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Rogini Varshni

Hari Om - Sri Gurubyo Namaha

Requesting your Blessings

Thank you for visiting this site. Arangetram is the critical stepping stone for Bharathanatyam students.  "Bharathanatyam" is a technique of story performing through classical dance. "Arangetram is ascending the stage by a dancer on the completion of formal training".  We are proud to present Rogini's Guru, her Dance school Swaralaya, renowned Chief guests for the event, Performing orchestra artists. Details about the items in the event along with the summary of the stories are listed. Quick read of this would make the viewing experinece better


Anitha Sri is choreographer and performing artist. She has been working in Swaralaya for more than 5 years now. She has performed in productions of Yagnaseni a troupe headed by Madurai R. Muralidharan and Cindrella by Zahir Hussain. She performs extensively in India and has been recognized for her contributions – Talent expo award 2004, “Nritya Mayuri” from Dharshini school of classical dance, Indian Dance Festival, Delhi Tamil Sangam award. Received prestigious awards from late C. M. Jayalalitha and ex. Governor Rosaiya. Apart from Bharathanatyam, she is proficient in Mohiniyattam, Contemporary styles etc., She runs Om Sri Bharathanatya Vidhyala for the past 7+ years.

S. Anitha Sri

M.B.A., M.A., M.Phil (Barathanatyam), M.Sc (Yoga) - pursuing 


PS Ramanathan 

s/o Palakkadu R seshamani, Born in the family of musician.His father was working as mridangam Artist in AIR Coimbatore & paternal uncle was MDRamanathan famous musicologist. At present he is looking after swaralaya in k k nagar where more than 800 students are learning different arts foam.Also he has finished advance grade in vocal & also learned violin and teaching violin & vocal. He conducted lot of Arangetram & presentation in india & abroad 

Sri. E.S.J Chandran  Founder Trustee of Guruguhalaya Trust 
Sri. E.S.J Chandran born on 9 Oct 1932, has illustrious career from Radio Singapore to RTS, SBC - He is recipient of Medicorp’s lifetime achievement award. He is a prolific writer. His creations include “Kadamayin kural” radio play, “Detective Decruz” and many more. He was first producer to make Tamil TV plays in Singapore. His creations include “Thuppariyum Divakar”, “Ramayanam” and many more. Chandran was also active in promotion of Indian arts. He was the founder president of Singapore Indian Artists Association and founder secretary of the Temple of Fine Arts. He was instrumental in creating and sustaining the Tamil Language and Tamil entertainment with Singapore heart and voice. He is recipient of “Kalai Kavalar” and “2015 Kala Ratna” awarded by from Singapore Indian Arts Association. He runs Swaralaya.

Chief Guests for Arangetram on 23-Jun-19

Proud to have renowed Chief Guests for the Arangetram event
Click images for more details about Chief guest(s)


Undergraduate from KMC, PG from MMC. Worked in UK for 14 years. Returned to India 3 years ago. Interested in empowering children about knowledge of their body and mind. A firm believer of improving confidence in children and respecting their “space”. 

Dr. Kalaivani Ramalingam FRCOG
Consultant Obstetrician and Gynaecologist at Apollo Hospital Chennai

Kalaimamani Dr.Ambika Kameshwar is a noted danseuse , vocalist , scholar and teacher of international acclaim who has travelled the world sharing her art with all . She is a choreographer who has choreographed over 50 dance dramas and more than 10 complete Bharatanatyam Margams . As a music composer, she has composed music for over 50 dance dramas and several devotional albums as well. She is a loved and respected teacher of classical dance and music and is well known for her ‘pattu class’ on Raj Tv recently and earlier on Jaya tv

Kalaimamani Dr.Ambika Kameshwar
Founder-Director RASA - Ramana Sunritya Aalaya


Smt.BINNI KRISHNAKUMAR is an M.A and a FIRST RANKER in Mphil in Music. She has won a lot of awards and titles as recognition to her music. Some of the remarkable ones are the title "Kalaathilakam" – Government of Kerala, Best Female Playback Singer – FILMFARE AWARD 2005 (South india) for the song “RA RA” in the film Chandramuki of the superstar Rajinikanth, music directed by Sri.Vidyasagar,Apart from being a Carnatic musician performing classical concerts, she has sung in more than 55 feature films, 20 television serials & 155 Music albums in Tamil, Malayalam, Telugu, Kannada, Bengali etc.

Smt. Binni Krishnakumar
Singer - M.A. M. Phil, working on Ph.D thesis

Revathi Sankkaran needs no introduction. A creditable actor, singer and anchor of popular television show ‘ Paati Vaithiyam’, Revathi surprises you with her thirst for knowledge. “Life is short and there is a lot to learn. We have to fine tune ourselves, otherwise we may lose our individuality in the social milieu,” she says.
Even as a child Revathi had a creative spark in her. Hers was a big joint family. Her grandfather K.R. Subramaniya Iyer was a doctor and one of city’s who’s who. “But for caretaker Swaminathan I would not have had the opportunity to read books. He encouraged me to sing Bharathiar songs. As a child, I used to enact scenes from films we watched and would eagerly wait for the applause from the family elders,” she says. 

Kalaimamani Revathi Sankkaran
Popular artist in media space for 35+ years

Namaskaram to Guru(s) and artists 

Arangetram is possible with blessings from Guru and experts. It is a reflection of effort from Rogini, her Guru(s), school. renowed performing orchestra artists and your blessings and wishes. Namaskaram to all

Bharathanatyam a technique of story performing, is unique in that it provides an experience between literacy and the visual. It gives an observer the required freedom to imagine within a stipulated set of guidelines or frameworks. The design principles behind it are explained in the links below.

Bharathanatyam - A Story performing technique - Read more
Bharathanatyam - The Art of Story telling - Read more 


Thodayamangalam – 10 mts 

As a musical composition, Thodaya Mangalam is a set of songs, composed by saints like Sri Badhradri Ramadasa Swami Sri Annamacharya, and Sri Vijayagopala Swamigal and compiled like a garland by Marudhanallur Sathguru Swamigal. The songs in Thodaya Mangalam are in praise of Lord Rama, Lord Krishna and Lord Srinivasa, (various forms and names of Lord Maha Vishnu) and composed in sanskrit and telugu in ghana ragas like Naatai, Aarabi, Madhyamaavathi, Saaveri, and Panthuvarali. It is sung as "Aahvana Keerthanam" (songs to welcome the Lord with mangalam) in the beginning of Sampradhaya Bhajan. Thodaya Mangalam is sung before dance kutcheri as well. They believe that Today Mangalam has some purifying and auspicious effect, thus it is necessary to sing it to provide pure devotinal atmosphere for successful performance. In Vazhuvur style Thodaya Mangalam is used as the first item in praise of Lord Gnyana Sabeshar of Vazhuvoor. Also it was used in Bhagavata Mela Natakam. Thodayamangalam is accompanied by melaprapti*: nattuvanar, vocalist, orchestra members (flute, mridangam, kanjeera, ghatam), who also sings OM besides playing. *Melaprapti is rhythmic recital. In olden days each performance was started with it. Ragam: ragamallika, Talam: talamallika


Alarippu – 5 mts 

The word ‘Alarippu’ means ‘blooming’ (root ‘alaru’may be found in telugu, tamil and other Dravidian languages). Alarippu is short invocatory Nritta item. It’s meaning is paying obeisance or salutation to God, guru and audience. It opens performance and also opens dancer’s body – limbs are warmed up by simple movements, mind is focused by precise rhythm and emotions are activated by harmony and beauty of traditional choreography and inner joy of dance, so dear to each dancer. Alarippu can be performed in different thalas and jatis, traditional alarrippu-s are rupaka, misra chapu and chaturasra eka thalam alarippu. Ragam: Nattai, Talam: tisra gatti rupaka thalam


Natesa Kauthuvam – 5 mts

The 'Natesha Kauthuvam' is a dance in praise of Lord Shiva, the third god in the Hindu Trinity. He is the god of destruction as well as the god of dance in his 'Nataraj' form. This is a fast paced piece that has beautiful poses of Natesha (Shiva), the one who is worshipped by all the sages and demons; and who dances with a drum in one hand. In a Kauthuvam, chollukattus (rhythmic syllables) are intertwined with the lyrics of the song. Thus it has both nritta (footwork) and abhinaya (expressions) components in its choreography. Ragam: Gowlai, Talam: Aditalam




Jatishwaram – 10 mts

This is pure Nritta item set to tune (ragam) in particular rhythm (thalam). Jathiswasram includes Jathi (sollukattu), Pallavi, Anupallavi and one or more Charanas. There is no any sahityam passages present her, the whole composition is sung by swaras. The meaning of Nritta, pure dance, is using the God given body and limbs we create as many forms of beauty as possible through flow of poses and movements connected together by rhythm and music. Beauty and inner joy of dance is the only meaning of Nritta. It doesn’t have any particular mood or sentiment. It produces aesthetic pleasure. Ragam: Hamsanandi, Talam: Aditalam


Varnam (Angayar Kanni) – 45 mts 

Navarasa nayaki( angayar kanni varnam) the nine sentiments. The word Navarasa-s are Sringaram (love), Hasyam (laughter), Veeram (heroism), Karuna (pity), Raudram (anger), Bhayanakam (fear),Bheebhatsam (disgust), Adbhutam (astonishment) and Shantam (tranquillity). Bharata in his Natya Sastra has referred to only the first eight, omitting Shantam.
Here the nayaki angayarkanni reflects her emotions towards her nayika Shiva.. This is culminated with
a) Angayarkanni story - Meenakshi, is a Hindu goddess and tutelary deity of Madurai who is considered an avatar of Parvathi. She is also known by the Tamil name "Angayarkanni". Meenakshi grew up learning the martial arts, and became a fine warrior who excelled particularly in archery and sword-fighting.
b) Maranai shivapiran yearitha story - Seeing Shiva is not affected by Parvati's charm Brahaspati deploys Kamadeva for disturbing his penance to unite both. Kamadeva thus went near Lord Shiva and shot arrows of love at him When Shiva was affected by his arrows, he was surprised and angrily looked at Kamadeva with his third eye . And due to power of Shivas third eye the Kamadeva instantly got burned into ashes.
c) Kalanai othaitha story - Markandeya could not be allowed to live a minute longer after the completion of the sixteenth year. Normally invisible to human eyes, this time Yama had been forced to show himself to the young boy by virtue of the latter’s intense piety and devotion to God. Yama threw his rope with the loop and it went and encircled Markandeya’s neck and also the Shiva Linga. The Shiva Linga at once split into two and out came Shiva, trident in hand. He pushed Yama aside and killed him to save the child  
d) Pittuku mun sumantha kadai - 
Ragam: navaragamallika. It is composed in ragas Bilahari - portraying Ananda (Bliss) or Veera (Valour), Huseni - portraying Shringara (Love), Valaji - Adbhuta (Wonder), Saranga - Hasya (Humour), Sucharitra - Bibhasta (Disgust), Atana - Raudra (Anger), Rasikapriya - Bhayanaka(Fear), Sahana - Karuna (compassion) and Nadanamakriya - Shantam (Peace).
Talam: talamallika, Composer: lalgudi Jayaraman


Padam-1 (Varanam Ayiram) - 10 mts 

it was a majestic dream of Sri ANDAL since she decided that she would not marry any ordinary human being but Lord nArAyaNa Himself. Since she professed her love for the Lord it becomes an obsession with her that she thinks of the Lord all the time during waking hours as well during sleep too. While sleeping she is dreaming—not just any mundane dream but a divine one whereby her wedding with the Lord, starting with the arrival of the bridegroom, the garlanding, the acceptance of the bride by the groom and his family and then on to the culmination with the final sacrament with holy water is staged in sequence. She describes her dream in its entirety to her close confidante. The entire sequence is captured in the ten songs gathered under the title, “VAraNamAyiram” in nAcciyAr thirumozhi, (the songs # 556—566 describe the sequence of the wedding that takes place in ANDAL’s dream)
Ragam: ragamallika, Talam : Adi  




Padam-2 (Madumeykum Kanne) – 10 mts

This padham paints a vibrant picture of a conversation between a concerned yaSOdA and a recalcirtant, mischevious, roguish krishNA - you can picture the timing - possibly sometime in the noon or when the sun is high and scorching. yaSOdA doesn't want krishNA to go out to graze the cows in these circumstances, so she tries to dissuade him - first, she tries to bribe him, next she tries to frighten him, and finally, she invokes the other, absent parent - This scene is so captivatingg in it's domesticity - something that all of us as parents have done: we have used/tried to use these tactics at different times, or all at once in an escalating fashion as yaSOdA is forced to, here! But, krishNA being krishNA has a comeback for every one of her arguments and is out the door at the end!  Ragam: Chenjuruthi, Talam : Aadhi Thalam


Thillana – 10 mts 

Thillana is a joyous dance filled with complex rhythmic passages and beautiful poses, emphasizing both movement and silence in time. The rhythmic passages are created to complement and enhance the melody, creating a perfect blend of melody, rhythm and movement for festive celebration of dance. The rhythmic passages are created the melody, creating a perfect blend of melody, rhythm.Thillana concludes with a short verse of poetic text. Ragam: Natabhairavi, Thalam: adi 


Aarathi - 5 mts

Conclusion wtih namaskaram to Guru(s) and Artists with traditional Aarathi

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