The 2024 arangetram season was filled with a variety of debut performances by the upcoming dancers of the Greater Boston Area. Abinayya Appusamy had her Bharathanatyam arangetram on August 11th, 2024, and I had the great opportunity to see her hard work and dance journey culminate on stage with her performance. Abinayya is a student of Smt. Sujatha Meyyappan and has been under her tutelage since the age of 5 at Kolam Academy of Dance. Her many years of training in Bharathanatyam instilled a form of discipline, confidence, hard work, and determination, all traits that the audience had the pleasure of witnessing that day. Her thoughtfully curated margam highlighted the rich heritage of the dance form and Tamil culture and was a cohesive blend of grace, precision, intricate rhythms, and storytelling.

The program commenced with a brief introduction as well as a message from ‘Kalaimamani’ Sri Madurai R. Muralidharan, blessing Abinayya and Guru Sujatha Meyyappan on this wonderful milestone. The orchestra for the evening, Sri Sudev Warrier (vocal), Sri R. Thiagarajan (flute), Sri Nagarajan Shanmugalingam (Mridangam and Percussion), and Sri Anandhu Lal (violin), started the recital with a prayer and invocation piece.

Abinayya began her debut with an invocation piece that left a lasting impression, seeing as it wasn’t a pushpanjali, but rather a mallari. The term Mallari refers to the sound produced by the nadhaswarams used in South Indian Temples. With this composition by Swamimalai Rajaratnam Pillai in ragam, Gambheera Nattai, Abi graced the stage and treated the space akin to a temple procession, transporting the audience to a spiritual realm. Representing the traditional instruments that play the mallari, a selection of Hindu deities that are worshiped, as well the devotees themselves, Abbinaya sought the blessings of Lord Nataraja, her Guru, and the audience. The percussion presented by --- further contributed to the feel of witnessing a mallari in the temples. With her rhythmic precision and graceful energy, Abi set the tone and stage for the remainder of her performance.

Abi continued with a Ganesha Stuthi in ragam Brindhavana Saranga, paying her respects to Lord Ganesha and seeking his blessings, as is customary in most traditional stage events. Starting with a virutham, she demonstrated a sense of bhakti by praying to the elephant-headed god. Living up the pallavi of the song, “Gambeera Nadhanam”, she depicted the beautiful dance of the lord, and how he is revered as the god wisdom, knowledge, and the one who removes obstacles to ensure good fortune. The item, composed by Sri Madurai R. Muralidharan, allowed for the audience to witness Abinayya’s expressions, paired with her swift movement.

The audience was next treated with a bharathanatyam classic, Shankara Srigiri, a composition by Maharaja Swathi Thirunal. Walking onto stage as Lord Shiva himself, Abinayya grabbed everyone’s attention through her majestic presence and controlled movements as she danced to the jathis at the start of the song. The item transitioned into a virutham, before praising Lord Shankara who dances on his sacred abode of Mount Kailash. This rendition also included Abi depicting thandavam and lasyam, represented by Shiva and Shakti, respectively, as they danced in a duet. The composition also describes the lord, with the holy ash on his body, his third eye, and how he reigns supreme as he dances with his beloved followers.

The central piece of the program was a unique selection, a varnam in ragam Panthuvarali, on the Tamil Goddess or “Annai”. This one of a kind composition by Sri Madurai R. Muralidharan recounts the history of the Tamil language as well as its impact on the culture and heritage of the Tamil people. The varnam combines the main three components of Bharathanatyam, Nritha, Nritya, and Nrithya, all of which were executed beautifully by Abinayya. This varnam is especially significant, as Abi learned it from Guru Muralidharan as her first varnam, and it has been featured and won a Guinness World Record.

The varnam included intricate jathis and swarams, which Abi seamlessly danced to on stage, receiving a round of applause for each segment. The song praises the Tamil Annai, and what she represents as the personification of the Tamil language as well as the forms of the language itself, “Iyal, Isai, Nadagam”. Tamil is considered to be one of the oldest languages, and has had a significant influence on literature, music, and theater. The history of the language and works were referenced in various places, such as Tholkappiyan, Sangam literature and Thirukkural, and Silapathigaram. When articulating the literary tradition of the language, it was very clear how involved in the song and attuned to the music Abinayya was. She demonstrated an understanding of the lyrics with her expressions, in conjunction with a level of passion that she exuded through this item. Her technical prowess was also displayed through the execution of the complex jathis, which were in complete sync with the nattuvangam by her Guru, Smt. Suja Meyyappan. The varnam portrays how the language has its own sweetness, expresses a multitude of emotions, and what sort of presence it has had for centuries upon centuries. Abinayya’s delivery of this varnam only served to highlight her grasp and dedication towards the artform.

Following a brief intermission, Abinayya continued the margam with her next item, “Kali Nadanam”, a ragamalika piece composed by Madurai R. Muralidharan, This item, a tribute to the Goddess Parvati, epitomizes Shakthi as the Divine Feminine, and Mother who will protect her devotees and destroy all evil. Abi met the dynamic jathis step for step, and displayed the same vigor and force that the Goddess has been known to have when battling her enemies. She simultaneously encapsulated the maternal, graceful, and valorous nature of the goddess when describing how she will look after those who bow to her and guide them in their victories. The poetic verses paired along with emphatic jathis left the audience with goosebumps and in reverence of Goddess Shakthi, powerfully characterized by Abinayya.

“Asaindhadum Mayil”, a song by renowned composer, Oothukadu Venkata Kavi, in ragam Simhendramadhyamam, was the next piece in Abi’s repertoire. This diving composition describes the arrival of Lord Krishna, and his melodious flute that sings music to all those around. The audience was briefly taken to Vrindhavan as Abinayya’s expressions showed the bliss felt when listening to Lord Krishna’s flute as well as the excitement to tell everyone of his presence.

Switching gears from classical to folk, Abinayya danced to a lovely kavadi chindhu as her next item. “Azhagu deivamaga vandhu” by Periyasaami Thooran, is in praise of Lord Murugan, the handsome Lord who stands on the top of Pazhani with his peacock mount and slays a horde of demons with his spear. With her lively footsteps and movements that were set to a vibrant tune, Abinayya lifted the spirits of the audience, as she covered the entire stage dancing with the kavadi. As the speed of the song increased, so did her energy, all while maintaining a beautiful smile and sense of devotion in her dance. Keeping up with the upbeat tempo and melody paired through her rhythmic movements and intricate dance steps, Abi aptly   serve as a form of worship and penance. Capturing the bhakthi of Lord Murugan’s devotees, Abinayya’s kavadi performance left everyone feeling joyous and uplifted.

The performance concluded with a thillana, followed by a mangalam. Unlike most thillanas which honor a specific deity, the thillana selected for this margam was one in honor of the Guru. Set to ragam Madhuvanthi and composed by Madurai R. Muralidharan, Abinayya’s attention to talam and fine footwork made this piece come alive. With a thillana dedicated to gurus followed by a mangalam wherein she thanked and sought the blessings of her teacher and the audience, Abinayya fruitfully completed her solo debut performance.

A well-deserved standing ovation was given and rounded off the program before the congratulations began. Multiple speeches were given about Abinayya from her friends, teachers, family, and other loved ones. They all pointed out Abinayya’s hard-working nature, her enthusiasm, and the drive she’s continued to show towards accomplishing things. Guru Sujatha Meyyappan also spoke about Abi’s ambition and efforts as a student and presented her with a plaque commemorating this special achievement. Abi then gave a speech thanking her Guru, her family, the senior students that helped her, and all those that made her day so triumphant.

 The success of the arangetram would not exist without the orchestra members who helped Abinayya transport the audience to different worlds and through a variety of emotions. In addition to the mridangam, Sri Nagarajan Shanmugalingam provided sounds of temple bells, chimes, and other effects to elevate the rhythmic elements of the dance. Meanwhile, the majestic voice of Sri Sudev Warrier, the sweet flute notes of Sri R. Thiagarajan, and the soulful bowing of Sri Anandhu Lal all came together to create an enchanting harmony for Abinayya to dance to. The detailed and intricate choreography of Smt. Sujatha Meyyappan and Abinayya’s precise delivery truly rendered the night memorable.

It is no minor feat for a dancer to complete their arangetram, considering how much practice, dedication, and motivation they must have to do so. Personally speaking, I have had the lovely experience of watching Abi grow as a dancer and student, and was thrilled to see her share talent and hardwork with so many others. As a fellow dancer, it is always a joy to see another dancer carry so much passion towards the artform and culture and I know that it will only continue to grow with someone like Abinayya. Congratulations Abi on your arangetram!

Shilpa Narayanan is a Bharatanatyam dancer and disciple of Smt. Sujatha Meyyappan. She has been dancing with passion for over 18 years, and has participated in various programs, fundraisers, and competitions. She currently works in clinical research, and is an assistant dance teacher for Kolam Academy of Dance.

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