Sarayu Gadam Lights Up Stage with Joy and Devotion During her Graceful Debut

Sripriya Natarajan Murthy and Dayalini Lingesh

Sarayu Gadam, disciple of Smt. Jeyanthi Ghatraju (Natyanjali School of Dance, Westford, MA), projected joy, confidence and devotion throughout her delightful arangetram (Bharatanatyam debut) on August 16, 2025 at the auditorium of the Lexington Christian Academy. The grand traditional decorations in the lobby that paid homage to Lord Venkateshwara and Sri Sathya Sai Baba reflected the vibrant and devout program that Sarayu would present on the stage inside.

After a soulful invocation to Lord Ganesha sung by mellifluous vocalist Smt. Harini Darbha, Sarayu entered for her Pushpanjali with a radiant smile. She performed this traditional composition in Ragam Bowli set to Adi thalam with grace, precision and an enjoyment of her chosen art form that was palpable throughout the program. She immediately transitioned into “Pranavakaaram”, in Ragam Arabhi set to Adi thalam, a compostion of Sri Oothukadu Venkata Subbaiyer. Sarayu portrayed the joyful nature of Lord Ganesha with her energetic movements and heartfelt emotions. In keeping with classical traditions, Smt. Jeyanthi Ghatraju next included an alarippu, set to kanda nadai (5-beat rhythm cycle), in which Sarayu showcased her control of physical form and grasp of rhythm at three different speeds.

Sarayu next presented a jathiswaram, a traditional composition in ragam Kalyani, set to Roopaka thalam. Smt. Jeyanthi’s elegant choreography for this piece truly highlighted Sarayu’s natural grace. The jathiswaram was followed by a creative setting of Saint Tulsidas’s “Sri Ramachandra Kripalu” as a shabdam, in Ragamalika set to Misra Chapu thalam. The story of Lord Rama winning Sita’s hand in marriage through stringing and breaking Pinaka, the great bow of Lord Shiva, was a beautiful introduction to Sarayu’s expressive talents.

Sarayu continued to portray stories with great maturity and authenticity in her next piece, the varnam “Ninne Nera Manninanura” in ragam Atana set to Adi thalam, composed by Thuraiyur Rajagopala Sharma, in praise of Lord Krishna. As Sarayu alternated between long movement sequences and detailed storytelling, her energy was unflagging throughout the approximately 30-minute long piece. Smt. Jeyanthi selected beautiful stories to relate to the audience, a mix of well known and less common tales. In the first sanchari, Sarayu told the tale of Sudama, Lord Krishna’s childhood friend who, now struggling with poverty, pays a visit to the palace with only a handful of beaten rice as a gift. Lord Krishna, ever kind and full of love, washes his friend’s feet and performs a miracle- Sudama returns to a home filled with comfort and wealth. Smt. Jeyanthi’s choreography included lovely little details such as the palace guard dimissing the poor Sudama with scorn, and Sarayu portrayed each character with heartfelt emotion. Sarayu also humorously depicted the story of Krishna’s brother Balarama wanting to trade places with Krishna for a day, only to be hunted by the evil King Kamsa’s henchman in a case of mistaken identity. Finally, Sarayu depicted the well-known story from the Mahabharatha of Draupadi being saved by Lord Krishna from humiliation as he miraculously keeps extending her sari while Dushasana tries to disrobe her in the court of the Kauravas. The sancharis were well-balanced between humor, drama and bhakthi, and Sarayu handled all the stories with aplomb.

Following the grandeur of the varnam, Sarayu moved into “Shankara Shrigiri”, a keerthanam in praise of Lord Shiva, composed by Maharaja Swati Tirunal in the evocative ragam Hamsanandi set to Adi talam.

From the very first pose, Sarayu’s commanding stage presence drew the audience into the world of Shiva, the supreme dancer whose movements sustain the rhythm of the cosmos. Her precise adavus, combined with the meditative quality of the ragam, beautifully mirrored the balance between power and grace that defines Shiva’s dance. This item also carried a personal layer of nostalgia, as Smt. Jeyanthi Ghatraju fondly shared her own memories of learning the vigorous jathis for this composition, especially the emphatic “thom thom thom.” She recalled how she was taught to utter these syllables not merely with precision, but with heartfelt passion, an emotion she has now passed on to Sarayu. That legacy of devotion and intensity came through vividly on stage, giving the performance a lineage of sincerity that extended beyond the choreography itself.

Sarayu next presented Alarulu Kuriyaga, a soulful keerthanam by Saint Annamacharya in ragam Shankarabharana set to Adi talam. This composition describes the enchanting dance of Goddess Alamelu Manga, consort of Lord Venkateswara in Tirupati. Sarayu’s graceful movements captured the goddess’s charm and divine beauty, while her delicate expressions conveyed the tender devotion of the poet. Supported by the evocative music, Sarayu’s performance transported the audience to the sacred Tirumala hills, offering a glimpse of the goddess’s celestial presence.

In the padam “Shrungaradhi Navarasangi”, composed by Sri Muthuswamy Dikshitar in ragam Dhavalangam set to Khanda Ekam, Sarayu beautifully portrayed Lord Shiva as Gangadhara, the bearer of the sacred Ganga, embodying the nine fundamental emotions of life—the Navarasas. With every nuanced glance, gesture, and movement, she seamlessly transitioned from valor to compassion, from love to serenity, capturing the multifaceted essence of Shiva’s divine presence. This performance allowed Sarayu to explore the depths of abhinaya, her expressive skills shining under the guidance of her Guru, Smt. Jeyanthi Ghatraju. The choreography perfectly balanced devotion and artistry, leaving a lasting impression on the audience.

The Hindolam Thillana is a celebration of pure joy and rhythmic bliss, composed by Thirugokaranam Vaidhyanatha Iyer in praise of Goddess Kamakshi of Kanchipuram, it expresses the composer’s devotion and longing for Her grace and blessings. The choreography highlights intricate footwork and playful movements, beautifully mirroring the tinkling temple bells—a beautiful analogy quoted by Smt.Jeyanthi Gharaju  for the Thillana’s lively rhythm.

In this concluding piece, the dancer offers her heartfelt obeisance to Lord Nataraja, expressing gratitude to her Guru, the audience, and Mother Earth. Mangalam evokes auspiciousness, seeking blessings for all present. This Arangetram, celebrated on Krishna Janmashtami, wove a theme entirely around Lord Krishna, allowing even those who could not visit the temple in person to experience His divine bliss through the performance, bringing the recital to a joyous and devotional close.

Sarayu was ably supported on stage by her Guru Smt. Jeyanthi Ghatraju not only performing nattuvangam, but also compering the program, drawing an analogy between the structure of a traditional margam to a temple pilgrimage. She was accompanied on stage by an orchestra of young and talented artists, vocalist Smt. Harini Darbha, mridhangist Chi. Tarun Bangalore, percussionist (rhythm pad) Chi Sudarshan Thirumalai, violinst Smt. Rasika Murali Mohan and flautist Chi. Skandaprasad Rao. Of particular note was that all the instrumentalists have studied Carnatic vocal or violin under the guidance of New England’s own Smt. Tara Anand, and their precision and passion certainly does her proud.

Sarayu was presented with the certificate in Bharatanatyam, by the acclaimed Carnatic musician, Smt Tara Anand, for completing an online course offered by Smt. Jeyanthi through her affiliation with Alagappa Performing Arts Academy, Alagappa University, Karaikudi, India.

Another accomplishment to note was that Sarayu’s arangetram was presented as “dance for a cause

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