॥1॥ 

Sarasvatī, Bhagavatī, is of fair complexion like the necklace which is as white as the jasmine, moon and snow, who is dressed in white clothes, whose hands adorn the divine vīņā, who is seated on a white lotus, who is always worshipped by Gods like Brahmā, Vişnu, Śankara. May she, who removes the darkness of ignorance, protect me!

Performance: Shivani Jatar. Choreography: Dr Rupali Desai. Compostion: Nataraj Gopi Krishna

Tu Mai Saraswati:

Tu mai Saraswati

Abhay vardani

Tu mai Saraswati

Jaya Brahma Nandini

Mala Pothi Dharani

Vara Veena Vaadini

Vidya deyi daani

Sur nar muniranjini

Jagatarini 

Shubhvar pradayini

Sevak Sur Rang

Ko rakshini

Tu mai Saraswati

Tu mai Saraswati

Abhay vardaani

Tu mai Saraswati

Oh Mother Saraswati

The one who blesses us without holding back

Oh Mother Saraswati

The daughter of Brahma

A rosary in one hand and a book in the other

She is also plays the Veena

The giver of Knowledge

The one workshipped by rishis & saints

The mother of the world

She bestows abundance on the world

Signing as your humble servant Sur Rang

Oh Mother Saraswati

Oh Mother Saraswati

The one who blesses us without holding back

Oh Mother Saraswati

Performance: Shivani Jatar. Choreography: Guru Sanjukta Wagh. Compostion: Sur Rang.

Sawan

Garaj garaj ghir ghir megharva aaye

Damak damini tat kran tadit chamak

Boond boondan barasan laage

Garaj garaj ghir ghir megharva aaye

The clouds gather with loud thunder

The lightening strikes

There comes the rain

The clouds gather with loud thunder

Performance: Shivani Jatar. Choreography: Guru Sanjukta Wagh. Compostion: Sur Rang.