Ghungharu are the "tinklebells" or "jingle bells" which are used to adorn the feet of dancers. When tied to the feet, they are played by the act of dancing. They may also be played by hand. This instrument evolved from the payal which are traditional anklets worn by women in India.
The terms payal and ghungharu are nearly interchangeable; there is but a slight difference in the colour of the word. Whereas the term ghungharu evokes an image of the musical or dance performance, the term payal evokes the image of a mere adornment of the feet. The term payal shows up repeatedly in song and poetry in northern India where it is said to be an indication of a girl's comings and goings, her dancing, and a general joyous mood of the wearer.
There are two common forms of the ghungharu. The traditional form is merely a number of bells woven together on a string. However today it is common to find them stitched to a padded cushion. This may then be strapped to the feet of a dancer. Both forms are shown in the accompanying illustration.
The term "Bharathanatyam" was introduced by Rukminidevi Arundale, and is thought to derive from:
BHAva(expression) + RAga (music) + TAla(rhythm) + NATYAM(dramatic art)
Bharathanatyam is the most widely practised of classical Indian dances in South India, and has its origin in Tamil Nadu. It is the most ancient of all the classical dance forms in India, which are based on Natya Shastra, the Bible of the classical Indian dance. Gods and Godesses pleaded with Lord Brahma for another Veda to be created that would be simple for the common man to understand, which is particularly important in Kali Yuga. Granting their wish, Lord Brahma created the Panchamaveda, theFifth Veda or NatyaVeda, an essence of the main four Vedas. Brahma took pathya (words) form the Rigveda, abhinaya (communicative elements of the body movements, cf. mime) from the Yajurveda, geet (music and chant) from Samaveda, and rasa (vital sentiment and emotional element) from Atharvaveda to form the fifth Veda, NatyaVeda. After creating this Veda, Lord Brahma handed it to sage Bharata and asked him to propagate it on earth. Obeying the fiat of Lord Brahma, sage Bharata wrote Natyashastra down. It became the most authoritative text on the artistic technique of classical Indian dances, especially Bharathanatyam and Odissi. It is also possible that the term "Bharathanatyam" derives its name from sage Bharata.
Another version of the origin of Bharathanatyam is that Goddess Parvathi taught this dance art to Usha, daughter of demon Banasura. Usha handed it down to the Gopikas of the city of Dwaraka, Lord Krishna's birth place. In reality, one can imagine that the Gods and the Goddesses, being dancers themselves, have been passing the art of the heavenly dance through many other human channels, whose aptitude, understanding, and personal idiosyncrasies naturally varied from person to person, and created a number of styles ranging from Odissi to Bharathanatyam.
Lord Shiva is himself the Supreme Dancer, and the whole Universe is His Divine Dance. Goddess Parvathi is dances with Him. The Dance performd by Lord Shiva is known as Tandava, virile aspect. The tandava performed with bliss is called Ananda Tandava. The tandava of the violent and destructive aspect is called Rudra Tandava. There are 7 types of Tandava in Bharathanatyam: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma Tandava and Gauri Tandava. There are some Bharathanatyam experts who distinguish 16 types of Tandava. Tandava produces vigourous, brisk movements. When the dance is performed by Goddess Parvathi, it is known as Lasya, where the movements are soft, gentle, graceful and sometimes seen as erotic. Some Bharathanatyam scholars consider Lasya as the feminine version of Tandava. Lasya is of 2 kinds: Jarita Lasya and Yauvaka Lasya.
Bharathanatyam has been undergoing a lot of change over the centuries. It used to be and is still mostly performed by women dancers. Centuries ago the Hindu temples in South India had dancers-priestesses called devadasis who would sing, dance Dasi Attam (old Bharathanatyam), play many musical instruments. They were well-versed in Sanskrit and other languages as they had to adapt compositions to suit the audience. The devadasi tradition gradually degraded. Initially, devadasis lead a very strict and celibate life and were not allowed to have a family. As the dance entered the royal courts, the dancers were called Rajanartakis, who performed in the royal courts and gradually became royal concubines. The British colonial rule has completely corrupted the devadasi tradition.
In the first half of the 19th century Bharathanatyam was revitalized and redefined by the contributions of four talented brothers known today as the Tanjore Quartet: Chinniah, Sivanandam, Ponniah and Vadivelu. By coordinating their diverse talents, the four managed to organize all the basic Bharathanatyam movements of pure dance into a progressive series, adavus. Each adavu is a basic unit taught in systematic order and then combined with others to produce choreographed Bharathanatyam sequences based upon the rhythmic pattern of a musical composition. The brothers composed new music specifically for Bharathanatyam, and introduced a different sequence of items which integrated various aspects of dance and music into a carefully coordinated, aesthetically sound progression. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of Bharathanatyam. In the 20th century, the social status and image of Bharathanatyam was restored by Rukminidevi Arundale, the founder of Kalakshetra.
Bharathanatyam has undergone much change but is still deeply rooted in the spiritual Hindu heritage. Contemporary Bharathanatyam dancers are both male and female artists. While most learn it as a hobby, very few make it their career and a lifestyle, as it is extremely demanding and complex in terms of dedication and daily practise.
Brief overview of Bharathanatyam
Bharathanatyam comprises three aspects, Nritta, Nritya and Natya.
- Nritta are rhythmical and repetitive elements, i.e. it is dance proper
Nritya is a combination of Nritta and Natya
Natya is the dramatic art, and is a language of gestures, poses and mime. cf. Abhinaya
Nritta can be broadly divided into Chari, Karana, Angahara and Mandala. One-leg movement are called Chari, two-leg movements are Karana. 3 Karanas make a Khanda. 3 to 4 Khandas make a Mandala. 4 to 9 Karanas make a Angahara. 4 to 5 Angaharas also make a Mandala. 108 Karanas and 32 Angaharas are defined in Natyashatra. The 13 Nritta Hastas (see below) are used to perform nritta. The rythmic body movements along with hand gestures are called Aduvus. A number of aduvus constitute a Jati. Jati will generally end with a Muktaya or Teermana.
There are diferent types of Aduvus: Tattaduvu, Mettaduvu, Nataduvu, Kattaduvu, Kudittamettaduvu, Maiaduvu, Mandiaduvu, Jati, Nadai, Ardi. There are 12 aduvus in each type, making it 120 aduvus in total. Only about 70-80 are generally practised by an average Bharathanatyam dancer. Aduvus are often confused with the 108 Karanas carved in the Chidambaram Temple in Tanjore, Tamilnadu, India. Some adavus, such as aramandi, are very difficult to perform.
The entire body is divided into Anga, Pratyanga and Upaanga.
| Anga | Pratyanga | Upaanga |
| Anganyatra shirohastau vaksha paarshwakateetatau
| Pratyangaani twathaskandhau baahoo prushtam tathodaram ooroo janghe shadityahurapare manibandhakau jaanooneekoorparamiti trayamapyadhikam jaguhu | Drushtibhrooputatarashcha kapolau naasikaahanuhu
|
| Head, Hands, Chest, Waist, Bottom, Legs are the Six Angas.
| Shoulders, Arms, Stomuch, Thighs, Knees are the Six Pratyangas.
| Sight, Eyebrow, Eyelids, Eyeballs, Cheeks, Nose, Gums, Lower lip, Teeth, Tongue, Chin and Face are the 12 Upaangas.
|
Pratynaga and Upaangas should move along with the Angas. Anga Lakshana, the movements of body parts, are described below.
- Shirobhedha - Head Movement
Greevabhedha - Neck Movement
Drushtibhedha - Eye Movement
Paadabhedha
Mandala - Standing Posture
Utplavana - Leaps
Bhramari - Circling Movement
Chari - Leg Movement
Gatibhedha - Charecteristic walks and
Hastas or Mudras - Hand Movements
Asamyuta Hasta
Samyuta Hasta
Deva Hasta
Dashavatara Hasta
Navagraha Hasta
Jaati Hasta
Bandhu Hasta
Nritta Hasta
When all Angas(main body parts) are coordinated (along with pratyanga and upaanga), the Bharathanatyam dancer is said to possess Angashudhi. Anga meaning body parts, and shudhi means perfection or purity. The Natyashastra has shlokas describing how to perform all the above movements.
Abhinaya in Bharathanatyam
The techniques of communicating a message are Abinaya. Here the emphasis is more on facial expressions and gestures. While gestures can be seen from any distance even in a large dance hall, the subtle facial expressions can only be seen from the front rows. Thus, unless a Bharathanatyam recital is held in a small hall, a close-up, high-resolution video is the only adequate medium of presenting the Abhinaya.
The Abinaya is comprised of
- Angikabhinaya
- Vachikabhinaya
- Aharyabhinaya
- Satvikabhinaya
Angikabhinaya : communicating the meaning of the songs using the body, i.e. head, hands, legs, etc. The Bhedas come under Angikabhinaya.
Vachikabhinaya : communicating the story using narrations.
Aharyabhinaya : use of costumes, jewellary, make-up etc.
Satvikabhinaya : expressions of Bhava(moods)
Lord Shiva is praised as the embodiment of the above 4 types of abinaya in this following shloka.
Angikam bhuvanam yasya
Vachicam sarva vangmayam
Aharyam chandra taradi
tam vande satvikam shivam.
The meaning of the above shloka:
We bow to Him the benevolent One
Whose limbs are the world,
Whose song and poetry are the essence of all language,
Whose costume is the moon and the stars...
In Lord Shiva's well-known pose of NATARAJA:
his right hand holds the drum of creation, symbolising a new awakening
his left hand holds fire, representing destruction of the old order
his other right hand is raised in blessing
the other left hand points to his left foot, which has crushed demon Muyalaka who represents ignorance.
There are nine main or primary emotions, Sthayibhavas, also termed as Rasas (Moods), which are often expressed differently in different schools of Bharathanatyam, particularly in Sringara:
- Shringara - Love
- Hasya - Mirth
- Veera - Heroism
- Roudra - Anger
- Bhayanaka - Terror
- Bheebatsa - Disgust
- Adbhuta - Wonder
- Karuna - Compassion
- Shanta - Tranquility
Vatsalya (parental fondling) rasa is also sometimes included as one of the stayibhava.
Vibhava (cause of emotion), Anubhava (effect of emotion) and Sanchari bhava (subordinate emotions) constitute the state of rasa.
Nayika (the Heroine) and Nayaka (the Hero) bhavas:
The Nayika Bhava
The shastras have classified the basic mental status of woman, the Nayika, into 8 types, Ashtanayika bhavas. These divisions portray the heroine in different situations, express different feelings, sentiments and reactions. These Bharathanatyam elements are also seen as the mystic symbols of Bhakti Yoga. The Ashtanayika bhava are
- Abhisarika
- Kalahantarika
- Khandita
- Proshitapathika
- Swadheenapathika
- Vasakasajjika
- Virahotkantita
- Vipralabda
Abhisarika - She is the one who boldly goes out to meet her lover.
Kalahantarika - She is the one who is repenting her hastiness in quarrelling with her lover, which has resulted in their separation.
Khandita - She is the one who is angry with her lover for causing her dissapointment.
Proshitapathika - She is the one who is suffering and missing her beloved who is away on a long journey.
Swadheenapathika - She is the one who is proud of her husband's or beloved's love and loyalty.
Vasakasajjika - She is the one who is preparing for the arrival of her beloved, by decorating herself and her surroundings to provide a pleasent welcome for her lover.
Virahotkantita - She is the one who is seperated from her lover and is yearning for reunion.
Vipralabda - She is the one who is dissapointed that her lover has not turned up at the tryst as he promised.
- Other classifications of the Nayika bhava in Bharathanatyam are:
Mugdha - Inexperienced in love.
Madhya - Partly experienced in love.
Pragalbha - Mature in the art of love.
This Pragalbha Nayika is further classified as - Dheera
- Adheera
- Dheeraadheera
Sweeya - Married and faithful to her husband.
Parakeeya - Married but in love with another man.
Samanya - A free woman, who truly belongs to any man for a price.
Jyeshta - The preferred one.
Kanishta - The other woman.
Further classifications are
- Uttama - Self-controlled and tolerant.
Madhyama - Literally the middle one, who gives as she gets.
Adhama - Literally the low one, who has no self restraint.
The Companion to the Nayika plays an important role in any padam, javali or Ashtapadi. This Companion is the one to whom the Nayika will convey her feelings, she is the one who will take the message,if any, from the nayika to the nayaka, she is the one who will sort out the differences between the nayika and the nayaka. This companion is usuallly a girl who is close to the Nayika. The classification of the Companion types in Bharathanatyam:
- Daasi - Servant
- Sakhi - Friend
- Kaaroo - Woman from a lower caste
- Chatriya - Step Sister
- Prativamshini - Neighbour
- Lindini - Saint
- Shilpani - Artist
- Swaa - Nayika herself as a messenger
The Nayaka Bhava
Just like the heroines, the moods and emotions of the hero are also classified into different types. The main types:
- Dheerodaatta eg. Lord Rama
- Dheeroddhata eg. Demon Ravana
- Dheeralalita eg. Vatsaraaja
- Dheerashanta eg. Buddha
Another classification is:
- Pati - Married and faithful to his wife.
Upapati - Married but in love with another woman.
Vaisika - One who pays and enjoys women.
Further Nayaka classification:
- Anukoola - Faithful to the Woman. eg. Lord Rama
Dakshina - Loves all his wives or women. eg. Arjuna
Drishta - When rejected, pleads to be accepted by his woman. eg. Vaali
Shatha - The deceitful one. eg. Lord Krishna
Most of the ashtanayika bhavas are experienced by the Nayaka also though the depiction of ashtanayika is more than the nayaka. Nayaka's Companion plays an important role too. This companion is categorised into
- Peetamardhana
- Vita
- Cheta
- Vidooshaka
Arangetram is a tamil word.Aranga meaning raised floor and Etram meaning climbing in Tamil, one of the south indian languages. It is also called Rangapravesha in Kannada, another south indian language, Ranga meaning Stage and Pravesha meaning Enter. Ideally this should be the first public performance of the Bharathanatyam artist. After learning Bharathanatyam under the guidance of an accomplished guru, this is the occation for the proud guru to present his/her deciple to the public. This is the testing time for both the guru and the shishya(deciple) as the guru's knowledge and the deciple's talent both are judged by the public. Hence, the guru will decide when the deciple is ready for public graduation. Usually, at least 10-12 years of training is necessary before the Bharathanatyam dancer is ready for Arangetram.
Arangetram was known as Gejjepooje in the old Mysore district, meaning worshiping the jingles in Kannada. For a Bharathanatyam dancer, jingles are considered divine. Formerly, deciples were not allowed to wear jingles till their first public performance when they consecrated the jingles, wore them and then performed.
Accompaniments play a major role in the making of a memorable dance performance.Basic accompaniments comprise a singer, a mridangam player, a violin player and the Natuvanga. Veena, flute and other instruments are optional. These people sit in the corner of a stage or in a place in front of the stage which will be in a lower level than that of the stage. The Bharathanatyam artist wears lot of jewellery, make-up and a specially stitched dress. Jingles are a must. Usually duration of an arangetram will be 2 1/2 - 3 hours. To perform for such long hours one must have good stamina and concentration. This time is divided into two parts.
In the first half the Bharathanatyam
artists generally performs
- Pushpanjali or Alaripu
- Jatiswara
- Shabda
- Varna
In the second half:
- Padam
- Ashtapadi or Devaranama
- Tillana
- Mangala
Pushpanjali
This is an item where the Bharathanatyam dancer salutes to god, guru and the audience. This item is a warm-up item where the artist prepares the body for the next hours of vigorous performance.
Alaripu
This is a tamil word. Alar means to bloom. It comprises of set of movements without any meaning or expression. The movements are performed for syllables set for a beat (Tala). The complexity of the movements gradually increase. The steps are so formed that it looks like a bud blooming into a flower. This is also a warm-up piece to prepare the body for the next hours of Bharathanatyam performance. Even though there is no obvious message communicated here, this can also be considered as an item where the artist salutes god,guru and the audience.
Jatiswaram
This is also an item where the movements will not convey any meaning or theme. Here the steps are more complex than the previous items. The composition can have amazing postures and teermanas or muktayas (ending of a jati). This is a musical composition set to a raga unlike alaripu which has only syllables.
Shabda
This is a dance item with both nritta and abinaya. Usually the theme of the lyrics will be devotional like praising lord Krishna, depicting Krishna's childhood, praising a king etc.The movements here are leisurely.
Varna
This is the item where the Bharathanatyam dancers are tested for their capacity to perform both abinaya and nritta. This can be treated as a benchmark to judge the artist's talent.The item will contain many complex steps and will have lot of room for expressions also. To perform this item one should have lot of stamina and concentration. The lyrics can be devotional, praising a king etc. Varna can also have shrigara rasa as its theme.
Padam
In this dance item the dancer's abhinaya is put into test. It narrates expression of divine love or pangs of seperation in love. The tempo is slow and the performance is based on a specific mood of love.Padams will have Nayaka (Hero, Supreme lover, Divine Lord)and Nayika (Heroine, the yearning soul). Heroine will talk to her friend (sakhi) and narrate her feelings towards her hero. The Bharathanatyam lyrics can be about how the hero has betrayed, how he has delayed his arrival, how she is angry with her beloved hero etc. The Nayika and Nayaka Bhavas are explained in detail here.
Ashtapadi
These are poet Jayadeva's Sanskrit compositions called Geetagovinda, an extremely romantic composition. It describes the love of Krishna and Radha in twelve cantos containing 24 songs. The songs are sung by Krishna or Radha or by Radha's maid. Each Canto is named differently considering Krishna's status of mind.
- Saamodadamodara - Joyful Krishna
- Aakleshakeshava - Careless Krishna
- Mugdhamadhusoodhana - Bewildered Krishna
- Snigdhamadhusoodhana - Tender Krishna
- Saakankshapundareekaksha - Longing Krishna
- Kuntavaikunta - Indolent Krishna
- Naagaranaaraayana - Cunning Krishna
- Vilakshalakshmeepatihi - Abashed Krishna
- Mandamukunda - Languishing Krishna
- Chaturachaturbhuja - Intelligent Krishna
- Saanandadamodara - Blissful Krishna
- Supreetapeetambara - Ecstatic Krishna
Expressions are given foremost importance while performing these poems. Needs lot of grace. The Bharathanatyam artist should be mature enough to understand the lyrics and the situation to show the rasas.
Devaranama
This item is a devotional piece where the lyrics are in praise of god, describing the god etc. This is a pure abhinaya item with almost no emphasis on nritta. These songs are the Bharathanatyam compositions of great mystics like Purandharadaasa, Kanakadaasa, Vijayadaasa, Vyasaraaja to name a few. The Bharathanatyam compositions are popularly known as Daasa Sahitya. It is a devotional literatures written in simple language understood by common man. It has made remarkable contribution to the spiritual and cultural upliftment of people by preaching phylosophy of Love, Devotion and Peaceful Co-Existance. If you are looking for some compositions, here they are.
Tillana
This is usually the last item in any Bharathanatyam performance. Tillana is full of complicated movements and postures. This will also have complicated Muktayas or Sholkattu, ending of any step or aduvu. This is mainly a nritta piece which might have a charana, a meaningfull lyrics for which abinaya is shown.
Mangala
Meaning ending the performance. Here the Bharathanatyam artist will again salute god, guru and the audience for making the performance a success.
An Article By : Aneal Krishnamurthy, VA
A writer contemplating the future of Bharatanatyam less than a century ago would never have anticipated the revolution about to take place over the coming decades. In the same way, it is quite certain that Bharatanatyam a century from now is going to look different from what we know today.
The following article is a compilation of some of my observations as a rasika, and not a dancer, of several trends that I see in the Bharatanatyam world. My hope is that the comments and questions in the article will engender discussion and debate by those more knowledgeable than me in these matters. In my view, Bharatanatyam does indeed have a strong future but is currently undergoing certain changes that could have a profound impact on the art form. This article aims to discuss certain trends that I have observed over the past few years and attempts to raise some important questions for dancers and scholars in this field.
Trends in Bharatanatyam technique: Bharatanatyam is slowly but surely moving towards more athleticism. Although no one can doubt the strength and endurance required for dancers to competently perform a whole margam, there seems to be a marked emphasis on athleticism by some dancers on stage. The athleticism almost borders on acrobatics and gymnastics. This type of dancing seems to have a certain appeal to audiences and I wonder if more dancers will follow in this path.
Another related point is the growing emphasis by some dancers on nrtta to the detriment of abhinaya. It is commonplace for jathis to last for several minutes tiring both the dancer and the audience. The pace is often fast and furious. Sometimes this pace sacrifices the crisp completion of each adavu. Is this desire for speed being driven by the audience? Are dancers worried that without some spectacular footwork fireworks, the audience will not stay interested? With regard to padams and other abhinaya-oriented pieces, are dancers worried that they will not be able to sustain the audience’s attention with a slow-paced piece solely focused on mime?
Another issue is the apparent loss of importance of the Araimandi stance. It is very rare to see dancers with proper Araimandi. If it is acceptable today for a dancer to have just a slight outward turning of the knees and sitting a few inches lower than his or her height, why even call it a half-sitting position? Review after review will note in a sentence (usually towards the end of the review) that the dancer’s Araimandi stance is missing or not consistent. What is surprising to me is the minimal impact that the lack of Araimandi has on the overall critique of the dancer. I have observed that dancers are routinely praised for their technique even though there is no Araimandi. Perhaps lack of Araimandi is a result of dancers increasing the speed of their nrtta. Is this only one isolated component of Bharatanatyam that is slowly being lost or are there other components that are suffering a similar fate?
Trends in Bharatanatyam performance content: A highly visible development over the past few years is the move towards more thematic programs. Within thematic shows, particularly abroad, there is a movement to make Bharatanatyam relevant to non-Indian audiences. Modern social issues are often the themes chosen. Is the traditional margam no longer enough to sustain the attention of the modern audience? Are dancers making efforts to educate rasikas on the complexities of a margam?
What do dancers think about the future of the margam format? Although this has been the traditional performance structure for several centuries, do dancers find the traditional items limiting in scope? Do dancers feel that, through a margam, they cannot fully express their thoughts? Already, the Shabdham has more or less made its exit from the margam. What is next? Javalis? As many Bharatanatyam performers are young (especially at the amateur level), how can they be expected to exhibit the maturity required for performing these more intense items? It is interesting to see the relatively recent incorporation of the Pushpanjali into many margams. It is quite possible that other items from a margam will be added or deleted as the years go by. Another trend is the broadening of the music used for Bharatanatyam. Traditional Carnatic music is being supplemented with compositions in other Indian languages. Just as the language of Bharatanatyam music shifted from being predominantly Telugu to encompass Tamil and Kannada compositions over time, it is not beyond the realm of imagination to think of a day where compositions in a non-Indian language like English could become acceptable. Western classical and contemporary music is also being experimented with by some dancers. Obviously, over time and with enough dancers moving in this direction, the music of Bharatanatyam will not stay static.
Fusion of dance styles and music is all the rage in some circles. Can a Bharatanatyam dancer performing choreography interwoven with different dance styles remain uninfluenced by the other styles?
Although group performances are not a new concept, there seems to be a feeling among some that the more Bharatanatyam dancers there are on stage, the better the show. Perhaps it is an economic issue as well. The more dancers you have on stage, the more friends and family that may attend which will result in increased ticket sales. As there are more and more group performances, will there be any negative impact on the scope for a solo artist?
Trends in Bharatanatyam teaching and learning: Bharatanatyam seems to be developing in two parallel tracks – the professional and the amateur. The vast majority of dancers treat the art form as one of their extra curricular activities, not as a profession. The dancer’s arangetram is seen by many as the culmination of training rather than the traditional ascension of the stage and the start of the dance career.
Particularly among Indians settled abroad, Bharatanatyam is viewed as an important tool in teaching Indian culture and values to children being raised away from the cultural influences that shaped their parents.
There appears to be a noticeable trend away from the mastery of the fundamentals. Children who are often not ready for the stage are decked out in beautiful costumes and jewelry for the visual consumption of their families and friends. Praise is lavished a little too freely and the epidemic of standing ovations for mediocrity is spreading. Is it any wonder that audience sizes are dwindling?
It is also very interesting to observe the generational shift among Bharatanatyam dance teachers. The great gurus of the 20th century were themselves taught by great nattuvanars who were keepers of the Devadasi tradition. The gurus of the 21st century will be composed of dancers a generation or two removed from the great gurus. In the modern age, the strict gurukula pattern of learning dance is almost extinct. As the decades pass by, it is not unreasonable to expect that what is being taught is going to change. As an extreme anecdotal example, a teacher, herself trained rigorously by a great guru, teaches only a set of Thattadavus and Nattadavus as the foundation before moving on to teaching items. I fear that this type of teaching is not just an isolated event but is something that is spreading. It is alarming to think that a student receiving this kind of training may someday go on to become a Bharatanatyam teacher.
Trends in societal acceptance: It seems to me that some of the primary obstacles for choosing Bharatanatyam (or any art form generally) as a profession are societal and the monetary costs associated with being a performer. It is quite rare to see Bharatanatyam dancers who do not have another profession to rely on it for their livelihood. It is even more rare to see dancers with parents who encourage their children to pursue Bharatanatyam over academics. Bharatanatyam is encouraged by many families so long as it does not ultimately interfere with other more “professional” ambitions. Even if a dancer is encouraged by her parents, when she gets married, she has to hope that her husband and in-laws are supportive of her choice.
Perhaps, her new family will only be accepting of her teaching dance and discourage a professional dance career. The path becomes even more difficult if a dancer becomes a mother. As with any profession, juggling motherhood and professional aspirations is no easy task. A serious pursuit of Bharatanatyam requires a lot of time practicing, rehearsing, choreographing, performing and traveling. For a young mother, time away from her child can be very difficult emotionally and cause feelings of guilt. As she gets older, can she maintain her beauty and graceful figure? If she succumbs to the aging process, can she develop a thick skin to not get affected by comments that she is too old or too fat? Young men equally have difficult challenges ahead of them if they choose to pursue Bharatanatyam as a profession. Men are generally not encouraged to follow careers in dance and face many uphill battles with society to gain the recognition that they seek. The very small number of men pursuing Bharatanatyam either as amateurs or professionals is testament to the difficulty of getting more male involvement in the art form.
Trend in expenses: Even if societal obstacles can be overcome, another development is the exponential increase in the cost of performing. Factoring in the cost of a live orchestra, costumes, jewelry, traveling etc., Bharatanatyam is a pricy profession. It is also very likely a self-financed profession. With so many dancers vying for attention, most sabhas feel no pressure to compensate the artists. It really is a business and those dancers that can draw ticket-paying audiences can reap some reward. The lucky few who perform abroad on tours on a regular basis have the chance to supplement their income. The rest have to rely on income earned from other professions or their families to fund their Bharatanatyam careers.
Another trend is a vast increase in the number of performances and a corresponding dwindling of the audiences. With the exception of certain of the established veterans, do most Bharatanatyam dancers have an established fan base? Not just family and friends who attend a program but rasikas who are excited to see the dancer perform? Are most dancers prepared for the years of toil that it may take to gain the support of rasikas?
With so many competing societal influences, I wonder if enough is being done to educate the young of today to grow into the rasikas of tomorrow. After all, it is the young who will financially sustain the art in the future.
Parting thoughts: I hope that by laying out some of my own personal observations of trends that I see in Bharatanatyam and raising many questions, this article will get people talking about the future of Bharatanatyam. At this point in time, Bharatanatyam at the amateur level is exploding in popularity. Bharatanatyam at the professional level, however, is a big question mark. With so many obstacles to overcome, will talented dancers have the perseverance and resources to achieve their goals? Finally, upon achieving these goals, will they be greeted by an auditorium full of adoring fans or by a vast sea of empty seats?
As a rasika, I believe that if Bharatanatyam (either at the amateur or professional level) is to continue to flourish, dancers must present the best. There are far too many mediocre programs these days, and when we in the audience see performers whose technique hasn’t been perfected and whose expressions are lifeless, our desire to support this beautiful art form will surely fade.
This article was written for the "article writing challenge" organized by the Ranga Mandira Trust and won the first prize after being chosen by a panel of judges. The article was published in the Sruti magazine - Issue 280- January 2008.
The Nayaka Bhava
Just like the heroines, the moods and emotions of the hero are also classified into different divisions. The main division is
- Dheerodaatta eg. Lord Rama
- Dheeroddhata eg. Demon Ravana
- Dheeralalita eg. Vatsaraaja
- Dheerashanta eg. Buddha
The other classification is
Pati - Married & faithful to his wife.
Upapati - Married but in love with another woman.
Vaisika - One who pays & enjoys women.
Further Nayaka classifications
Anukoola - Faithful to the Woman. eg. Lord Rama
Dakshina - Loves all his wives or women. eg. Arjuna
Drishta - When rejected, pleads to be accepted by his woman. eg. Vaali
Shatha - The deceitful one. eg. Lord Krishna
Most of the ashtanayika bhavas are experienced by the Nayaka also though the depiction of ashtanayika is more than the nayaka.
Nayaka's Companion plays an important role too.This companion is categorized as
- Peetamardhana
- Vita
- Cheta
- Vidooshaka
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