Bharatanatyam//The Dances of the West

Through my training and Bharatanatyam as well as in various other styles of dance more common in the wester world, including Tap, Jazz, and Ballet, I have been exposed to various styles and techniques that from the outside, look nothing alike, and could not be more different. From the inside, all have a similar purpose - to allow one to express themselves. For millenia, from prehistroic times, humans have utilized dance to express themselves, and none of these forms are truly very different in thsi manner when being observed fromthe inside out.

Intesresting enough, the Bharatanatyam that many Indians see and appreciate today was revived by one of Dance's most famous connieseurs, Rukmini Cevi Arundale. Having experienced clonialism first hand, she strived to return an important element of India's background to the peninsulain the 19th century. Before learning and perfecting her Bharatanatyam style though, Rukmini Devi learned of the rigidity of dance through classical Ballet, under the legendary Russian ballerina, Anna Pavlova. This pair produced ballets with themes from deep within India's mythology, such as "Radha-Krishna" and produced Bharatanatyam Productions with strikingly western props and themes. 

While the two have their similarities - both codified, standard techniques to be followed, and the need  for years of preparation and practice to be performed on stage - they are still quite different.  Yet, they are also very different.

Bharatanatyam//Colonialism

After reading the Poisonwood Bible, I wanted to uncover how the gem of Bharatanatyam fared undernearth the harsh and often unreasonable commands of the British Raj (Crown).

To start off, to say that propaganda against all Indian CUlture was high at the time of British rule is a henious understatement. The british called many Classical Indian art forms, including Bharatnatayam, as crude, immoral, and barbaric, in spite of its deep-seeded, anceint origins. The devadasis which once were esteemed coutriers inthe highest palaces in India were no longer supported in fears of British reprimanding, These devadasis were forced to take up other jobs, pushing them even lower on the social ladder than before and causing the dance form to almost disappear throughout Southern India by the first quarter of the 20th century.

"In the late 19th and early 20th centuries, social reformers under Western influence took advantage of these circumstances, launching an Anti-Nautch campaign to eradicate not only the prostitution that had come to be associated with devadasis, but the art itself, condemning it as a social evil. "

While the art form of Bharatanatyam is thriving in today's India, and even globally, many ideas have not. Pre-colonial ideals of devadasis and court dancers have all but disappeared, and are simply a memory in the great history of the art form. 

Bharatanatyam and Yoga

Past their similarities in cultural background/origin, there are extensive connections between Bharaatanatyam and Yoga which create a dynamic relationship between the two. Skills learned in one can be easily applied to another to harness major improvements. Primarily, Yoga is filled with asanas, or breathing excersizes, which thankfully, enhance important aspects of dance - and especially Bharatanatyam- including balance, spirituality, stamina and flexibility – the four most basic requirements for a dancer. Specifically, a Bharatanatyam can gain serious benefits from Vinyasa Yoga, which incorporates fluid movements in between poses as  a part of the yoga itself. This connectivity and fludity of movement is crucial for success in Bharatanatyam. 

Literarily, Yoga means Union. In this sense, Bharatanatyam itelf is a Yoga. A yoga of Nrittha(Emotion), Natya(Dance), Culture, and Religion. 

In the Anatomic sense, Bharatanatyam has supposedly "Yogic" and benefits. When hands are clasped in Bharatanatyam, in the Mushti Mudra, there is a closed nerve circuit. Hands placed together in "Namaskaram," or prayer,  the cranial nerve circuits are joined. Additionally, numerous Bharatanatyam mudras, includingthe Namaskara and Pataka mudra are found in Yoga, as they interact with the nervous system to evoke certain emotions in the dancer/performer.

Mudras

Mudras in Bharatanatyam are hand gestures which can have an extremely wide variety of meanings. Mudras may simply add to the beauty and form of the dance (Nritta Hastas) or can also have seperate meanings and emphasize expressions. In addition, some mudras are performed with one hand, and are called Asamyuktha Hastas, while mudras performed with two hands, and are usually combinations of Asamyuktha hastas, which are called Samyuktha Hastas- literally "Together" hand positions. Each hand gesture has a specified meaning, known as Viniyoga. The list of names for both Samyuktha and Asamyuktha Hastas are recited in a Shloka, or hymn, which lists all in order to an ancient vedic tune. In addition to the mudra, other aspects, including context and other movements are required to truly gain the entire meaning of a mudra. 

Etymologically, mudra is said to have the sanskrit root of "mud" which is said to mean "to give pelasure or delight in," quite fitting, as without mudras, the aesthetic beauty of Bharatanatyam would be greatly reduced. Since their origin in anceint India, these mudras have been used to "heal" in Vedic religions. Finally, the gestures are said to connect the emotions used in Bharatnatyam with the flow of energy in the art from, communicating ideas and presenting them in a cohesive manner.

The Prime of my Dance Career

The following is a link of one of the most important moments of my dance career - and my life, It is the Mangalam, or end of my Arangetram (essentially a graduation into the advanced levels of classical dance). I had worked for that specific moment for two years, and it is something I will cherish for  a lifetime. It not only represents the culmination of years of hard work, but also represents my ability to delve myself into my culture and heritage and pay homage to my roots. While that moment will never happen again, as I continue my career in dance, I hope to help others reach this moment through my teaching and guidance. An arangetram is awarded to a student after years of hard work and 15-16 dances. All of the skills, mindsets, and emotions that the dancer has felt until then have culminated in a show which is not meant to neesarily showcase the dancers talent, but rather, to set the first block down for a professional dancing career.

https://www.youtube.com/watch?v=UncXVmAA4hg&list=PL7DZafbo93afaR7eAQW0R1W6DgtacprXp&index=8

What have I learned from teaching??

Growing up learning Bharatanatyam, I was always taught by the “older” girls. They were a constant source of encouragement, and motivation to do better. Just the fact that someone older was giving me that much attention pushed me to try harder, to delve myself into one of the most culturally complex and deep art forms of Ancient India. Now, as one of those “older” girls, it absolutely feels different from the outside looking in. While I am not the perfect teacher, nor will I ever be, there are many things I have learned from introducing one of the most important art forms and factors of my culture into the lives of young children. I have realized

1.       A love for culture is often learned, not inherent:

a.       Many of the children are forced to be in the class, and start their dance careers with a sense of obligation, rather than want. By introducing Dance to them in a manner which appeals to their excitement, a sense of culture can easily be fostered in the children.

2.       The value of patience:

a.       When working with children, especially between the ages of 5 – 7, it is important to remember that their attention span is VERY arbitrary, and that one should not expect full attention ever. By taking a deep breath and continuing with the lesson – while attempting to make it interesting enough for young children by incorporating games and songs (something that lightens the heavy onslaught of the culture within the dance form) one can push through. The patience I have learned from being a teacher has definitely been applied in other aspects of my life – I have gained a new respect for teachers around me, and I am able to complete work with more efficiency as I drown out distractions.

3.       Someone is always watching:

a.       I remember as a child, I would always watch the older girls and follow exactly what they were doing. Now, as that role model, I attempt to carry myself in a manner similar to what I observed so long ago. I constantly hope and wish that I am making as much of an impact on the lives of the young children as those who taught me had on me.

The Natya Shastra

The book I chose for my project is the Natya Shastra. It is essentially the treatise of Indian Classical Dance, and holds all the rules for the dance form. Originally written between the 1^st century BC and 3^rd Century CE by Bharata Muni, it has codified not only Bharatanatyam, but also all other classical forms of dance in India. The version I am reading is translated by the Royal Asiatic Society in 1944. Although many mistakes have crept into the translation, for a txt that was originally written such a long time ago, it will be able to provide ample information for the ISP.  The text not only covers the core aspects of dance, but also organizes all aspects of staging, including stage-design, makeup, and music (goes into great detail about the instruments and music of the period). Originally written in Sanskrit, it is obvious that it was made solely for an elite, educated audience of Brahmins who also played a large role in religion in Ancient Indian Society. The text has 6000 different slokas (chants) which specify on everything from eye movements to neck movements, and even audience appreciation. These include:

1.     The Mythic Creation of Theatre

2.     Theatre Buildings

3.     Religious Rituals

4.     Dance

5.     Pre-Show Activity

6.     Rasa

7.     Bhavas

8.     Acting: Head and Face

9.     Acting: Hands and Limbs, pt. 1

10.   Acting: Hands and Limbs, pt. 2

11.   Stage Movement: Steps

12.   Stage Movement: Combinations of Steps

13.   Stage Movement: Gaits

14.   Areas of the Stage and Styles of Plays

15.   Voice

16.   Meter

17.   Poetic Figures

18.   Languages, pt. 1

19.   Languages, pt. 2

20.   Types of Plays

21.   Plot

22.   Mood

23.   Costume

24.   Acting: Imitation and Representation

25.   Acting: Characterization

26.   Gesture

27.   Success of a Production

28.   Music

29.   Stringed Instruments

30.   Hollow Instruments

31.   Tala (Drumming Rhythms)

32.   Songs

33.   Drums

34.   Character Categories

35.   Roles

36.   The Theatre Myth

As my presentation is on Classical Dance and not Ancient Indina Theater as a whole, I will be focusing mostly on chapters 4 – 13.  

Adavus, The Building Blocks

Adavus are he baby steps of Bharatanatyam. Any bharatanatyam dancer, at any level, is still connected by these basic steps that are drilled into muscles, from day one up until the professional level. While Adavus may just seem like the building blocks, the single steps that go into the graceful dances which make up Bharatanatyam, there is a specific, scientific reason behind these movements. Adavus are a combination of four formulaic positions. The sthanakam, or the position of the legs, the mandalam, or the body posture, chari, or the walking manner, and nritta hasta, or hand gestures. When all four are completed in complete unity, the perfect adavu is formed. This being said, there is still more codification that goes into the formation of adavus. There are ten types of adavus, each with a certain movement that they are based off of. These types are:

1.       Tatta Adavu (Tapping Step)

2.      Natta Adavu (Stretching Step)

3.      Visharu Adavu  (Intense Hand Movements)

4.      Mett Adavu (Heel Steps)

5.       Tirumanam Adavu (Concluding Steps)

6.      Murka Adavu (Turning Steps)

7.       Jati Adavu (Steps that bring of out Thaalam, or beat)

8.      Kuditamitta Adavu (Jumping on the toes, Striking the heels)

9.      Mandi Adavu (Fully Bent Knee Steps)

10.   Sarikal Adavu (Sliding Steps)

All students are expected to learn adavus before learning any dance, or any combination. This is to develop flexibility in initial stages, rather than struggling with steps later, to form the correct posture, to build up stamina, build up musicality, and be aware of the body.  

Connection to Hamlet! (Navarasa)

The Navarasa, or 9 emotions, in Bharatanatyam are the basis of all abhinaya, or expression in the dance form. Expression is a crucial part of Bharatanatyam, and it is what gives the dance form the fluidness and ease of story-telling that it is known for. Navarasa can be seen as dramatic elements that can be applied to a play, novel, or other literary work. As such, we can easily relate Bharatanatyam to Hamlet through pinpointing and extracting the Navarasas throughout the play.

·         Shringara (Love): Shringara represents love in the sense of beauty, that which evokes beauty and happiness in the mind of the beholder. It encompasses all varieties of love, such as love between a mother and child, love between friends, and love between a man and a woman. Shringara is expressed in Hamlet between the King and Queen, and is shown with much intensity in this situation, as the Queen’s Shringara for the King is so strong that she is blinded and is unable to see the maltreatment and immorality of her husband’s reign. Shringara is described as a passion so intense that it makes one sensitive to all around them, even a mundane mountain breeze, and this tenet is obviated through the profound “pain” the Queen feels each time Hamlet, her own son, insults the king.

·         Hasya (Mirth): Hasya is described as free-will, joy, and laughter which brings the soul peace and comfort. It ranges from simple teasing to stomach-spiltting laughter. Hasya is observed each time Hamlet interacts with his friends, as he is constantly poking fun and taking part in horseplay. Hasya represents the childish side of any being, and in Hamlet, the juvenile aspect of each man’s personality is brought out when with acquaintances.

·         Bhibatsya(Disgust): Bhibatsya is the abhinaya encompassing feelings of repluse, sickness, and revolt. Obvious disgust and distaste is observed in Hamlet as Hamlet comments on the immoral, lustful actions of his mom (as she married her dead husband’s brother). Hamlet is so disgusted by these actions that he begins to look down upon the whole of womankind, calling it weak. Hamlet allows us to observe a very strong facet of Bhibatsya, extreme personal disgust.

·         Raudra (anger): Raudra is anything that causes one to feel rancor and vile against another body. Raudra is seen in a very intense manner in Hamlet’s feelings against the King. This Raudra is so strong that Hamlet is led to feign craziness, to kill others in his plight to kill the king himself. Raudra is thought to be the onslaught of all things inharmonious in the world, which is exactly how events in the castle seem to be progressing as Hamlet’s madness towards the Kind increases.

·         Shanta (peace): Shanta is the complete lack of all other rasas. It is the repose and calm and quiet which can only be obtained in the lack of all raucous. Because the play Hamlet enters on Hamlet’s life when it is in a state of melancholy and worry, there are very few instances of true Shanta. The only moment at which any Shanta, or peace can be seen, is when Hamlet makes peace with Laertes, and blames his own madness for the death of Polonius.

·         Veera(heroism): Veera is the trait of bravery, ambition, and sensibility. Veera is reflected in those who take actions not only for themselves, but who also take the lives and wishes of others into mind. Hamlet portrays and reflects strong aspects of Veera when he takes on his father’s request and sets off to kill the King. Not only is Hamlet avenging the life of a loved one, he is also doing what is in best favor of the entire of country of Denmark, which depends wholly on his actions.

·         Bhaya(fear): Bhaya is the emotion which encompasses anxiety and restlessness caused by the onslaught of the unknown, the presence of evil. Ophelia portrays aspects of Bhaya as she reacts to the apparent lunacy of Hamlet. The sudden switch of one who she thought was loving and kind to one who was hostile and insane brought about a feeling of evil in her, one which cause Bhaya, or fear.

·         Karuna (Greif and Compassion): Karuna is the feeling of tragedy and despair for those around one, a true care for ones surroundings. Karuna is expressed by Laertes when he encounters his sister, driven insane by the madness of Hamelt and the recent death of her father. He expresses his complete desire for her betterment, and seems to feel sorrow of a similar magnitude to that of hers, although he has not experienced quite as much greif. This shows true Karuna, or utmost care for a loved one.

·         Adbutha(Surprise): Adhbutha is the wonder and speechlessness one feels when one comes across something divine, something so awesome and powerful that it had never before been imagined. Hamlet expressed utter bewilderment and shock when his father’s ghost appears directly in front of him. This appearance of the divine, the sudden onslaught of something that had long been deemed fleeting, causes Hamlet to stutter in utter shock.

Different Styles of Bharatanatyam

As a diverse art form, it is inevitable that Bharatanatyam has itself split into various forms throughout India. Each “School” of Bharatanatyam has slight differences in its technique and method of portraying the numerous stories found in Bharatanatyam. Contemporary schools/forms of Bharatanatyam include Mellatur,  Pandanallur, Vazhuvoor and Kalakshetra, as well as Mysore. Each style has its tell tale nuances, from footwork to expression. The Mysore style focuses more on elegance and grace and emphasizes swaying movements and deer expressions.  The Melattur style focuses on abhinaya, or natural expression, and requires the most flexibility for its movements. Known for its flowing emotions, it is also regarded for its crisp footwork (jathis). The Pandanallur style incorporates the feminine style of dance through its deep sitting positions in slow and difficult-to-execute dances.  The Vazhuvoor style has a wide variety of poses to break the continuity of dance and allow for some abhinaya (expression). The expression in this form is more subtle, with more spontaneous expression, rather than pre-choreographed expression. The adavus, or footwork, is much more soft and smooth than that of other styles. Additionally, in this style, the body from above the waist is much slower and contains widespread movement.  Lastly, the most modern, and most “simplified” form is The modern Kalakshetra. It is a form which is based on other forms, including the Pandanallur and Thanjavoor styles. Kalakshetra focuses a lot of adavus (footwork) and intricate beats and patters, and is most extensively used in the contemporary performance world.

The Meaning of Bharatanatyam Costuming and Makeup

Unlike many dance styles of contemporary culture, the costuming for Bharatanatyam has stayed constant from its founding. Called Aharya, or ornaments and decoration, costuming plays a crucial role in the traditional aspect, as well as the story telling aspect of the dance form. Although the dress, makeup, and jewelry, are extremely complicated and at times may seem overly extensive, each piece has a specific reason and significance. For the costumes themselves, the colors are traditionally of great significance. According to the Natya Shastra, the assignments of colors are as follows:

“Siddha (enlightened) women –  yellow

Gandharva (heavenly) women – saffron
Rakshasa (demon) women – black
Goddesses – parrot green
Monkey character – blue
Women in viraha (yearning) - white ”

While small details, such as the intensity of adornment, or the length of the costuming itself has changed over time, the costume consists of the same things: A loose pant which grabs at the ankles to allow for free movement (which are secured with ankle bells), a fan which brings grace and elegance to the dance, a blouse with a shoulder drape, which is very similar to the top of the traditional Indian saree, and jewelry on the waist and neck, at a minimum.

Bhartanatyam and Classical Indian Music

The ancient art forms of India have evolved together to sculpt wondrous creations that reflect the core of Indian Culture. All songs traditionally danced to in Bharatanatyam have their origins in, or are Carnatic (classical Indian) music. The exactness of the base beats of Bharatanatyam mirror those of Carnatic music exactly, as the different talas of Carnatic music merge together in Bharatanatyam dances to create enthralling, intricate footwork. Additionally, Bharatanatyam dancers capture the emotion and passion buried in the vast stories of Carnatic music, and they are able to relay the intensity and minor elements of Carnatic music with ease. With the bhava (emotion) in Bharatanatyam and the thala (beat) in Carnatic music, the relationship between two forms allow an overarching portrayal and storytelling of epics that have been in Indian culture for ages. Without one or the other, the form of Bharatanatyam as an art (not only dance of music) would be empty and would lack the roundness it requires to be an accurate representation of Indian culture and arts. 

Origins of Bharatanatyam (Devadasis)

While the text dictating guidelines of Bharatanatyam had noble origins, from the noble mind of Sage Bharata, the dance form itself claims more humble origins. Bharatanatyam was conceived from the dances of the devadasis, women of female communities who inherited their right and gift of dance from a long line of women before them. The devadasis performed in temples, celebrations for the elite class, and in royal courts, where their presence was greatly anticipated and appreciated. The dance form itself was refined mostly from the forms danced in the Royal Courts of the southern Indian States of Andhra Pradesh and Tamil Nadu. The devadasis was held in positions of high respect for their expertise in the arts, and enjoyed quite a high social position in India until the Victorian Era. As their legacy, devadasis choreographed many of the dances that remain key pieces in the Bharatanatyam repertoire today. 

Bharatanatyam and the Western World

As the South Asian diaspora in the United States continues to grow at an exponential rate, the rate of cultural diffusion and interaction with the already present, American culture increases as well. In an attempt to preserve and promote culture, many parents of South Asian heritage place their children in activities, including classical dance and music, which easily kinder a liking, as well as an awareness, of the culture. While prior, the epicenter of the world of Bharatanatyam may have been in the ever cultural city of Chennai, it has now broadened its reach all over the world, mixing with other cultures and forming a beautiful amalgamation of east-meets-west dance and movement, even inspiring dances in popular culture. The form isn’t stagnant, but rather, is able to adapt to any and every culture it is introduced to. The adaptable form has proved resilient both in its traditional and contemporary forms, and has proved a great asset to the “west.”

My main piece of text for the ISP is the Natya Shastra, an ancient Indian text, encompassing the entirety of performing arts, including theatre, dance and music. It is often attributed to the Sage Bharata, who is assumed to have written the text during the Classical period of India, sometime between 200 BCE and 200 CE. The Natya Shastra (translated) will be a primary source of historical, factual research for this project, as it provides the theory and technical basis for Bharatanatyam as a whole. 

I have done Bharatnatyam (Indian Classical Dance) for ten years. It has been an integral part of my life, something which was sure to be there when I moved and switched schools. This past summer, I completed my Arangetram, a debut on-stage performance of a classical dance student, after undertaking years of training. At the culmination of my Arangetram, I realized that I knew everything about the technique and minute details of the art form, yet nothing about the theory. Bharatnatyam is strongly rooted in the rich culture of India, and there is an endless supply of history and heritage in Bharatnatyam to learn about.