BHARATNATYAM IS A CLASSICAL DANCE FROM TAMIL NADU IN SOUTH INDIA. HISTORY OF BHARATANATYAM. BRIEF OVERVIEW OF BHARATANATYAM. BHARATANATYAM PICTURES.

BHARATANATYAM DANCERS.

B HARAT ANATYA M DAN C E , D ANCE P ROGRAM ME S

S H O W IN G N EW E S T P O S T S W I T H LA B E L U P A A N G A . S H OW O L D E R P O S T S
THURSDAY, APRIL 23, 2009

ORIGIN OF BHARATANAT YAM

T HIS IS A V ERY P OPU L AR DAN CE F ORM IN SOU TH I N DIA. IT IS OLD EST OF ALL C LASSI CAL DAN C E FORM S IN I N DIA. DAN CE OF M IN D & SOU L. IT IS EX TREM ELY TRADITION A L AN D KN O W N FOR ITS G RACE, PU RITY , TEN DE RN ESS, ST ATU RESQU E & SC U LPTU RESQU E POSES. IT U PLIFTS THE DAN CE R AN D TH E BE HOLD ER T O A HIG HER LEV EL OF SPIRITU AL CO N SCIO U SN ESS. THE DAN CER I S CO N SIDERED AS A W ORSHIPER, W O RSHIPER OF TH E DIV IN E. A N EM BODIM EN T OF BEAU T Y , CHARM AN D G R ACEFU LN ESS. T HE G EN ERAL IN TERPRE TATION F OR THE N AM E IS BHAV A( EXPRESSI ON ) + RAG A ( M U SIC) + TALA( RHY THM ) + N AT Y AM (DAN CE) = BHAR ATAN ATY AM ORIG IN OF BHAR ATAN AT Y AM T HE G ODS & G OD ESSES PL EAD ED LORD B RAHM A T O CR EAT E AN OT HER V EDA W HICH W OU LD B E SIM PLE FO R T H E COM M ON M AN T O U N D ERSTAN D. IT IS BELI EV ED THAT CON SID ERI N G THIS REQU EST L ORD B RAHM A CRE ATED THE PAN CH AM A V EDA, FIFTH V ED A, N AT Y AV EDA, AN ESSEN C E OF THE OTHER F OU R V E DAS. IT IS BELIEV ED T HAT HE H AS TAK EN PATHY A ( W ORDS) FORM THE

RIG V ED A, ABHIN AY A ( G ESTU RE) FROM THE Y AJ U RV EDA, G EET ( M U SIC AN D CHAN T) FR OM SAM AVEDA AN D RASA ( SEN T IM EN T AN D EM OTI ON AL ELE M EN T) FROM A THARV AV EDA T O F ORM T HE FIFTH V EDA, N ATY AV EDA. AF T ER CREATIN G TH IS N ATY AV EDA, LORD B RAHM A G AV E THE SAM E T O SAG E B HARATA AN D ASK ED HIM TO P OP U LARISE T HIS V ED A ON EARTH. FOLLO W IN G THE W ORDS OF L O RD BRAHM A, SAG E BHARATA W ROTE N ATY ASHASTRA OR T HE S C IEN CE OF D RAM ATU RG Y , A G REAT, COM PREH EN SIV E W ORK O N TH E S CIEN CE AN D TE C HN I QU E OF IN D IAN DRAM A, DAN CE AN D M U SIC.BHARATAN AT Y AM M IG HT HAV E G OT ITS N A M E FR OM SAG E B HARATA AL SO .TH E DAN CERS ST ILL F OL LOW T HIS W O RK T O PE RFORM . T HERE IS ALS O A N OTHE R ST ORY W HICH SAY S T HA T G ODESS PARV AT HI TOU G HT THIS DAN CE F ORM TO U SHA, D AU G HTER OF BAN AS U RA, A DE M ON . U SHA T AU G HT THE S AM E TO TH E G OPIKAS OF T HE CITY OF DW ARA KA, LORD KRISHN A' S B IRT H PLAC E. T HU S T HE DIV IN E DAN C E FORM B HARATAN ATY AM W AS IN T ROD U CED TO THE M A N KIN D. IN IN D IAN M YTHOLOG Y , LORD S HI V A IS CON SID ERE D AS THE SU PREM E LORD OF DAN C E. THIS DIV IN E ART FORM IS P ERFORM ED BY LORD S HIV A & HI S W IF E G ODDESS PARV ATHI. THE D AN CE PERF ORM D BY L O RD SHI V A IS KN O W N AS TAN DA V A, W HICH D EPICT S HIS V IOLEN T N A TU RE A S THE DIS TRU CTOR OF TH E U N IV ERSE. T HE T AN D AV A PERFORM ED W I TH J OY IS CALL ED AN A N DA TAN DAV A AN D P ERF ORM ED IN V IOLEN T M OOD IS CALLED RU DRA TAN DAV A. T HERE A RE 7 TY P ES OF TAN DAV A. N AM ELY AN AN DA TAN DAV A,

T RIPU RA TAN DAVA, SAN DHY A TAN DAV A, SAM ARA TAN DAV A, KAALI T AN D AV A, U M A TAN DAV A AN D G AU RI TAN DAV A. T HERE A RE FEW PEOPLE W HO BEL IEV A THAT THE R E ARE 16 TY PES OF T AN DAV A. TAN DAV A HAS V IG OU ROU S, BRISK M OV EM EN TS. T HE D AN CE P ERF ORM ED BY G ODDESS PARV ATHI IS KN OW N AS LASY A, IN W HICH THE M OV EM EN T S ARE G EN TLE , G RACEFU L AN D SOM ET IM ES ER O TIC ALS O. S OM E SCHO LARS CA L L LASY A AS THE F EM IN IN E V ERSION OF TAN DAV A. LASY A HAS 2 KIN DS. J ARITA LASY A AN D Y AU VAKA LA SY A. T HE ART FO RM H AS DEF IN ITELY G ON E THR OU G H L OT OF CHAN G ES OV ER T HE Y EA RS. IN OL DEN DAY S IT W AS PERFORM ED M OST LY BY F EM ALE ARTI STS. T HEY W ERE CALLED D EV A DASIS, W HO W OU LD PERFOR M IN THE TEM PL ES. THES E DEV A D ASIS W ERE ACCOM PLIS HED ARTISTS W HO W OU LD SIN G , DAN CE , PLAY M AN Y IN ST RU M EN TS. THEY W E RE W EL L W ORSED IN SA N SKRIT & OT HER LAN G U AG ES W HICH HELP ED THEM T O IN TER PRET C O M POSITION S W H ICH TH EY W OU LD PERFOR M . BU T T HIS TRA DITION CAM E T O AN EN D AS THE D EV AD ASIS LOST THEIR POSITI ON IN THE SOCI ETY .

T HEN D AN CE EN TERED T HE ROY A L COU RTS. H ER E THE ARTISTS CALLED RAJ AN ARTAKIS, PERF OR M ED IN THE COU RTS OF KIN G S W HO G AV E THEM SHELT E R.EV EN T HESE W ER E AC C OM PLISHED ART IST S LIKE DE V ADAS IS. T HE N EXT W EL L - DOCU M EN TED PE RIOD OF DAN CE HISTORY IS F AR M ORE RE CEN T. IN THE FIRST HA L F OF THE 19 TH C EN TU RY THE D AN CE TRADITIO N W AS REV ITALIZED AN D DEFI N E D AN EW T HROU G H THE C ON TRIBU TION S O F FOU R TALEN T E D BROTH ERS ( KN OW N TODAY

AS T HE TAN J OR E QU ART ET) CHIN N IAH, SIV AN AN DAM , PON N IAH AN D V ADIV ELU . BY COO RD IN ATI N G THEIR DIV ERS E TAL EN TS, T H E F OU R M AN AG ED TO ORG A N IZE AL L THE BASIC D AN CE M OV EM EN T S OF PU RE DAN CE I N TO A PROG RESS IV E SERIES O F LE SSON S [ AD AV U CHAPTERS] . EA CH ADAV U ( BASIC U N IT OF M OTION ) W AS T AU G HT IN SY STEM ATIC ORDER A N D THEN COM BI N ED W ITH OT HERS TO PR ODU CE CHO REOG RA PHED SE QU EN CE S BASED U PON T HE R HY THM IC C ON TOU R OF A M U SICAL C OM POSI T ION ( KRISHN AM OORT HY PILL AI) . IN ADDITION THE BR OTHERS COM POSED N EW M U SIC S PECIFICA LLY FOR TH E DA N CE, AN D IN T ROD U CED A D IF F EREN T SE QU EN CE OF ITEM S W HICH IN TEG R ATED THE V ARIOU S ASPECT S OF DAN CE AN D M U SIC IN TO A CAR EFU LLY COORD IN ATED, A ESTHET ICA LLY S OU N D PROG RES S ION . THIS IN F U SION OF CREATIV E EN ERG Y M ARKS THE EAR L Y 19 TH CEN T U RY AS ON E OF T HE M OST I N N OV ATIV E PERIODS IN TH E HISTORY OF IN D IAN DAN CE. T HE CON TRI BU TION OF U DAY SHA N KAR, RU KM IN IDEV I AR U N DALE AN D BALASARAS W ATHI, IN THE 2 0TH CEN TU RY , C AN N OT BE F ORG OT TEN AT THIS J U N CTU RE. EV EN T HOU G H B HARATAN ATY AM HAS G ON E THR O U G H LOT OF CHAN G ES, IT STILL HA S ITS RO OT S DEEP IN T O TH E RELIG IOU S AN D RICH M Y T HOLOG ICAL HERITAG E OF IN DIA. I N THE M OD ERN DAY SCEN ARIO IT IS P ERFO RM ED BY B OTH M ALE & FEM ALE ARTISTS. M AN Y LEARN AS A HO B BY AN D FEW M AKE IT AS A PR O FES SION . W HET HER TA KEN AS A H OBBY O R A PROFESSI ON IT CERTAIN LY N EED S LOT OF PRA CTICE ,CON C EN TRATIO N AN D DEDICA TION .

ABOU T BH ARATA N ATY A M BHARAT AN ATY A M IS EV E N LY DIV IDED BETW EEN T HREE ELEM EN TS N RITT A, N RI TY A AN D NATY A . N RIT T A : RHY TH M IC EL EM EN T.IN TERPRITS THE LA N G U AG E OF RHY T HM W ITH THE H ELP OF B ODY M OV EM EN TS. N RIT Y A : COM BIN ATION OF RHY TH M W ITH EXPRE SS ION .CON V EY S POET IC M EAN IN G W ITH THE H ELP OF EXPRES SI ON S , RHY T HM IC G AITES AN D POSTU RES. EG . V ARN A, SHA BDA, PADA ET C. N AT Y A : DRAM ATIC ELE M EN T.PER FORM IN G FOR A THEM E LI KE RAM AY AN A, M AHABHARAT A ETC. N RIT T A N RIT T A CAN BE B ROADL Y DIV IDED IN TO CHARI , KA RAN A, AN G AHARA AN D M AN DALA . M OV EM EN T O F A LEG I S CALL ED CHARI. M OV EM EN T OF B OTH TH E LEG S IS KARAN A. 3 KA RA N AS M AKE A KHAN D A. 3 TO 4 KHAN D AS M AK E A M AN DALA. 4 TO 9 KARAN AS M AKE A AN G AH ARA. 4 T O 5 AN G AHARA S ALSO M AK E A M AN D ALA. 108 K ARAN AS AN D 32 AN G AHARAS ARE DEFIN ED IN N AT Y ASHATRA. THE 13 N RI TTA HASTAS ( EXPLAI N E D LATER) ARE U SED TO P E RFORM N RITTA. THE RY THM IC B O DY M OV EM EN T S ALON G W ITH HA N D G EST U RES ARE CALL ED ADU V U S. N U M BER OF AD U V U S CON STITU TE A J ATI. J ATI W ILL G EN E RALLY EN D W ITH A M U KT AY A OR TEE RM AN A. T HERE A RE V ARI ETIES OF ADU V U S LIKE

 T AT T ADU V U M ET T ADU V U N AT ADU V U KAT T ADU V U KU D IT TAM ETTADU V U M AIAD U V U M AN D IADU V U J AT I N AD AI ARD I T HERE A RE 12 AD U V U S IN EACH O F THE AB OV E EX PLAIN ED. HEN CE 120 ADU V U S EXI ST IN TOTAL. ON LY AB OU T 70 - 8 0 ARE IN PRACTICE. TH E ADU V U S ARE M ORE O R LE SS KA R AN AS . HEN CE CAN BE C ON CLU DED THA T TH ERE ARE 108 ADU V U S. THE 108 KARAN AS OR AD U V U S AR E CARV ED IN THE CHID A M BARAM TEM PLE IN T AN J ORE, TAM ILN AD U , IN DIA. TO PERFO RM AN ADU V U ARAM AN DI, BEN DIN G OF T HE KN EES IS V ERY V E R Y IM PORTAN T . T HE EN TIRE B OD Y IS DIV IDED AS AN G A, PRATY ANGA AN D U PAAN G A. AN G A AN G AN Y ATRA SHIROHAST AU V AKS HA PAARS HW AKA TEETATAU PAAD AV ITI SHADU KTAAN I G REEV AM APY APARE J A G U HU HEAD , H AN DS, C HEST, W AIST, BO TTOM , LEG S ARE THE SIX AN G AS. SOM E PEOP LE IN CLU DE N ECK ALS O. PRAT Y AN G A PRAT Y AN G AAN I TW ATHASKAN D HA U BAAHO O PRU S HTAM T AT HODARAM OORO O J AN G HE SHADITY AHU RAPARE M AN IBAN DH A KAU J AAN OON EEK OO RPARAM IT I TRAY AM APY ADHIKAM J AG U HU SHOU LDER S, AR M S, STO M U CH, THIG HS, KN E E A R E THE SIX

PRAT Y AN G AS. SOM E PEO PL E IN CL U DE W RIST, E LB OW AN D AN KLE ALSO. U PAAN G A D RU SHTIBHR OOP U TATARA SHCHA KAPOLAU N AASI K AAHAN U HU AD HARODAS HAN AA J IHW A A CHU B U KAM V ADAN AM T ATHA U PAAN G AN I DW ADASHITA AN Y AN YAAN Y AN G AAN I SA N TI CHA PAARSHN EE G U L BAU TATH AN G U LY AA KARAY OH O P A DAY OSTALE SIG HT , EY EBROW , EY E LIDS, EY E B ALLS, C HE E KS, N OSE, G U M S , LOW ER LIP, T EET H, TO N G U E, CHIN AN D FACE ARE T HE 12 U PAAN G AS. FEW PEOPLE IN CLU DE HEE LS, FIN G E RS , FEET, PALM ALSO IN TO U PAA N G AS. PRAT Y N AG A AN D U PAAN G AS SHOU LD M OV E AL ON G W ITH THE AN G AS. AN G A LAKSHAN A, THE W AY OF M O V IN G BODY PA RTS, ARE D ESCRIBED BE LO W . SHIR OBH EDHA - HEAD M OV EM E N T G REEV ABH EDH A - N ECK M OV EM EN T D RU SHTIBH ED HA - EY E M OV EM EN T PAAD ABH EDHA O M AN D ALA - ST AN DIN G POSTU RE O U T PLAV AN A - L EAPS O BH RAM ARI - CI RCLIN G M OV EM EN T O CHA RI - LEG M OV EM EN T G AT IBHEDH A - CHARE CTERISTIC W ALKS AN D HAST AS OR M U DRAS - H AN D M OV EM EN TS O ASAM Y U TA HAS TA O SAM Y U TA HASTA O D EV A HASTA O D ASHAV ATARA HASTA O N AV AG RAHA H ASTA O J AAT I HASTA

O BAN D HU H ASTA O N RIT TA HASTA

W HEN ALL AN G A S( M AIN BODY PARTS) COORDIN A T E ( ALON G W IT H PRAT Y AN G A AN D U PAAN G A) T HE ARTIST IS SAID TO HAV E AN G ASHU DHI. AN G A M EA N IN G BODY PARTS AN D SHU DHI, M EAN IN G PERFECT. AN Y D AN CER SHOU LD TRY TO ACHIV E THIS PERF ECTION . TH E N ATY ASHASTR A, W HICH TAL K S ABOU T ALL ASPECT S OF BHA RATAN A TY AM , QU OTES SHL OKA S TO PERFORM ALL T H E AB OV E M OV EM EN TS . ALL THE A BOV E S AI D M OV EM EN TS ARE DEALT IN D ET AIL IN THE R ESPEC TIV E LIN K S . ASPECT S OF A BHI N AY A T HE EXPR ESSION S W HIC H AR E SH OW N TO EXPRE SS POETIC M EAN IN G S IS ABIN AY A. HERE TH E EM PHASIS IS M O RE ON F ACIAL EXPR ESSI ON S T HAN RHY T HM IC M OV EM EN TS. THE ABIN AY A I S DIV IDED AS AN G IKABHIN AY A V ACHIKA BHIN A Y A AHARY AB HIN AY A SAT V IKAB HIN AY A AN G IKABHIN AY A : EXPR ESSIN G TH E M EAN IN G S OF LY RICS U SIN G T HE B ODY PARTS LIKE HEAD, HAN DS, LEG S ET C. IS AN G IKABHIN AY A. THE B HEDAS W H ICH I HAV E E XPL AIN ED ABOV E COM E U N DER AN G IKABHIN AY A. V ACHIKAB HIN AY A : EXP RE SSIN G THE STORY U S IN G N ARRATION S IN T HE DAN CE D RAM A I S V ACHIK ABHIN AY A. AHARY ABHIN AY A : IM IT AT IN G THE COSTU M ES, J EW ELLARY , M AK E -

U P ET C. IN A DAN CE C OM ES U N DER AHARY AB HI N AY A. SAT V IKABHIN AY A :SH OW IN G THE BHAV A( M OODS) COM E U N DER SAT V IKABHIN AY A. LORD S HIV A IS P RAISE D AS TH E E M BODIM EN T OF THE AB OV E 4 T Y PES OF ABIN AY A IN THIS FOL LO W IN G SHLOK A. AN G IKAM BHU V AN AM Y AS Y A V ACHICAM SARV A V AN G M AY AM AHARY AM CHAN DRA TARA D I T AM V AN DE SATVIKAM S HIV AM . M EAN IN G FOR THE AB OV E S HLO K A IS W E BOW TO HIM THE B E N EV OLEN T ON E W HOSE LIM BS AR E THE W OR LD, W HOSE S ON G AN D POETR Y ARE T HE ES SEN CE OF A LL LAN G U AG E, W HOSE C OSTU M E IS THE M O ON AN D THE STARS.. ." IN LORD SHIV A' S W ELL -KN OW N POSE OF N ATARA J A, HIS RIG HT HAN D HOLDS THE DRU M OF CREATION - SY M B OLISIN G A N EW AW AKEN IN G HIS LEF T HAN D HOLDS FIR E - RE PRESEN TIN G DESTRU C TION OF T HE O LD ORDE R HIS OT H ER RIG H T HAN D IS RAISE D IN BLESSIN G T HE OT HER LEFT HAN D POIN TS T O HIS LEFT F O OT, W HICH H AS CRU SHED DEM O N M U Y ALA KA - R EPRESEN TIN G IG N ORAN CE. T HERE A RE N I N E M AIN OR PRIM ARY E M OTION S, STHAY IBHAV A S. IT IS ALSO TE RM ED AS RASA( M OO D) .

SHRIN G ARA - L OV E

 HASY A - M IRT H V EERA - HE ROI SM ROU D RA - AN G ER BHAY AN AKA - T ERROR BH EEBATS A - DI SG U ST AD BHU TA - W O N DER KARU N A - C OM P ASSION SHAN T A - TR AN Q U ILITY

V AT SALY A( PAREN TAL FO N DLIN G ) RASA IS ALS O S O M ETIM ES IN CLU D ED AS ON E OF T H E STAY IB HAV A. V IBHAV A ( CAU SE OF EM OTION ) , A N U BHAV A ( EF FECT OF EM OTION ) AN D SAN CHARI B HAV A ( SU BORDIN ATE EM OTION S ) CON STITU TE T HE ST ATE OF RA SA. N OW I W OU LD LIKE TO TA LK A BO U T N AY IKA( THE HEROIN E ) AN D N AY AKA ( THE HE RO) BH AV AS. T HE N AY IKA B HA V A T HE SH ASTRAS H AV E CL ASSIFIED THE BASI C M EN TAL STATU S OF W OM AN , THE N AY IKA, I N TO EIG H T DIV ISION S, CAL LED ASHT AN AY IKA B HAV AS. THES E DI V ISION S PORT RA Y THE HER OIN E IN D IF F EREN T SITU ATI ON S, EXPRESS DIFFEREN T F EELIN G S, SEN T IM EN TS & REACTIO N S. T HE AS HTAN AY IKA BHAV A AR E ABHIS ARIKA KALA HAN TARIK A KHAN DITA PROS HITAPATH IKA SW AD HEEN APA THIKA V ASAKASAJ J IKA

 V IRAHOT KAN TITA V IPRALABDA

ABHISARI KA - SH E IS THE ON E W H O B O LDLY G OES OU T TO M EET HER L OV ER. KALAH AN TARIKA - SH E IS TH E ON E W HO I S R EPEN TIN G HER HAST IN ESS IN Q U ARREL LIN G W ITH HE R L OV ER, W HICH HAS RESU LT ED IN T HEIR SEP ERA TION . KHAN D ITA - S HE IS THE ON E W HO I S AN G RY W ITH HER L OV ER F OR CAU SIN G DISSAPOIN TM E N T. PROSHITAPAT HI KA - S HE IS T HE ON E W HO I S SU FFERIN G IN THE ABSEN CE OF H ER BEL OV ED, W HO I S AW AY ON A LO N G J OU RN EY . SW AD HEEN APAT HIKA - SH E IS TH E ON E W H O I S PR OU D OF HE R HU SBAN D' S OR B ELOV ED ' S L OV E A N D LOY ALTY . V ASAKASAJ J IKA - SHE IS T HE ON E W HO I S PREPA RI N G FOR THE ARRIV AL OF HER BEL OV ED , BY DE CORATIN G HERS ELF AN D HE R SU RROU N DIN G S. TO PRO V IDE A P L EASEN T W ELC OM E TO H ER LOV ER. V IRAHOTKAN TIT A - SH E IS TH E O N E W HO I S SEP E RATED FROM HER L OV ER & IS Y EARN IN G FOR REU N ION . V IPRALABDA - S H E IS THE ON E W H O I S DISSAPOIN T ED THAT H ER LOV ER HAS N OT TU RN ED U P AT THE TRY ST AS H E PROM ISED. OT HER CLASSIFI CATION S OF TH E N AY IKA BHAV A A RE M U G D HA - IN EXPERIEN CED IN L O V E. M AD HY A - PARTL Y EXPERIEN CED I N LOV E. PRAG ALBHA - M A TU RED IN THE A RT O F LOV E. T HIS PRAG ALB HA N AY IK A IS FU RTHER C LASSIF IED AS D HEE RA AD HE ERA D HEE RAADH EE RA

SW EEY A - M ARRI ED & FAITHFU L T O HE R HU SBAN D. PARAKEEY A - M A RRIED BU T IN LO V E W ITH AN OTH ER M AN . SAM AN Y A - A FRE E W OM AN , W HO TR U LY BELON G S TO AN Y M AN F OR A PRIC E. J Y ESHT A - TH E P REFERRED ON E. KAN ISHTA - T HE OTHER W OM AN . F U RT HER CLA SSI FICATI ON S ARE U T T AM A - SELF -C ON TROLL ED & TO LERAN T . M AD HY AM A - LIT ERALLY T H E M IDDLE ON E, W H O G IV ES AS SH E G ET S. AD HAM A - LIT ER ALLY THE LOW O N E, W HO HAS N O SELF REST RAIN T. T HE COM PAN ION TO THE N AY IKA P LAY S AN IM PO RTAN T ROLE IN AN Y PAD AM , J AVALI OR AS HTAP A DI. THIS COM PAN ION IS T HE ON E T O W H OM THE N AY IKA W ILL CON V EY H E R FEELIN G S, SHE IS T HE ON E W HO W ILL TAK E THE M ESSAG E ,IF AN Y , FROM T HE N AY IKA TO THE N AY AKA , SHE IS THE ON E W H O W ILL SO RT OU T T HE D IFFEREN C E S BETW EEN TH E N AY IKA & THE N AY A KA. T HIS COM PAN IO N IS U S U ALLLY A G IRL W HO IS C LO SE TO TH E N AY IKA. T HE CLA SSIFICAT ION O F THE COM PAN ION IS A S FO LLOW S. D AASI - S ERV AN T SAK HI - FRI EN D KAAR OO - W OM AN FROM A LOW E R C ASTE CHAT RIY A - STE P SISTER PRAT IV AM SHIN I - N EIG HBOU R LIN D I N I - SAIN T SHILPAN I - ART IST SW AA - N AY IKA HERSE LF AS A M ESSEN G ER T HE N AY AKA B HA V A

J U ST LIKE THE H EROIN ES, T HE M OODS AN D EM OTI ON S OF TH E HERO ARE A LSO CLASSI FIED IN TO DIFFEREN T DIV ISION S. T HE M AIN DIV ISION IS D HEE RODAATT A EG . L ORD RAM A D HEE RODDHAT A EG . DEM ON R A V AN A D HEE RALA LITA EG . V ATSARAAJ A D HEE RASHAN T A EG . B U DDHA T HE OT HER C LAS SIFICA TION IS PAT I - M ARRIED & FAITHFU L T O H IS W IFE. U PAPAT I - M ARRIED BU T IN LOV E W ITH AN OTHER W OM AN . V AISIKA - ON E W HO PAY S & EN J O Y S W OM EN . F U RT HER N AY AK A CLASSIFICATI O N S AN U KOOLA - FAI THFU L TO TH E W OM A N . EG . LORD RAM A D AKSHIN A - LOV ES ALL HIS W IV E S OR W OM EN . EG . ARJ U N A D RISHT A - W H EN REJ ECTED, PL EA D S TO BE A CCEPT ED BY HIS W OM AN . EG . V AALI SHAT HA - TH E D ECEITFU L ON E. E G . LORD KRIS HN A M OST OF THE AS HTAN AY IKA BHA V AS ARE EXP E RI EN CED BY THE N AY AKA ALSO T H OU G H T HE DEPIC TION OF ASHT AN AY IKA IS M ORE T HAN TH E N AY AKA . N AY AKA' S COM PAN ION P LAY S AN IM PORTAN T RO LE TOO. THIS COM PAN IAN IS CATEG OR ISED AS PEET AM ARDH A N A V IT A CHET A V ID OOSHA KA

ARAN G ETRAM

ARAN G ETRAM IS A TAM IL W ORD.ARAN G A M EAN IN G RAISED FL OOR AN D ET RAM M EAN IN G CL IM BIN G IN TAM IL,ON E OF THE SOU TH IN D IAN LAN G U AG ES. IT IS ALSO C ALLED RAN G A PR AV ESHA IN KAN N ADA, AN OTHER S OU TH IN DIAN LAN G U AG E, RAN G A M EAN IN G ST AG E AN D PRAV ESHA M EAN IN G E N TER. IDEALL Y T HIS SH OU LD BE T H E FIRST PU BLIC PE RFORM A N CE OF AN AR TIS T. AFTER LEARN IN G BHARAT AN ATY A M U N DER THE G U IDAN CE OF AN A CCOM PLIS HED G U RU , THIS IS THE O C CATION FO R THE PR OU D G U RU TO PRESEN T HIS/ HER DECIPL E TO T H E PU BLIC . THIS IS T H E TES TIN G TIM E F OR BOT H T HE G U R U & THE S HISHY A( DECI PLE) AS TH E G U RU ' S KN OW LEDG E & T HE DECI P LE' S TA LEN T BOT H AR E J U DG ED BY THE PU BLIC. HEN C E, THE G U RU W ILL DECIDE W HEN T HE DECIP LE IS READ Y FOR PU BL IC APP EAREN C E. ATLEAST 10 - 12 Y EARS OF T RAIN IN G IS N ECESSAR Y TO G IV E A COM EN DAB L E P ERFOR M AN CE. T HIS ARAN G ETRA M W AS KN OW N AS G EJ J EPOOJ E IN OLD M Y SORE D IST RICT, M EAN IN G W O RSHIPIN G THE J IN G LES IN KAN N ADA, A SOU T H IN DIAN L AN G U AG E.FOR A DAN CER, J IN G LES ARE CON SID ERED DE V IN E. I N OLDEN DAY S, DECIPL ES W ERE N OT ALLOW ED TO W EAR J IN G LES TILL TH EIR FIRS T P U BLIC PERF ORM AN CE . IN T HEIR FIRST PE R FORM A N CE, THE Y W ERE M ADE TO W ORSHIP TH E J IN G LES, W EAR T HEM & T HEN PER F ORM . ACCOM PAN IM EN TS PLAY A M AJ OR ROLE IN THE M A KIN G OF A M EM ORABL E DA N CE PERF ORM AN CE.BASIC A CCOM P AN IM EN TS ARE A SIN G ER, M RIDAN G AM PLAY ER, VIOLIN PLAY ER AN D OFCOU RCE T HE N ATU V AN G A. V EEN A ,FLU TE A N D OTHER IN S TR U M EN TS ARE OPT ION AL. TH ES E PEOP LE SIT IN THE CO RN ER OF A STAG E OR IN A PLACE IN FRON T OF TH E STAG E W HICH W IL L B E IN A LOW ER LEV EL T HAN THA T OF T HE STAG E.

T HE ARTIST W ILL W EAR LOT OF J E W ELLERY , M AKE - U P AN D A SPECIALLY STITC HED D RES S. J IN G LES AR E A M U ST. U SU ALLY DU RATION OF AN ARAN G ETRAM W ILL B E 2 1/2 - 3 H OU RS. T O PERFORM F OR SU CH LON G H OU RS ON E M U ST HA V E G OOD ST AM IN A AN D CON CEN TR ATION . THIS TIM E IS DIV IDED IN TO TW O HALV ES. IN T HE FIRST HA LF T HE ARTISTS G EN ERALLY PERF ORM PU SHPAN J ALI O R ALA RIPU J AT ISW ARA SHABD A V ARN A IN T HE SEC ON D HALF PAD AM ASHT APADI OR DEV AR AN AM A T ILLAN A M AN G ALA PU SHPAN J ALI T HIS IS AN ITEM W HER E TH E ARTI ST SALU TES TO G OD, G U RU AN D T HE AU DIEN CE. THI S ITEM IS A W ARM U P I TEM W HERE TH E ART IST PREPARE S THE B ODY FOR THE N EXT FE W H OU RS OF V IG OROU S PERFORM AN CE . ALARIPU T HIS IS A TAM IL W ORD .ALAR M EA N IN G TO BLO OM . IT COM PRISES OF SET OF M OV E M EN TS W ITHOU T AN Y M EAN IN G OR EXPRESSI ON . T HE M OV EM EN TS ARE PE RF ORM E D FOR SY LLAB LE S SET FO R A BEAT ( T ALA) . THE COM P LEXITY OF THE M OV EM E N TS G RADU ALLY IN CREASE. TH E S TEPS ARE S O FOR M ED THAT I T LO OKS LI KE A BU D

BLO OM IN G IN TO A FLOW ER. THI S IS ALSO A W ARM U P PIECE TO PREPARE T HE B O DY FOR THE N EX T FEW HOU RS O F PERF ORM AN CE. EV EN TH OU G H TH ERE IS N O M E A N IN G , THIS CAN ALSO B E CON SID ERED AS AN ITE M W HERE THE ARTIST S A LU TES G OD,G U RU AN D T HE AU DIEN CE. J AT ISW ARAM T HIS IS ALS O AN ITEM W HERE TH E M OV EM EN TS W ILL N OT CON V EY AN Y M EAN IN G O R THEM E. HER E TH E ST E PS ARE M OR E COM PLEX T HAN THE PRE V IOU S IT EM S. THE C OM PO SITION CAN HAV E AM AZIN G POSTU RE S AN D TE ERM AN AS OR M U KTAY AS ( EN D IN G OF A J ATI) . THIS IS A M U SICAL C O M POSIT ION SET TO A RAG A U N LIKE AL ARIPU W HICH HA S ON LY SY LLA B L ES. SHABD A T HIS IS A DAN CE ITEM W ITH BOTH N RITTA & A BIN AY A. U SU ALLY T HE T H E M E OF T HE LY RICS W IL L BE DEV OTION A L LIKE PRAI SIN G LORD K RISHN A, DEPICT IN G LORD KRISHN A' S C HIL DHOOD , PRAISIN G A KIN G ETC. THE M OV EM EN TS HER E A RE LEISU RELY . V ARN A T HIS IS THE ITE M W HE RE TH E D AN CERS ARE T ES TED FOR TH EIR CAPACITY TO PER FORM ABIN AY A & N RITTA. THIS CA N BE TREAT ED AS A BEN C HM AR K TO J U DG E THE ARTIST' S TAL EN T.THE ITEM W ILL CON T AIN M AN Y COM PLEX STEPS A N D W ILL HAV E L OT OF RO OM F OR EXPRESSION S AL SO. TO PE RFORM THIS ITEM ON E S HOU LD H AV E LOT OF STAM IN A & CON CEN TRATI ON . THE LY RI CS CAN BE D EV OT ION AL, PR A ISIN G A KIN G ETC. V A RN A CAN ALSO HAV E SHRIG ARA RASA AS ITS THEM E. PAD AM

IN T HIS DAN CE I TEM T HE DAN CE R' S ABHIN AY A IS PU T IN TO TEST . IT N ARRATES EX PRESSI ON OF DIV IN E LOV E O R PAN G S OF SEPERATION IN L OV E. THE T EM PO IS SLOW AN D TH E PERF ORM AN CE I S BASED ON A SP ECIFIC M OOD OF LOV E.PADAM S W ILL HAV E N AY AKA( H ERO, SU PREM E L OV ER, DIV IN E LO RD) & N AY IKA( HEROIN E, THE Y EARN IN G SOU L) . HERO IN E W ILL TAL K T O HER F RIEN D ( SAKHI) AN D N A RRATE HE R FEELIN G S T OW ARDS HER HERO. THE LY RIC S CAN BE A BOU T HOW THE HER O HAS B ETRAY ED , HOW HE HAS D EL AY ED THE A RRIV AL, HOW S HE IS A N G RY W ITH HER BEL OV ED H ERO ETC . ASHT APADI T HESE A RE PO ET J AY AD EV A' S SANSKRIT COM PO SITION S CALL ED G EET AG OV IN DA, AN EXT REM ELY R OM AN TIC COM P O SITION . IT D ESCRIBE S TH E LOV E OF KRI SH N A AN D RAD HA I N TW ELV E CAN T OS CON TAI N IN G 24 SON G S. THE SO N G S ARE SU N G BY KRISHN A OR RAD HA OR BY RADHA ' S M AID. E ACH CAN TO IS N AM ED D IF F EREN TLY CO N SIDER IN G KRISHN A' S STATU S OF M IN D. SAAM ODADAM O DARA - J OY FU L K RISHN A AAKL ESHA KES H AV A - CARE LESS KRISHN A M U G D HAM ADHU SOODHAN A - BE W ILDERED K RIS HN A SN IG D HAM ADHU SOODHA N A - TE N DER KRISHN A SAAKAN KS HAPU N DAREE KA KSHA - LON G IN G KRIS HN A KU N T AV AIKU N TA - IN DOLEN T KR ISHN A N AAG ARAN AARAAY AN A - CU N N IN G KRISHN A V ILAKS HALAK S HM EEPA TIHI - AB ASHED KRISHN A M AN D AM U KU NDA - LAN G U ISHIN G KRISHN A CHAT U RAC HAT U RBHU J A - IN TE LLEG EN T KRIS HN A SAAN AN DADAM ODARA - BLISSFU L KRIS HN A SU PREETAPE ETAM BARA - ECSTA TIC KRISHN A

EXPRESSION S AR E G IV E N FOREM O ST IM PORTAN C E W HILE PERF ORM IN G THESE PO E M S. N EE DS LOT OF G RA C E. THE A RTIST SHOU LD B E M AT U RE EN O U G H TO U N DER STAN D THE LY RICS AN D T HE SIT U ATION TO SH O W THE RAS AS. D EV ARAN AM A T HIS IT EM IS A D EV OT ION AL PIEC E W HERE T H E LY RICS ARE IN PRAISE OF G OD, DESCR IBIN G THE G OD ETC. T HIS I S A PU RE ABHIN AY A IT EM W ITH ALM O ST N O EM PHASIS ON N RITTA. U SUALLY THE LY RICS ARE IN K AN N ADA. THESE SON G S ARE THE COM POSITION S OF G REAT M Y STICS LIKE P U RAN DHA RADAASA, KAN A K ADAASA, V IJ AY ADAASA, V YASARA AJ A TO N A M E A FEW . T HE C OM POSITION S ARE POPU LARLY KN O W N AS D AASA SAHIT Y A. IT IS A DE V OTION AL LIT ERATU RES W RITTEN IN SIM PLE LAN G U AG E U NDERSTOOD BY COM M ON M AN . IT HAS M ADE R EM ARKAB LE C ON TR IBU TION TO T HE SPIRIT U AL AN D CU LTU R AL U PLIFTM EN T OF PEO PL E BY PREACHIN G PHY LOSOP HY OF L OV E, DEV OTION AN D PEACEFU L C O EXIST AN CE. T ILLAN A T HIS IS U SU ALLY THE LAST IT EM IN AN Y BHA RATA N ATY AM PERF ORM AN CE. T ILLAN A IS FU L L OF COM PLICAT E D M OV EM EN T S & POST U RES. THIS W ILL ALSO HAV E COM PLICATE D M U KTAY AS OR SHOL KATTU , EN DIN G OF AN Y STEP OR ADU V U . T HIS IS M AIN LY A N RIT T A PIECE W HICH M IG HT HAV E A CHA RAN A, A M EAN IN G FU LL LY RICS FOR W HI CH ABI N AY A IS S HOW N . M AN G ALA M EAN IN G EN DIN G THE PERFORM AN CE. H ER E TH E ARTIST W ILL

AG AIN SALU TE G OD, G U RU & THE AU DIEN CE FO R M AKIN G THE PERF ORM AN CE A SU CCES S.
POSTED BY SHIVA AT 10:45 PM 3 COMMENTS LABELS: ABHINAYA, ARANGETRAM, BHAVA, DEVARANAMA, KARANAS,NATYA, NATYAVEDA, NRITTA, NRITYA, PADAM, PRATYANGA, PUSHPANJALI,TANDAVA, TILLANA, UPAANGA

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