Bharatanatyam

Introduction

Bharatanatyam is considered the most traditional and oldest Indian dance form known till date.Born and fostered in the TAMIL NADU state,this dance traces it origin to the Natya Shaastra written by Sage Bharata muni.

Infact,in folk etymology,it is believed that in the word Bharata: Bha signifies Bhava(expression),Ra signifies Raga(tune) and Ta signifies Taala(rythm).Infact,Bharatanatyam is considered to the mankind version of the celestial dance form practised by the divine beings.Hence,it is also included in the traditional ShodaSopachaaras(16 Hospitalities) of religious prayers.Many of the ancient sculptures in the South indian Temples are based on Bharatanatyam postures (karanas) and many temples mantained trained dancers and musicians to propagate the message of “bhakthi” through art.

The reason that these traditional art forms have survived through periods of political interference and social instability in the past may be chiefly due to the Devadasi tradition and partly due to the RajaNarthakis ,apart from the Traditional Guru-Shishya system that was prevalent then.Also,traditional Bharatanatyam was practised as Natya Yoga by many orthodox communities,though this cult has been declining with time.

Some Ideas

Bharatanatyam and Carnatic Music go hand-in-hand.While both of these art forms are quite popular in South India,these are considered to be purely of Indian origin unlike the Hindustani and Kathak styles which have a tinge of Persian to them.Many learners today simultaneously learn carnatic music too because it is believed that dance can’t be conceptualized with out raagam and taalam or rather music.

Bharatanatyam is considered to be Fire Dance-the mystic manifestation of the fire element of the body.Infact,the movements of an authentic bharatanatyam dancer is considered to that of a dancing flame.Bharatanatyam is believed to have lot of Yogic influence in its development which is evident from the various postures and mudras involved in the dance.

In Hindu mythology,the whole is universe is the dance of the supreme dancer,the guru of all gurus,Lord Nataraja,another name for the Lord Shiva,the hindu ascetic yoga & the laya kartha.Also known as the cosmic dancer,he is here the embodiment of the eternal energy who performs the Pancha-Kriya through his dance.He is depicted dancing on dwarfish body of the demon Apasmara who signifies ignorance and forgetfulness,the destruction of which is believed to enlighten the mind for self-realization.

Technique:

Bharatnatyam—>>#Nritta—>Chari(one-leg movements)

>Karana(both legs)

>Angahara(Combination of 4-9 Karanas)

>Mandala(Combination of 4-5 Angaharas)

>>#Natya

>>#Nritya.

108 karanas and 32 angaharas are defined in the Natya Shastra.

The entire body is divided into 3 parts:

Anga

Pratyanga

Upaanga

The pratyanga and Upaanga should follow the Anga whose movements are primarily classified as

• ShiroBhedha(Head Movement):Sama, Udhvahita, Adhomukha, Alolita,Dhutam, Kampitam, Paravruttam, Utkshiptam and Parivahitam.
• GreevaBhedha(Neck Movement):Sundari, Tirashchina, Parivartita, Prakampita
• DhristhiBheda(Eye Movement): Sama, Alolita, Sachi, Pralokita, Nimilite, Ullokita,Anuvritta, Avalokita
• PadaBheda(leg/foot movement)
• GathiBhedha(Walking styles)
• Hasta Mudras

The Natya Shastra has shlokas which detailed explain the significance,way of performance,situations and other technical information about the above mentioned ‘Anga Lakshanas’.The Bharatanatyam dance also carries the gender element with it.The dance performed by Shiva is referred to as Thaandava,the virile aspect while the dance performed by his female counterpart Goddess Parvathi is referred to as Laasya,the feminine version.There are 7 types of Thaandavas and 2 types of Laasyas discussed in Natya Shastra

Aduvus:

The rythmic synchronisation of the various body gestures is known as Aduvus.Aduvus are an introduction to Bharatanatyam and are the fundamentals to be learned by an enthusiast dancer-in-the-making or rather a beginner.A firm hold over these basic aspects is compulsory to move into the higher levels of the art form.There are 10 different types of aduvus namely,Tattaduvu,Nattaduvu,Mettaduvu,Kattaduvu,KudittaMettaduvu,Maiaduvu,Mandiaduvu,Jathi,Nadai,Ardhi.All in total there are nearly 100 steps (or even more,depends on the guru) which need to be learnt and mastered over.

MAARGAM

LIterally,it means a path,a course,a route,a way.Maargam is a full-fledged course of dance through which a dancer walks through with perfect body and facial expressions,with rythmic sense and with utmost devotion complying to all the prescribed standards of BharatanatyamWith stage as the sanctum.dance as worship,the dancer carries himself/herself through the Maargam towards salvation and enlightenment.

A typical Bharatanatyam Maargam ,as performed in an Arangetram ,consists of the following items as per the given order::-

1.Pushpanjali::Literally,it means offering flowers(Pushpa-flower;Anjali-Salutation) to seek the blessings of the Natya Guru Lord Nataraja

2.Alarippu::It is the simplest and usually the shortest item in Bharatanatyam where the dancer gets ready for the performance through a series of steps.There is no song for this item and is generally accompanied by reciting certain syllables rythimically by the Guru along with the taalam and mridangam.Usually performed in Khanda Jati

3.JatiSwaram::This is a complex pure dance piece performed with no mood/expression and is set in a particular rythmic pattern

4.Shabdam::Unlike the earlier dance forms,this item is expressional and generally mythological based,like the incidents from Lord Krishna’s life

5.Varnam::This item checks the nritta and nritya skills of the dancer where a particular story is expected to be potrayed by the dancer with perfection,grace and expression.This item is a test of skill and stamina of the dancer.Here,a single sentence is explained & expressed in different ways along with complicated rythmic sequences making it a challenging item for the dancer.

6.Padam::This item is purely abhinaya based and is set in Raga Yaman.It may be considered as a comparitively lighter item(in terms of physical strain) after the demanding varnam.Usually a song of love,Padam requires the dancer to be emotionally involved for a perfect performance.

7.Javali::Though the theme here is love as well,these songs are faster compared to the slow Padams and usually set in Telugu.

8.Tillana::It is the conclusion of the Recital which has no lyrics but rythmic syllables set to tune.purely Nritta style

Finally,a Typical Bharatanatyam performance always concludes with the Mangalam(Benediction) where divine blessings are once again sought.

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