Bharatanatyam Dance 

 

Costume:-

Bharatanatyam Dance costumes for women resemble Indian saris, but are specialized for the dance. Despite the resemblance to saris, they are not single pieces of cloth, but combinations of a number of specially stitched pieces. This customization makes them easier to wear, and easier to dance in than a sari. Most costumes involve pleated pieces at the waist than fan out attractively during various movements. The costumes are bright and colorful. They inherit from the sari tradition the use of contrasting border colors, and the borders of the various pieces of the costumes form patterns that decorate Bharatanatyam Dance form.

An essential item of the  costumes of Bharatanatyam  is the pair of anklets or ankle bells (salangai in Tamil, gungaroo in Hindi). They make the rhythmic footwork of the dance audible. Dancers treat their salangai like musicians treat their instruments (in India, that is). The salangai are blessed by the dancer’s guru, they are worshipped on special occasions, and are never worn casually.

Women’s costumes involve a significant amount of jewelry, including bangles, rings, earrings, nose rings, and special ornaments for the arms and head.

There is, of course, makeup for the dance, and Bharatanatyam makeup has a few unique features. Heavy lines are drawn around the eyes, extending outwards past the eyes. Similarly, the eyebrows are darkened and extended outwards with liner. The purpose of this makeup is to accentuate the movements of the eyes and eyebrows, and make them more visible, because they are an important part of the dance, especially for expression. A red dye is applied to the soles of the feet and the tips of the toes, as well as to the fingertips. It is also painted in a solid circle in the palm of each hand. This unique decoration serves to emphasize the movements of the hands and feet.

The costumes of men are simpler, usually a dhoti covering the lower body and no upper garment. The men also wear ankle bells or salangai. They wear much less jewelry than women. Men do apply the same makeup to the eyes as women, since it serves an important purpose in the dance, but not to the hands and feet.

The costumes of Bharatanatyam  is intended to look beautiful. It was the dress worn to dance for gods in temples, or for kings in palaces. When a dancer enters, the costume leaves no doubt that it is a special occasion.

Music

Bharatanatyam is accompanied by music of the Carnatic style, that has been specialized for dance. The music is specialized in a few ways.

• In a music concert, the musician’s talent is displayed; in a dance performance, the musicians must focus on accompaniment and support the dancer. Excessive ornamentation and improvisation in the music distracts from the dance. Improvisation is left to the dancer, in particular phases of items. The musicians must be able to take cues from the dancer to make impromptu adjustments.
• The range of tempos in the music is limited to what a dancer can physically handle. The percussionists must also play so that they emphasize the beats that are important to the dancer, and avoid virtuoso demonstrations that don’t support the dancer.
• The musical group for a dance performance includes someone capable of doing nattuvangam, that is, calling out rhythmic syllables that denote dance movements, and striking cymbals on particular beats as cues to the dancer. This skill usually belongs to dancers and dance teachers, and not to concert musicians.

Bharatanatyam goes hand in hand with Carnatic music. Many dance items, like the padam, varnam, kirtanam, and tillana, share their names with musical items that have the same structure. The thematic content of the music and dance are the same. This is natural, as both art forms are South Indian in origin.

Music that is composed for dance items typically makes use of rhythmic patterns (talas) and melodies (ragas) that suit the theme of the dance. The synergy between the music and dance is important in transmitting an experience of the theme to the audience. The expressive power of Carnatic music is such that often the music alone can move the audience. Depending on how you look at it, this either frees the dancer of the responsibility to deliver a strong performance, or challenges the dancer to do justice to the music.

Distinctive Features:-

Now we’ll encounter some terminology and classifications. The terminology is necessary to describe some deeper aspects of Bharatanatyam, and the classifications of various facets of the dance illustrate how well developed an art form it is.

Nritta, Nritya, Natya

At the functional level, the dance has three aspects:

• Nritta: Abstract dance movements with rhythm, but without expression of a theme or emotion. Also called pure dance.
• Nritya: Interpretive dance, using facial expressions, hand gestures, and body movements to portray emotions and express themes.
• Natya: The dramatic aspect of a stage performance, including spoken dialogue and mime, to convey meaning and enact narrative.

Despite some overlap between natya and nritya, they differ in that natya does not include dance, and nritya does not include speech. While Bharatanatyam includes the mimetic and narrative aspects of natya, it does not use spoken dialogue. The definitions of terms like nritta, natya, and nritya are not critical for a spectator, but it’s good to know that these elements are present as features of the dance. In different Bharatanatyam numbers, the balance between nritta, natya, and nritya varies. In general, the dominant aspect of Bharatanatyam is nritya.

One way to tell whether a dancer is doing nritta or nritya is by the music. The music for passages of pure nritta does not have lyrics; the names of rhythmic beats are called out, or the names of musical notes are sung. For interpretive dance with nritya and natya components, lyrics with meaning are sung, and the dance expresses the sentiment or the meaning of the lyrics. Another way to distinguish nritta and nritya is by the facial expressions of the dancer. Nritta is usually done with a smile, and despite eye movements, the face maintains a stable emotion. In nritya, various expressions cross the dancer’s face, showing different emotions. All the parts of the face may be active in displaying the emotions. There are Bharatanatyam items that are entirely abstract, and others that are entirely interpretive, but most of them include elements of nritta and nritya, often in alternating passages.

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 Bharatanatyam Dance 

What's here:

• Basic Features

• Distinctive Features

• Abstract Dance

• Expressive Dance

• Program of a Recital

• The Message of Bharatanatyam

• Bibliography

Bharatanatyam has many dimensions. They include body movements, facial expressions, hand gestures, footwork, costumes, music, repertoire, and themes of performances. Because Bharatanatyam is so well developed, all of these aspects of the art have been codified, and are documented in ancient scriptures as well as recent books. Our description of Bharatanatyam is intended for a spectator, and one who is relatively unfamiliar with the dance, as opposed to a dance student, professional, or scholar.

Rukmini Devi has said that the difference between a technical expert and an artistic genius is the ability to master the technique and then forget it. By transcending technique and forgetting oneself, a dancer enters the spirit of the dance and expresses it. Similarly, those of us interested in Bharatanatyam can benefit by knowing a little about the technique and language of the art form. Otherwise, we can be distracted or puzzled by details of technique or appearance, and miss the deeper meaning. When we are accustomed to the mode of expression of Bharatanatyam, then we can see beyond it, and experience what is being expressed in the performance.

We’ll touch on the terminology and organization of various elements of the dance, outline the different dance items that make up a recital, and attempt to explain how they all come together to give expression to the dancer and enjoyment to the audience. Since our description doesn’t cover the categories of movements, expressions, and other elements of Bharatanatyam in great depth, we’ll provide references for further study.

We’ll focus on solo Bharatanatyam Dance performances for our description. What is most commonly meant by Bharatanatyam today is a solo performance by a female dancer, although performances by males, group dances, and even dance dramas are done under the name of Bharatanatyam. We’ll also stick to what’s come to be generally accepted as traditional Bharatanatyam over the past century, ignoring for now various “innovative” mutations of the dance form.

Basic Features:-

On the surface, three aspects of Bharatanatyam are evident, as with any dance form: movement, costume of Bharatanatyam , and music. In other words, what the dancer is doing, how the dancer looks, and what are the accompanying sounds. We’ll describe these aspects of the dance, and later on, attempt to explain their combined effect, which is the intention of the dance.

Movement:-

There are two kinds of movements in Bharatanatyam – abstract and expressive. The abstract movements are done to show rhythm, to provide decoration, and to create beauty. There is no purpose but movement for its own sake. Expressive movements convey meaning and show emotion, through a vocabulary of hand gestures, postures, and facial expressions. Their purpose is to portray a theme or feeling, and to transmit an experience of it to the audience.

The movements of Bharatanatyam Dance are unique. They share elements with other classical Indian dances, but aren’t found in any western dance style. They are often described as geometric, for there is much geometry in the basic postures and movements of which the dance is built, but this makes them sound static, which they aren’t. Bharatanatyam Dance is dynamic and energetic; Bharatanatyam Dance is also precise and balanced. The basic postures center the weight of the dancer, and there is little use of the hips or off-balance positions. Bharatanatyam Dance has a variety of characteristic movements. Along with the rhythmic stamping of the feet, there are jumps, pirouettes, and positions where the knees contact the floor. Many are executed in the stance with knees bent and turned outward. Performed by an expert dancer, these movements flow together gracefully. An exceptional feature of Bharatanatyam is the movements of the eyes, which complement and highlight the movements of the body. Every part of the body is involved in the dance, and their movements are defined and classified (in great number) in this system of dance. In our description, we won’t go deep into the classifications of the elements of Bharatanatyam. We’ll mention just enough terminology to show the important elements that are present.

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Alarippu

 

Alarippu

Alarippu dance is a part of the first dance Bharatanatyam that is mostly performed by Hindus. Usually, this type of folk dance is performed at the beginning of any program or occasion. Alarippu dance is a kind of pre-season before the start of Bharatanatyam dance. The term Alarippu refers to a flourishing flower. So, it is understandable why the term has been used.

Tamil Nadu is one of the most significant states among the 28 states in India. This state contains many different cultures since all types of people live here. Usually, Tamil Nadu is considered as one of the states that is greatly filled with entertainment. Alarippu dance is a famous amusement that is performed at all functions and special occasions.

Bharatanatyam is a dance that is introduced in Tamil Nadu in ancient times. Commonly, Alarippu dance is performed by the dancers to greet or show their respect towards the audience. This is a warm-up step that is done before a Bharatanatyam dance. This dance form is performed when there is no lyric played at the beginning. 

In Tamil Nadu, people consider Alarippu dance as an essential part of almost any and every occasion. This promotes respect that is presented to the audience and special invitees. The dancers perform this dance to relax themselves before a dance act is performed. These dance steps are generally taught to the dancers as necessary and fundamental dance steps. At present, Alarippu dance is considered to be one of the famous dances of Tamil Nadu.

The Alarippu (meaning flowering bud) is traditionally the first  Indian classical dance piece that Bharatanatyam dancers learn and perform in this type of classical dance recital. It is an invocation piece, symbolizing the offering of respects to both Lord Nataraja , the guru, and the audience. The Alarippu was created in five different talas by the four brothers historical named Tanjore Quartet in the nineteen century Tanjore Royal Court. The original concept of Alarippu is now almost disappeared in the mainstream presentations of Bharata Natyam. The Kishna Brothers Ram and Suresh from The Netherlands, studied at the source of Bharata Natyam, at Tanjore Guru K.P.Kittappa Pillai and his son Tanjore K.P.K.Chandrasekaran, they are one of the few artists whom have kept the original concept of Alarippu safe.

It is a dance piece accompanied by a nattuvanar (verbal percussionist) and a mrudangist . While dancing this piece shows basic steps. It contains no abhinaya (facial expressions).  The act is entirely based on rhythm and is focused on relaxing the body of the dancer, thereby relaxing their mind and symbolizes their awakening.It is generally taught to dancers first in Tishra Ekam tala

The word Alarippu means “a flowering bud.” It is an innovatory piece meaning it is performed before a dancer begins a whole performance. It is considered to be a warm up piece for the dancers. According to T. Balasraswati “Alarippu, which is based on rhythm alone, brings out the special charm of pure dance. The movements of Alarippu relax the dancer’s mind and thereby her mind, loosen and coordinate her limbs and prepare her for the dance. Rhythm has a rare capacity to invoke concentration. Alarippu is most valuable in freeing the dancer from distraction and making her single-minded.”

Alarippu begins with Atamis or neck movements followed by Mandi advaus in the second half and later culminates with vibrant foot work and teermanam adavus. 

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Bharatanatyam

 Bharatnatyam has been practiced for thousands of years.  The art is said to have directly evolved from Lord Shiva known as Lord Nataraja (King of Dance) who is the cosmic  dancer. According to 'Abhinaya Darpanam' and 'Natya Sastra', Lord Brahma gave the Natyaveda or the science of dance to Sage Bharata. Bharata presented the art form with a   group of Gandharvas (heavenly musicians) and Asparas (heavenly dancers) in the court of Lord nataraja .  Lord Shiva having been reminded of his majestic performance instructed Bharata the essence of the art through his followers.

Being pleased with the astute nature of Bharata, Lord Shiva instructed Lasya (graceful movements) through Goddess Parvati.  Goddess Parvati also instructed the art to Usha, the daughter of the Sun-God.  Usha taught this to the milk-maids of Dwaraka, who in turn taught the art to the women of Saurashtra. From there, the art pervaded the whole world.

Purpose of Dance:
The main purpose of dance is to evoke Rasa, which means sentiment or flavor among the audience.  
Abhinaya Darpanam says:
Yatho Hasthas Thatho Dhrishti
Yatho Dhrishtis Thatho Manaha
Yatho Manas Thatho Bhavaha
Yatho Bhavas Thatho Rasaha

This is a very important verse and it means:

Where the Hands go, the Eyes should follow
Where the Eyes go, the Mind should follow suit
Where the Mind goes, the Psychological state should follow
Where the Psychological state goes, Sentiment arises.

A good dancer needs to evoke the sentiment of the audience by following the essence of this verse.

 

 Bharatnatyam Adavus: 

Adavus for beginners

Bharatnatyam Adavus :-

• Tatta Adavu
• Nattu Adavu 
• Tirmanam Adavu 
• vessi Adavu 
• pakka Adavu
• Mettu Adavu 
• Tattu-Mettu Adavu 
• Mandi Adavu 
• Kudhichu Adavu
• Sarikkal Adavu
• .Shutru Adavu
• Periya Adavu
• Etta adavu

1. Tatta Adavu:  Tatta is to beat.  The body is in aramandi and the feet strike the floor alternately with the sole.  There are 6 different variations in this category.

Thaiya Thai – Tap once in each leg.

Thaiya Thaihe – Tap twice in each leg.

Thai Thai Tham – Tap 3times in each leg.

Thaiyathaihe – 4 times

Thaiya Thaithaitham – 5 times

Thaithaitham Thaithaitham – 6 times

Hand : Patakum stretch your hand to the sides straight like pushing the 2 walls.

bharatnatyam adavus

bharatanatyam adavus

 There are 13 basic classification of bharatnatyam adavus.kathak is one of the indian classical dance. Under them there are multiple variations. The classification is as follows :

1. Tattu Adavu
2. Nattu Adavu
3. Pakkaadavu (Ta Tai Tai ta)
4. Kudditu Mettu Adavu(Tai Hath Tai Hi)
5. Sarika Adavu(Tai Ya Tai Hi)
6. Kuthu Adavu(Tat Tai Ta Ha)
7. Tat Tai Tam
8. Paaichal Adavu
9. Tai Tai Tat Ta and Sarikkal adavu
10. Mandi Adavu
11. Makuta Adavu
12. Thatti Mettu Adavu
13. Tadh Dhit Ta

 

Kathak Music 

Kathak music consists of both vocal and instrumental components. kathak is one of the indian classical dance. The vocalist renditions the narrative with various Indian classical ragas like kafi, Bhairavi, Bageshri, etc. This is accompanied by instrumental music that flows from a range of Kathak musical instruments like tabla, pakhwaj, harmonium, sitar, flute, sarangi, violin, jaltarang ( a unique ensemble of varyingly filled water glasses on which beats are performed with gentle strikes of wooden sticks), etc. Electronic instruments are also used, but sparingly. According To History Of Kathak ,The poetic narrative, which is at the heart of Kathak music, is sung in various forms like bhajan thumri, pad or a Sanskrit sholka (verse). Bhajans are devotional songs sung in praise/admiration/worship of an Indian God, Goddess or Daiety. In kathak music, bhajans created by famous saints and mystics like Surdas, Mirabai and Kabir are oft-adopted for narrative interpretation of a performance. Thumri is a terminology blended by two words, thum meaning ‘thumkana’ or the naughty and playful waist movement, and ri, meaning ‘rijhana’ or wooing a close friend in the audience by winning his heart with this sensuous dance stance. Thumri is an integral part of most performances based on Krishna-leela, the famous narratives of love, adoration and selfless devotion of Lord Krishna’s female admirers ‘gopis’. A pad is a lyrical piece imbibed within the larger narrative; a sholka is a Sanskrit language verse created as homage or prayer to a Hindu Gods. For example, the Ganesh Vandana performed at the beginning of a kathak dance act is a verse devoted to Lord Ganesha.