Community Outreach

The old adage "No man is an island" holds very true for the Silambam Phoenix family. We are constantly trying to work with, and help other members of our community. Our current production, Sanmarga -- the continuum of a glorious tradition aims at raising funds for several local and international charities. In an attempt to publicize the event, senior Silambam Phoenix students presented a lecture demonstration, "Bharata Natyam: Linking Old Roots with Modern Culture" on September 26, 2015 at the Peoria Public Library.

Senior dancer, Vaibhavi Mohan led her peers in this well structured informative lecture demonstration. The dancers defined and illustrated basic dance movements and postures (called adavus), typical hand gestures (called hastams) and the nine primary emotions (called navarasas) to an attentive audience comprising of young library enthusiasts and their parents. The dancers also presented a short pure dance introductory item known as the alarippu (the blossoming flower).
Here are some snapshots from the event!

Back in Time -- A Sneak Peek At Our Past Productions

 

 

 

MARGAM

 

 

 

The format and sequence of dance numbers for a Bharatanatyam recital form the graded structure of the concert called Margam. Items within the recital are traditionally arranged with increasing intensity for an experience akin to entering a temple and progressing from the entrance to the Sanctum Santorum. This format was formalized by the Tanjore Quartet Chinniah, Ponniah, Sivanandam and Vadivelu who were musicians in the court of Kings Serfoji of Tanjore and Swati Tirunal of Travancore about 200 years ago.

 

Silambam Phoenix's first full length production was titled Margam. The production was a thematic representation of the items formalized by the Margam tradition and followed the sequence outlined by the Tanjore Quartet.

 

In the traditional Margam sequence outlilned by the Tanjore Quartet, the opening numbers of a recital are usually a Thodayamangalam, pushpanjali and alarippu.  Silambam Phoenix dancers began the recital with a Thodayamangalam in praise of Lord Rama. Thodayamangalam literally means auspicious beginning and is uaually in praise of a particular deity. They followed this with a Tisra Alarippu. Alarippu means that which blossoms and gives joy.  This pure dance number provides a crisp introduction to the basic grammar of Bharatanatyam.  Alarippu can be thought of as an entry into the gopuram (outer hall) of the temple.

 

The Jatiswaram is a beautiful dance number that brings out the pure dance aspect of Bharatanatyam as a visual interpretation of the patterns of musical notes.The dancer crosses the Ardha-mantapam or

the half-way hall with the Jathiswaram. The evening's jatiswaram was set in the Poorvikalyani ragam.

 

 

 

A Sabdam or Kauthuvam is usually performed next in the sequence.  These pieces involve both pure dance and mime.  They are usually in praise of a deity or a king.  In the temple analogy, the sabdam

or kauthuvam brings the dancer to the Mantapa (great hall).

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The Varnam is the piece-de-resistance of a Bharatanatyam recital.  The Varnam is a perfect balance of pure dance and the emotive aspects of Bharatanatyam.  The varnam usually has a slower first half leading to a brisk second half.  Varnam has a series of pure dance sequences that are alternated with gestural interpretation of the lyrics of the song.  The varnam is usually the longest item in a dance performance and is akin to entering the holy precinct of the deity in a temple.  The theme of a

varnam is usually based on either Shringara (love of a lady for her beloved) or bhakthi (devotion).  The varnam is the perpetuity which gives ever-expanding room to the dancer to delight in his/her self-fulfillment, by providing the fullest scope to her own creativity as well as to the tradition of the art.

 

Dr. Mohan performed the main pieces of the margam during the recital. The main piece was in praise of the MotherGoddess.  The varnam describes Her as the embodiment of Shringara (beauty), Shruti (sound), Laya (rhythm), and Bhava (emotion).  The piece ends with the dancer/devotee

requesting the Mother to protect him and bestow him with happiness.

 

A Padam is a song of devotion. It is of a slower tempo and has meaningful words set to a raga or melody. This is best defined as an interpretive dance of a lyrical passage set to music. The padams offer an uninterrupted opportunity for mime (abhinaya). In dance, a padam is usually a love lyric, where the human-being is the lady-love waiting for union with the Divine, visualized as the lover. The pieces therefore can be interpreted secularly or religiously. In the temple analogy, the dancer has entered the sanctum and is at the juncture where she experiences the solemn chanting of the

sacred verses. The evening's padams were in praise of Lord Shiva and Lord Krishna.

 

 

 

A Javali is a musical composition which is performed towards the end of a dance recital. The Javali is quicker in tempo and the music is attractive and adopts a lighter style where the language is colloquial and themes are centered on love. The chosen javali Sako Ninna Sneha presented a heroine who is angry with her lord for he has been with another woman.  She is jealous and asks him to leave.

 

The concluding item in a dance recital is a Thillana or a dance of joy.  It is short and crisp and is essentially a pure dance number.  The Thillana breaks into movement like the final burning of

camphor accompanied by the ringing of the bells in the temple. The Mohanam thillana featured fast footwork and sculpturesque poses.

Meet the Dancers

Let's take a look at the dancers behind the production!

Here are the senior dancers...

 

These are the younger shishyaas...

The Silambam family of dancers...

Last, but certainly not the least, meet the muse behind the production, the Guru, Dr. Srimathy Mohan

 

Dance for a Cause

“Education is the most powerful weapon which you can use to change the world.”  -- Nelson Mandela

Education exposes us to various world views and provides us with the tools necessary to communicate with our fellow beings. Education is essential in order to survive and succeed in the modern world. There are many approaches to education, and the use of creative art forms to educate young minds is a popular trend. Creative art forms like dance provide a natural and non-threatening platform for educating young minds. Indeed, much before children learn to speak and communicate via formal language structures, they begin to communicate via the use of creative and emotive body language. In a very subliminal sense then, dance is merely an extension of the innate creative and emotive communication patterns we possess. The ancient Indians recognized the power of the performing arts. The Natya Sastra, an ancient treatise dedicated to the propagation of the performing arts is proof that our ancestors understood and valued the importance of an education in dance, theater, and music. In modern times, various dance schools around the world still practice and propagate the concepts detailed in the Natya Sastra. Today, the dance style known as Bharata Natyam is the most popular among the classical dance styles that can trace their roots back to the Natya Sastra. Silambam Phoenix, a premier dance school located in Phoenix, Arizona believes in preserving the sanctity and purity of this classical dance tradition.

The brainchild of eminent danseuse, Dr. Srimathy Mohan, Silambam Phoenix was formed in May 2000. The school traces its roots back to Dr. Mohan's alma mater, Sree Bharatalaya, a renowned Bharata Natyam dance school located in Chennai, India. Through rigorous training and a meticulous attention to detail, Silambam Phoenix trains young dancers in the art of Bharata Natyam. Senior dancers are also trained in the use of "nattuvangam." Training to this end ensures that dancers also understand how to act as conductors of the dance recitals. Silambam Phoenix is a registered 501(c)3 non-profit organization formed exclusively for the promotion and development of classical arts. In addition to education and promotion of the arts, Silambam Phoenix is also committed to help fight for social causes.  

Silambam Phoenix is now 15 years old! The dancers at Silambam Phoenix have decided to celebrate the occasion with a grand two day event that showcases the talents of the guru and all her students. In keeping with the school's theme of dancing for a cause, the two-day event in October 2015 is a fundraiser dedicated to helping children in physical and financial need. One of the main cause is the fight against long term and terminal diseases in children. 

Here is a short video on the fundraiser: 

If you are looking for a quiet weekend to soak in some glorious dance culture and would like to donate for a good cause, Sanmarga is your answer!! Tickets can be purchased online @ http://www.mesaartscenter.com/index.php/shows/Special-Engagements/sanmargathecountinuumofaglorioustradition

“And that is how change happens. One gesture. One person. One moment at a time.”

― Libba Bray, The Sweet Far Thing