The Arangetram

 The Arangetram

A Bharatanatyam Arangetram is a solo debut performance that signifies the completion of initial formal training of a young dancer in Indian Classical Dance. The term Arangetram translates to "ascending the stage". This performance is typically done ten to twelve years after a dancer begins learning Bharatanatyam, but more importantly, it is done when the guru believes the student is ready for a solo performance. This solo debut is synonymous to a "coming-of-age" celebration but in terms of Indian Classical Dance. The Arangetram is a culmination of multiple years of hard work by the student and the guru, and it is an opportunity for the dancer to showcase his or her dedication and skills developed over the years. Throughout this debut, the dancer performs a series of dances that are learned over a course of time. The dancer must build up his or her concentration and stamina to perform solo dances for approximately three hours. Each dance performed symbolizes various aspects of Hindu religion that are valued in Indian culture and Indian classical dance.

Sequence of Dances

The traditional Bharatanatyam Arangetram performance follows a seven to eight-part order of presentation. This set is called margam.

Pushpanjali

The Arangetram performance typically begins with a dance called the Pushpanjali, which literally translates to "offering of flowers". In this dance, the performer offers flowers and salutations to the Hindu deities, the guru, and the audience as a mark of respect. The beginning of the dance symbolizes supplication, from which the dancer then commences the rest of the performance.

Alarippu

The presentation can also begin with a rhythmic invocation (vandana) called the Alarippu.It is a pure dance, which combines a thank you and benediction for blessings from the gods and goddesses, the guru and the gathered performance team. It also serves as a preliminary warm up dance, without melody, to enable the dancer to loosen their body, journey away from distractions and towards single-minded focus.

Jatiswaram

The next stage of the performance adds melody to the movement of Alarippu, and this is called Jatiswaram.The dance remains a prelim technical performance (nritta), pure in form and without any expressed words. The drums set the beat, of any Carnatic music raga (melody). They perform a sequence (Korvai) to the rhythm of the beat, presenting to the audience the unity of music, rhythm and movements.

Shabdam

The performance sequence then adds Shabdam (expressed words).This is the first item of margam where expressions are introduced. The solo dancer, the vocalist(s) and the musical team, in this stage of the production, present short compositions, with words and meaning, in a spectrum of moods.

Varnam

The performance thereafter evolves into the Varnam stage. This marks the arrival into the sanctum sanctorum core of the performance.  It is the longest section and the nritya. A traditional Varnam may be as long as 30–45 minutes or sometimes an hour. Varnam offer huge scope for improvisation and an experienced dancer can stretch the Varnam to a desirable length. The artist presents the play or the main composition, reveling in all their movements, silently communicating the text through codified gestures and footwork, harmoniously with the music, rhythmically punctuated. The dancer performs complicated moves, such as expressing a verse at two speeds. Their hands and body tell a story, whether of love and longing, or of a battle between the good and the evil, as the musicians envelop them with musical notes and tones that set the appropriate mood.

Padam

This is the stage of reverence, of simplicity, of abhinaya (expression) of the solemn spiritual message or devotional religious prayer (bhakti). The music is lighter, the chant intimate, the dance emotional. The choreography attempts to express rasa (emotional taste) and a mood, while the recital may include items such as a keertanam (expressing devotion), a javali (expressing divine love) or something else.

Thillana

The performance sequence ends with a Tillana, the climax. It closes out the nritya portion, the movements exit the temple of expressive dance, returning to the nritta style, where a series of pure movement and music are rhythmically performed. Therewith the performance ends. 

Shlokam or Mangalam

The seventh and final item in the sequence can be either a Shlokam or a Mangalam. The dancer calls for blessings on the people all around.