Bharatanatyam

Bharatanatyam is a classic dance form originating in Tamil Nadu[1][2][3][4][5], a state in South India and is the known as the Indian National Dance. This dance form is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. Bharatanatyam is usually accompanied by the classical Carnatic music.

Bharatanatyam

Contents

Traditional roots

Bharatanatyam traces its origins to the Natya Shastra written by Bharata Muni (c. 400 BCE - 200 BCE), a Hindu sage. In ancient times it was performed as dasiattam by temple Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered a standard set of religious services called Sodasa Upacharas ("sixteen hospitalities") among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.

Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized.

Essential ideas

Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), and Mohiniattam (element of air). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. Contemporary Bharatanatyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools (see Yoga and Dance).

Spiritual symbolism

Bharatanatyam

Bharatanatyam is the manifestation of the ancient idea of the celebration of the eternal universe through the celebration of the beauty of the material body. Some Bharatanatyam techniques can be traced back to the Kaisiki style. Natya Shastra (I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".

Apart from the Kaisiki style, Bharatanatyam imbibed some others. These reflect other yogis spiritual revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panca-kriya): creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (smhara); concealing, veiling, hiding the transcendental essence behind the garb of apparations (tirobhava); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in Tamil Muyalaka (முயலக) -- who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences.[6]

Medieval decline

Bharatanatyam in Serfoji II's period

Local kings often invited temple dancers (devadasi) to dance in their courts, the occurrence of which created a new category of dancers -- rajanarthakis -- and modified the technique and themes of the recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.

Although most of the Tamil contemporary Bharatanatyam ballets are popularly viewed as a form of entertainment, the Natya Shastra-based dance styles were sacred Hindu ceremonies originally conceived in order to spiritually elevate the spectators. Bharatanatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava(Sanskrit) Ananda Thandavam (Tamil) (the dance of Shiva), masculine aspect, which is identical to the Yin and Yang in the Chinese culture.

The quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court, during the rule of Maratha King Saraboji II (1798- 1832), made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various items. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatanatyam in Tanjore. Originally, they formed a community by themselves and most of them were Shaivite non-brahmins. The fall of the Hindu kingdoms in the South marked the eventual decline of Natya, as the Muslum invasion in the North has completely wiped out Natya there. The sacred dance, one of the constituents of the Sodasa Upacharam, was replaced by rice offerings.

Modern rebirth

E.Krishna Iyer was one of those who raised the social status of Bharatanatyam and greatly popularized it. Rukmini Devi Arundale was also instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the attention of the West. According to Shri Sankara Menon, Rukmini Devi raised Bharatanatyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the Sringar, certain emotional elements evocative of the erotic, such as hip and chest movements) from the Pandanallur style, which was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Not all love was portrayed, at least outside parameters considered "chaste". Balasaraswati said that "the effort to purify Bharatanatyam through the introduction of novel ideas is like putting a gloss on burnished gold or painting the lotus".

While the Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram were based on the art of rajadasis and are exoteric in nature, some others, like the Melattur style and Balasaraswati's style grew out of the devadasis' distinctly different esoteric art.

The development of the Bharatnatyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian dance historian have seen it as a means by which many women, often Brahmin women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of the contemporary devadasis' practices.[1]

Having studied Bharatanatyam for three years, in 1936 Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian music and art. She was one of first teachers to instruct a few men to perform the dance. The dance, at that time, was exclusively performed by women, while men, called Nattuvanars, had only been teaching Bharatanatyam without actually performing it. It is worth noticing that most of the contemporary Bharatanatyam dancers do not satisfy the criteria for a professional danceuse stated in the scriptures.

At present, Bharatanatyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with a live ensemble. In popular culture, the adapted, or "semi-classical", Bharatanatyam has been exposed largely through depiction in popular movies and TV programs.

Learning Bharatanatyam normally takes many years before the arangetram (debut). There are academic and commercialized dance institutes in many countries. Many people choose to learn Carnatic music along with Bharatanatyam as they go together.

At present, not only the Hindus but many Christians and Muslims learn it, bringing it beyond the rigid forms of religious boundaries.

Technique

This Bharata Natyam dancer's right hand is in the Katakamukha Hasta, the 3 joined fingers symbolizing the sacred syllable Aum. The left hand's fingers are in Alapadma Hasta, the rotating lotus of spiritual light. The eyes are directed towards the Supreme Lord. The left leg is lifted, symbolizing the swift ascent of the consciousness in one step from the Earth to the Heaven.

Includes

Karanas

Karanas are the 108 key transitional movements that punctuate Bharatanatyam and other classical Indian dances. Most of these 108 Karanas have a central, static pose as a base, i.e. the dancer is usually supposed to stop and maintain it for a very brief duration (0.5 sec). Read more about Karanas.

Hastas

A distinctive feature of Bharata Natyam Dance is the use of expressive hand gestures as a way of communication. Hastas refers to the varieties of hand symbols that a dancer can use. Many of these hand gestures are well known. For example, Anjali is often used as a salutation when a person greets another person. There are two types of Hastas : Asamyuta and Samyuta (single and combined, respectively). Abhinayadarpanam describes 28 Asamyuta Hastas and 24 Samyuta Hastas and their usage viniyoga, although Natya Shastra mentions many more, and the usages stated in Abhinavabharati differ considerably from those of Abhinayadarpanam, which is a relatively recent text. Many hastas can be used in more than one way, depending on the song accompanying the dance, and what the dancer is trying to convey to the audience.

Adavus

A series of steps, adavus, and their execution vary greatly from style to style. Most schools recognize 108 principal adavus, while some styles include over 150 adavus. Few professional dancers use more than 60. A combination of adavus is called jathis, which make up the Nritta passages in a Bharatanatyam performance.

Bhedas and eye movements

Bharatanatyam technique includes many other elements, such as elaborate neck and eye movements. While Natya Shastra contains the largest number of the movements, and the most detailed descriptions, Abhinaya Darpanam, for instance, has defined only 9 head movements, 4 neck movement and 8 eye movements (compared with 36 of Natya Shastra) which are used extensively throughout the dance.

Head Movements (Shiro bhedas): Sama, Udhvahita, Adhomukha, Alolita,Dhutam, Kampitam, Paravruttam, Utkshiptam and Parivahitam.

Neck Movements (Griva bhedas): Sundari, Tirashchina, Parivartita, Prakampita

Eye Movements (Drishti bhedas): Sama, Alolita, Sachi, Pralokita, Nimilite, Ullokita,Anuvritta, Avalokita

Items

Typically a contemporary performance includes:

Apart from these relatively modern items, there are more ancient items such as Kautuvam, Koothu, Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).

Other aspects

A male Bharatanatyam performer

Ideal qualities of dancers

A professional Bharatanatyam dancer must demonstrate a number of qualities. As Sangitaratnakara puts it, the true dance is connected to the beauty of the body, therefore any other dance is simply a parody (VII.1246).

The AbhinayaDarpana has a sloka that describes Patra Prana Dasha Smrutaha - the ten essentials of the dancer: Javaha (Agility), Sthirathvam (Steadiness), Rekha (graceful lines), Bhramari(balance in pirouettes), Drishti (glance), Shramaha (hard work), Medha (intelligence), Shraddha(devotion), Vacho (good speech), and Geetam (singing ability).

A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts on Bharatanatyam), must possess the following qualities. She has to be youthful, slender, beautiful, with large eyes, with well-rounded breasts, self-confident, witty, pleasing, well aware of when to dance and when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), with splendid costumes, and of a happy disposition.

As Natya Shastra states the qualities required of a female dancer narthaki, "Women who have beautiful limbs, are conversant with the sixty-four arts and crafts (kala), are clever, courteous in behaviour, free from female diseases, always bold, free from indolence, inured to hard work, capable of practising various arts and crafts, skilled in dancing and songs, who excel by their beauty, youthfulness, brilliance and other qualities all other women standing by, are known as female dancers (narthaki)".[7]

See also

References

  1. ↑ International Tamil Language Foundation (2000). The Handbook of Tamil Culture and Heritiage. Chicago: International Tamil Language Foundation. pp. p. 1201. 
  2. ↑ bharata-natya - Britannica Online Encyclopedia
  3. ↑ Samson, Leela (1987). Rhythm in Joy: Classical Indian Dance Traditions. New Delhi: Lustre Press Pvt. Ltd.. pp. p. 29. 
  4. ↑ Banerjee, Projesh (1983). Indian Ballet Dancing. New Jersey: Abhinav Publications. pp. p. 43. 
  5. ↑ Bowers, Faubion (1967). The Dance in India. New York: AMS Press, Inc.. pp. pp. 13 & 15. 
  6. ↑ Nayagam, X.S. Thani (1970). Tamil Culture and Civilization. London: Asia Publishing House. pp. pp. 120-121. 
  7. ↑ Muni, Bharata. Natya Shastra, Vol.II= 2002. Varanasi: Chowkhamba Krishnadas Academy. pp. pp. 206-207. 

External links

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