The Margam
Margam is a Sanskrit term meaning “path.”
A margam is the repertoire of pieces that a Bharata Natyam dancer performs and/or learns. In an arangetram, a margam usually consists of about seven pieces, starting with the most rudimentary up to the finale.
In our school, we begin the arangetram with a musical prayer called Thodaya Mangalam, which is intended to sanctify the space, welcome the audience, and create an auspicioius environment for the performance to come.
After that, the dancer performs one or two physical dance pieces designed to demonstrate his or her mastery over the movements. The physical aspect of Bharata Natyam is called nrtta. After these nrtta pieces comes the varnam, a longer piece involving both nrtta and abhinaya, or storytelling.
After a short intermission, the dancer performs 2-3 pure abhinaya pieces designed to tell stories and display the dancer’s mastery of the literature and the ability to communicate it to the audience. Then, after a short pause to thank those most instrumental in making the performance a success (and to allow the dancer another costume change!), we conclude with the thillana. Thillana is an exuberant display of rhythm and footwork with just a touch of abhinaya sprinkled in. It is intended as a celebratory finale to the performance.
Sapna’s Margam
I will perform six pieces, less than the traditional seven, because I am older than most who do arangetram. (Most arangetris are in their teens!) This is the order after the Thodaya Mangalam (which I promise will give you chills, as it always does me):
Mallari:
“Tha Dheem Thom Nam”
Raagam: Gambira Nattai
Taalam: Tisra Triputa
Origin Unknown
In Southern India, mallari is traditionally performed in Hindu temples as the deities are taken in procession. In recent years, mallari has been choreographed as an opening number in the Bharata Natyam repertoire. The dancer offers her respect to the Universe, her Guru, and the audience.
Varnam:
“Kanna Karmegha Vanna”
Raagam: Simhendramadhyamam
Taalam: Aadi
Composer: Smt. K. Lalitha
Language: Tamil
Oh, dark hued Krishna, whose skin is the color of the skies above!
You play wonderful music on your flute, capturing the hearts of the cowherdesses (Gopikas) even as you steal butter from their houses.
You are the lord of the cowherds, Rukmini’s consort, Devaki’s son, protector of the Devas.
This 20th century piece was composed by the founder of the famous classical arts school Saraswathi Gaana Nilayam in Chennai. In it, the dancer tells numerous stories about the deeds and exploits of Krishna, the mischievous cowherd boy who is the embodiment of Lord Vishnu.
Padam:
“Aliveni”
Raagam: Kurinji
Taalam: Misra Chaapu
Composer: Maharaja Swathi Thirunal
Language: Malayalam
O friend with the curly black tresses, what am I to do now?
How am I to preserve my pride if I spend my time fruitlessly waiting for him?
This poignant, emotionally rich 19th-century piece was composed by the ruler of Travancore, which is part of modern-day Kerala in India. In it, the usually stoic nayika (heroine) asks her sakhi (friend) how to cope with uncharacteristic feelings of tumult when her beloved, Lord Padmanabha—he with the beautiful lotus eyes—has not come to see her.
Abhang:
“Maaze Maaher Pandhari”
Raag: Yaman
Taal: Bhajani
Composer: Sant Eknath
Language: Marathi
My maternal home, my sanctuary, is Pandharpur, on the banks of the Chandrabhaga River.
Vitthal is my father, Rakhumai my mother, Pundalika my brother, and the river my sister.
There, in Pandharpur, I feel safe. I am home.
Pandharpur with its Shri Vitthal Rukmini Temple is a famous pilgrimage site in Maharashtra, India. Abhangs are devotional songs native to the region, characterized by joyous rhythmic patterns that build in intensity.This abhang, composed in the 16th century by one of the most revered Marathi poets, describes the rapturous fulfillment a devotee feels upon arrival in the city.
Padam:
“Vishamakkara Kannan”
Raagam: Chenchurutti
Taalam: Aadi
Composer: Oothukadu Venkata Subbaiar
Language: Tamil
He’ll sing and dance with abandon, but Krishna is such a naughty boy. Don’t be fooled!
In this piece, composed in the 18th century, one gopika commiserates with her friend about the endless pranks of charming little Krishna.
Thillana:
“Dheem Tha Dha Ra Thani Tha Dha Dhi Ra Naa”
Raagam: Desh
Taalam: Aadi
Composer: K.N. Dandhayutapani Pillai
One needs a thousand eyes to appreciate the beauty of your dance, O Natesha!
Please bestow upon me the wonderful gift of dance.
Thillana combines rhythmic and cross rhythmic patterns, intricate footwork, and poses executed with grace and elegance.
This thillana, composed in the mid-20th century by a legendary dancer and choreographer, is in praise of Lord Shiva in his dancing form, Nataraja.