RASAM FOR THE
DANCER’S SOUL An overview of essential basics to Bharathanaatyam (with additional anthropological discussion)
Ganavya Iyer Doraiswamy
ADJUNCT LECTURER, The Association of Performing Arts of India, FL, U.S.A. PRESENTER, Student Research and Artistic Initiative (2010) Florida International University, Miami, FL, U.S.A.
2010, SRAI Research The Honors College, FIU 11200 SW 8th St Miami, FL 33174 Copyright © 2011 by Ganavya Doraiswamy All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. No portion of this book may be used without prior approval from the author unless the material in question is to be used by The Honors College at Florida International University or by students of the Association of Performing Arts of India’s collegiate endeavors (Broward College). For information address Vittal Academy Incorporated, 15810 Sedgewyck Circle North, Davie, FL 33331 First paperback edition June 2011 The Association of Performing Arts of India or Vittal Academy Incorporated can bring the author to your live event. For more information or to book an event contact them through www.apaiart.com or www.vittalacademy.org The Student Research and Artistic Initiative (S.R.A.I.) at Florida Int’l University has been augmented upon and replaced by the Advanced Research and Creativity in Honors (A.R.C.H.) Program. For more information on the advanced collegiate research conducted by The Honors College, F.I.U. address 11200 SW 8th Street Miami, FL 33199 +1 (305) 348-4100 or honors@fiu.edu Cover Design by Ganavya Doraiswamy Photography by Menalik Archer Photography, U.S.A. with Illustrations by Shruti V. Nair & Mihir Balantrapu Title Concept by Vignesh Doraiswamy Printed in the United States of America
ISBN 978-1-257-76598-0
For every passionate artist out there fighting a philosophical battle to keep their art functional: just as my beloved family continuously fights for me & as Dr. Juan Carlos Espinosa does for his students.
"...for they took away the old planks as they decayed, putting in new and stronger timber in their place, insomuch that this ship became a standing example among philosophers, for the logical question of things that grow; one side holding that the ship remained the same, and the other contending that it was not the same..." —Plutarch, Parallel Lives
[from John Dryden’s c.a. 1683 translated edition]
Plutarch is also known as Lucius Mestrius Plutarchus, after the Greek philosopher assimilated into the Roman civilization.
THIRUVANMIYUR, CHENNAI 600 041 COLLEGE OF FINE ARTS GURU K. MOHANAN PROFESSOR OF DANCE
The realm that Bharathanatyam operates on is as potentially abstract as any art form; furthermore it is an ancient one at that too. It takes a great deal of understanding and determination to translate these concepts into a tangible presentation, and this textbook is an excellent resource to those who seek exactly that. Vital questions in the field of art that cannot be answered (such as the need to uphold traditions in the face of keeping art relevant) are often ignored; Ganavya has chosen to address the issue by exploring it instead. I have known the author since the beginning of her journey to understand and decipher the art of Bharathanaatyam. I have seen her in action on both sides of the hemisphere, and cannot think of many people who manage such a level of understanding of both cultures. Her ability to relate polar worlds is not only limited to culture but language as well; she seamlessly discusses sophisticated issues of art. The discussion in this text is well beyond her time and age, and she has done us all proud. I have no qualms in recommending this textbook not only to the University for which it was authored but to any budding dance artist who seeks to understand the language of Bharathanatyam.
K. MOHANAN
CONTENTS Preface
Premise of the Text
x
Chapter 1
Introduction
4
Chapter 2
Origin of Bharathanaatyam
6
Chapter 3
Single Handed Gestures pathaka uses tripathaka uses ardhapathaaka uses kartharimukhaha uses mayoorakyo uses ardhachandrascha uses araala uses shukathundakaha uses mushtischa uses shikaraakhyascha uses kapitha uses katakamukaha uses soochi uses chandrakala uses padmakosha uses sarpashirasthatha uses mrugasheersha uses simhamukaha uses kangoolascha uses alapadmakaha uses chathuro uses brahmaraschaiva uses hamsaasyo uses hamsapakshakaha uses sandamsho uses mukulaschaiva uses thambrachuda uses trishulakaha uses
15 18 21 22 23 24 25 26 27 28 29 30 31 32 34 35 37 38 39 40 41 42 43 44 45 46 47 48 49
Chapter 4
Double Handed Gestures anjalischa uses kapothascha uses karkata uses swasthikasthatha uses dolaahastha uses pushpaputaha uses utsanga uses shivalingakaha uses katakaavardhanaschaiva uses karthari-swasthikasthatha uses shakatam uses shankha uses chakrecha uses samputa uses paasha uses kilakaou uses matsya uses koormoh uses varaahascha uses garudo uses naagabandhakaha uses katva uses berundakaakhasyacha uses avahithastha uses
Chapter 6
Head Movements samam uses udhvaahitham uses adhomukham uses aalolitham uses dhutham uses kampithamcha uses paraavrutham uses ukshiptham uses parivaahitham uses
Chapter 5
Eye Movements samam uses aalookitham uses saachi uses
50 52 52 53 53 54 54 55 55 56 56 56 57 57 57 58 58 59 59 59 60 60 60 61 61
praalokitha uses nimeelithay uses ullokitha uses anuvrutheycha uses thathaacheivaavalokitham uses
Chapter 7
Neck Movements sundareecha uses thirascheena uses thathaivaparivarthithaa uses prakampithaa uses
Chapter 8
Enriching background Important mythology deva hastaas (Gods) jaathi hastaas (castes)
Chapter 9
Miscellaneous hand gestures/ postures baandava hastaas navagraha hastaas dhashaavataram rasam/bhava common adavus
Chapter 10
Margam: the Pieces of a Performance
Chapter 11
Basic Introduction to Carnaatic Music
Chapter 12
Brief Overview of Traditions
Chapter 13
Costumes: In Class and On Stage
Chapter 14
Emergence of Different Styles
Chapter 15
Neo-Bharathanaatyam Glossary Acknowledgements Appendix
RASAM FOR THE DANCER’S SOUL
Author’s Note: Bolded words are commonly used when talking about Bharathanaatyam. You can find the definitions in the Glossary section if you don’t find them familiar. Words would be italicized for one of three reasons: either it is a Sanskrit word, referring to another work’s title, or is trying to place emphasis on a word. Spelling Sanskrit words (or any Indian language for that matter) in English has always been tricky—the method used here was decided upon after surveying English-based Bharathanaatyam students. It is emphasized that learning Bharathanaatyam requires a Guru, even if it’s theory. It’s a hard feat to understand the proper pronunciation of these words, gestures and movements without demonstration. If there is no Guru around and you’d like to learn the pronunciations down to the dot (the differences between the th, thth, dha, ddha etc.), there is a video DVD that is released with this edition. It’s pretty intuitive to most, but here’s the breakdown: a
uh
short vowel form
aa
aah
long vowel form (in nontraditional English orthography)
ay
ai-d; s-ay
long vowel form (in traditional English orthography)
+h
ex: bha, tha, kha
emphasis; a unique feature of Indian languages that have been influenced by Sanskrit.
o vs. oo
oh versus food
Note: the oo is sometimes written as u, depending on context
All other phonetic executions are that of regular English reading.
PREFACE Rasam for the Dancer’s Soul is a text designed for an introductory course in Bharathanaatyam: it aims to cover the basics that any teacher (regardless of school or style) would prefer a student to know. Although the theory that is discussed in it is valuable to every Bharathanaatyam dancer, the text is tailored for the non-native dancer; it objectively focuses on the evolution that the dance form has undergone in the Western hemisphere. It attempts to transform the abstract gap between the “native” Indian Bharathanaatyam student and the “foreign” trained neoBharathanaatyam artist (if such a term is to be accepted) by presenting the information that is said to have been lost in the transition in a tangible and concrete manner. In response to an increased criticism of the Western hemisphere’s standard of performance (or lack thereof, according to the more conservative critiques), the text was given an apt title: Rasam refers to the essence and aesthetic state that a honed Bharathanaatyam dancer’s mind enters during performing (rasanai, rasa). The lighter alternative definition of this homonym grants the title the ability to simultaneously spin-off on a popular series of soul-searching books, for rasam is also a popular South Indian soup (with the connotation that chicken soup carries in the west). Just as the title suggests, the text hopes to capture and combine the depth that tradition invokes with the innovative spirit that accompanies an assimilated cultural mindset. Essentially, the text is an accessible and user-friendly guide that does not alienate its intended audience. We have carefully worked against forming a bulwark founded by a need to appear scholarly and compounded by technical jargon. Without losing sight of such an ancient art form’s due reverence, the customs and traditions have been carefully translated into more explicable language. Both text and title were inspired by the
juxtaposition and resulting tension between formal rigor (the traditionalist view) and the homespun soul searching of the West. Bharathanaatyam is at a pivotal point in its development, for such globalization and resource availability are unparalleled; if these two aspects were to replace any dissonance by cooperating, we can ensure that the art form will resonate for generations to come. There are very few collegiate avenues wherein such content may be used for courses simply due the specialized nature of the subject—however, the text has the potential of being used in multiple contexts. The Association of Performing Arts of India provided an avenue for such a production to enter the world of academia sans any ties to a particular dance school through its regular courses at the Broward College, therefore creating the unique need for such a text. The first version that is being released will not include a visual catalogue of all of the mudras simply out of necessity; given that the immediate audience of the text will be students, both cost and availability of a physical resource was taken into consideration. A following second edition that will include additional commentary, auxiliary examination, pictographic guides and integrative critical and analytical questions is projected to be published soon, but was preceded by this less vivid (and expensive) yet equally informative version to meet immediate demands. In doing so, we also present the audience the opportunity to provide feedback and consequentially be part of the production of our illustrative version. Only the future will tell, but perhaps this publication will evolve into a series; Rasam for the younger Dancer’s Soul, Rasam for the Aficionado’s Soul… * * *
Distinguishing Features Translating the Abstract into the Concrete Although the increase in criticism of neo-Bharathanaatyam is a commonly acknowledged fact, the central point of the argument is not too clear. Furthermore, a solution is hardly ever discussed; the dancer is often left with commentary that fails to be constructive if it does not come from the right source. Given the inevitable dilution of culture with increased globalization, it seems that even those who are not well versed in the art of Bharathanaatyam have begun to juxtapose the two phenomena, apply it to “neo-Bharathanaatyam” performances and express their disapproval. Generally speaking, criticism has grown to engulf not only the typical target such as the ‘nonnative’ dancer but has spread to include the entirety of the latest generation of dancers. If the standard of performance is impeccable and is too strong to be attacked, a lack of innate understanding of the culture, mythology or simple traditions is proclaimed. Although this particular project was born after observing such a conversation, it strives to carry no connotation throughout its discussion of the anthropological significance that Bharathanaatyam has and its role in Indian culture. If any such observation is to be made, it will do so being conscious of the importance in burden of proof. The methodologies and parameters of the surveys involved in collecting this data will be clearly demarcated. In essence, the text hopes to decipher the abstract wedge between the nonnative dancer and a connotationfree Bharathanaatyam by providing concrete and accessible resource material. Assimilation Conscious of Preservation It is an undeniable fact of history that any art form undergoes evolution—just as undeniable is the inertia society
exhibits against any change that takes away from the comfort that comes with a sense of familiarity. History proves that tolerance is not the typical response to radical ideas, regardless of if the spheres influenced is that of the sciences, politics or (as in this case) the arts. Although the argument against this social inertia, i.e. conservatism, is quite strong as it has the support of revolutionary artists on its side, there is no set formula that determines whether an idea is radically brilliant or ridiculously bombastic. That being said, it is practically impossible for a Bharathanaatyam critic to be able to distinguish when this unsettling inertia against progressive Bharathanaatyam is merely a part of a larger resistance against change, or if it is a vital opinion that plays a role in preserving the integrity of an ancient dance form. I do not pose to be able to answer age-old epistemological problems, but given the following irrefutable conditions, the proposed conclusion seems valid: âˆ? Regardless of the underlying principle that drives the feeling, certain traditionalists are uncomfortable with the newer, progressive and fusion styles of Bharathanaatyam (as some even insist must be called neo-Bharathanaatyam). âˆľboth conditions result in friction; the opinions on either end of the spectrum are irreconcilable due to their absolutist nature; their functions are too vital in the survival of the art for either of them to be dismissed; âˆ? In the same token, regardless of whether or not the changes happening to Bharathanaatyam in the Western hemisphere are a result of cultural liquidation of sorts or is evidence of evolution occurring, the progressive dancers face stigma and are often greeted by negative connotations and unfavorable pre-conceived notions.
∵the nature of this dilemma is perhaps the anthropological equivalent of epistemology’s Molyneux’s Problem1, it is practical to conclude that just as modern science provides us with unprecedented conceptual knowledge to solve these age-old problems by providing enough knowledge to understand both arguments (and perhaps enough to extrapolate, too—hence being an effective substitute for precognition) ∴the most effective manner of reducing strict traditionalist criticism is by assuaging this inertia against style differences by educating the traditional dancer in the ways of all styles of dance. The traditionalist/conservative schools’ concern of a decreasing global standard of performance can be just as easily addressed by accumulating basic concepts that neoBharathanaatyam dancers are criticized to lack understanding of. Thus concluding the beginning, I hope that you will find my execution of this venture as fulfilling as I found its’ conceptualization.
Where W. Molyneux asks John Locke if a blind man is allowed to physically understand a sphere and a cube, upon a hypothetical emergence of his vision would he be able to identify the two objects without physically examining them. In essence, to predict which conceptual edits made to Bharathanaatyam will be appreciated in the future cannot be accurately predicted when our understanding of the subject lacks the dimension of precognition. Although the function of critics is to keep the standard of art in check, they can also serve to be counter-productive with regards to the adaptive evolutionary changes that art must undergo to survive. 1
Bharathanaatyam /‘bʌ.rʌ, əә.nɑ:t.jəәm/
[bhuh-ruh-thuh-naht-yum]
-noun 1. One of the oldest forms of classical dance, originating from southern India2 circa 300 BCE3. 2. A theatrical entertainment in which a dancer (usually) performs to a Carnatic music ensemble. When the performance consists of a troupe, it usually has a storyline and is therefore considered a dramatic art. 3. An ancient form of dance that began globalizing c. 18384, which is currently surrounded by controversy regarding a possible inverse relationship between the geographical extension of the art form and the sustenance of its quality. Origin: Term coined by E. Krishna Iyer c. 1940, the dance form was previously known as Sadir. Most commonly explained as the “Dance of India”, bharata referring to the preceding name of the Indian subcontinent, and natyam being the Sanskrit word for dance. Folk etymology explains it to be acronymic; bhavam, ragam, thalam (expressions, music and rhythm) combined to form said natyam (dance).5
Malik, Kapila. "Bharathanaatyam, Its Origin and Recent Development," World Theatre, 5(2): 142-153, Spring 1956. 2
Kilger, George (1993). Bharata Natyam in Cultural Perspective. New Delhi: Manohar American Institute of Indian Studies. pp. p. 2. 3
O’ Shea, Janet. “At home in the world: Bharathanaatyam on the global stage”, Wesleyan University Press, 2007, p. xi 4
Many scholars argue that this is a recent development that stemmed from the Western practice of acronyms. Kollengode Venkataraman, Editor of The Pittsburgh Patrika, wrote that the “20th century acronym-building disease pervasive in European languages (integrated into) Bharathanaatyam. Soon, because of the zinger effect in using an acronym for explaining Bharathanaatyam to an anglicized Indian audience, most emcees uncritically embraced this.” 5
INTRODUCTION Bharathanaatyam is arguably the most common Indian dance form in practice today, despite being one of the oldest. As every art form, it has evolved; the extent of its development reaching new heights in the past century. The problem, however, is not regarding its general trend of development but rather the fact that its evolution has lately been criticized to be a degradation of sorts. Globalization has built a rostrum of change for art, and all ancient art forms are being pressured to use it for the sake of survival. As a result of miscegenation, cultural norms will inevitably be altered. The contemporary dancer is forced to wonder: where is the line drawn when it comes to a dancer’s right to reinterpret an ancient dance form? Is this practice a part of this dance’s evolution or a step closer to its extinction? In September 2001, dance ethnologist Anuradha Ganpati chronicled society’s response to a teen performance of a strictly interpreted ratisringara padam in a typical microcosm of the IndoAmerican world, the city of Los Angeles6. Ganpati’s interviews in the article accurately delineate what many dancers are finding hard to do: be able to pinpoint the complications that the evolution of Bharathanaatyam faces today, specifically in the western hemisphere. The situation of amateur dancers performing a typical number seems quite ordinary, but is quite the contrary in the scope of Bharathanaatyam. Anthropologically speaking, the evolution of the dance form (and attitudes towards it) reflects quite accurately upon the changes that occur in Indian culture. For example, the average non-native teenager cannot understand the lyrics of the piece and therefore is completely dependent on the teacher for instructions on abhinaya. Some
1Ganpati,
Anuradha. “Selecting the Padam in Los Angeles”, an excerpt from author’s graduate thesis titled Imagining Inheritance, University of California, Los Angeles.
scholars have argued this to be the first step in cultural dilution- not all phrases are understood the same way when interpreted into another language, and many contextual scenes are no longer associable or applicable to modern perspectives. Therefore, they argue, there is ground for Bharathanaatyam to be dismissed as anachronisms. Without a strong background of the theoretical aspect of Bharathanaatyam, soon there will be interpretations of interpretations being taught, only to further dilute it until the original concept is lost in translation. In an interview7 with a Los Angeles teen’s mother, Ganpati wrote that the “(interviewee’s) daughter at fifteen will not reconcile to the fact that this woman is pining for her man. She finds it too ‘cheesy’ because she has been raised in America. The culture is different here, girls are much more verbal and direct here.” Modern Bharathanaatyam gurus are faced with the option of interpreting the lyrics loosely in order to increase the student’s associability with the situation, or may choose to explain the context of the lyrics, which does not have a guaranteed result of improvement in either performance or depth in understanding. According to most critics of modern Bharathanaatyam, teachers eventually give up on their attempt at recontexualization and are forced to compromise on the standards of performances for the sake of spreading the art. If those who are trained in the art are compromised in their understanding of it, one cannot expect the audience to understand any better. The current generation of audiences may be able to appreciate the art form due to previous exposure, but the survival of Bharathanaatyam as we know it may not occur if the next generation does not equip themselves with the ability to understand it (or an acceptable way of adapting it). When the concept of adaption is brought into question, the fact of its existence today is used as an argument in support of loose interpretation, the premise The interview was between Ganpati and Malathi Iyengar, the Artistic Director of the Rangoli Foundation for Art and Culture in Los Angeles at the time in February 1998. 7
being if an art form has successfully managed to exist through thousands of years, it may not seem appropriate for conservatism to demand maintenance of certain standards today and restrict the natural adaptation required for survival. Since advocatus diaboli is no stranger to the process of studying polar opposite cultures, the same exact evidence can be used against the argument: Bharathanaatyam’s stylistic changes have been minimal over the course of its history with the exception of the past few decades; the notion that art must adapt instead of the artist is disrespectful to the art form. Conservatism doesn’t seem to be the only reason that the standards are being questioned. Evolution has always faced criticism, perhaps due to the inertia in art against change (at the cost of familiarity). Despite the fact that globalization at these rates is unprecedented, the dancer is still criticized of no longer being equipped with the familiarity of the words or context. Therefore, the important question is not if those who complain of a loss of standard are obstacles to evolution, but if this evolution is actually detrimental to the art form. Both parties (those who favor loose interpretation and those who do not) agree that the beauty of art lies in an execution that has a deep understanding of it; ∝ There lies no merit in a variation made to Bharathanaatyam if it was made without a complete understanding of its form; ∝ There lies no merit in debasing an innovative style if its architect is a scholar in Bharathanaatyam, for it then becomes a question of opinion over anything else; ∝ And therefore, one may conclude that the true argument is not against evolution but for the encouragement of understanding Bharathanaatyam in its entirety despite its ancient nature.
These things in consideration, (and taking into account Bharathanaatyam’s recent recovery from a “loss of divinity”8) we are witnesses to an apex in Bharathanaatyam’s evolution. As much as it has been demonized, globalization has its undeniable benefits. The same phenomenon to which cultural dilution has been attributed to is the same trend that has been instrumental in educating cultural spheres of each other’s existence. Cultural groups no longer have a limited perspective of the world. With such clued-up global perspective, the generation that is blamed for Bharathanaatyam’s need to adapt is the same generation that has an unprecedented holistic understanding of cultural norms. With such a broad perspective, the younger generation of the IndoAmerican youth (or any non-native dancer, for that matter) can easily understand the significance of multiple cultural norms. Those who criticize the younger generation of being ignorant of older norms are perhaps themselves ignorant of the circumstantial nature of globalized norms; the younger generation is equipped with the ability to understand other perspectives. If the sense of understanding they have is not expected to be one that represents their own perspective on life, there would be no issue at all; however, the depth of their abhinaya execution is then called into question. In the case of Ganpati’s interview, the girl’s execution of the padam may have lacked depth because she was unable to reconcile with her opposing perspective and the one she was acting out—either a piece must be crafted friendlier to her perspective (fusing styles more familiar to her, for example), or she must adapt herself to understand the context of this ancient dance. If the younger student in question cares not to believe in the same norms that framed Bharathanaatyam’s storylines as we know it today, abhinaya can still be achieved if they are advised to treat it as an acting role; the same fifteen year old who found the role of a pining female protagonist hard to digest would probably have not 8
Discussed in the History of Bharatanatya,(Chapter 4)
thought twice about it if it were in a school play’s audition script. The more successful teaching styles that produce performers who do not disappoint the expected standard are those who are not only aware of the younger cultural norm, but do not attach a negative connotation to it and therefore do not mind incorporating it into their lessons. When a strong negative connotation is attached to the cultural norm that they feel is their own, the younger generation seems to lash out by in turn rejecting the norm of those who disapprove of their own. Fortunately, such psychological and philosophical ramifications of assimilation upon Bharathanaatyam are not as easily solved as concrete issues that have quite the simple solutions; for example, a common issue that restricts abhinaya execution is the language barrier. Not only does the upcoming generation have to face lack of innate contextual understanding, but speaking native Indian languages is becoming less prevalent. With English, the need to know the basics of Indian languages other than that of one’s mother-tongue is no longer necessary for survival (neither is one’s own, for that matter). This being said, the most common complaint is surprisingly not one of philosophical nature but one of linguistics: a typical margam consists of songs that could be Tamil, Telugu or Sanskrit. The dancer in question is lucky if he or she speaks at least one of those languages- and even if they do, the language of Bharathanaatyam’s songs is more than usually archaic in nature. It is a misconception that the depth in abhinaya that ‘native’ dancers exhibit is a result of understanding the prose or lyrical content of a program- although their cultural norm might be closer to that of the expressions involved in it. Native dancers might have the advantage of familiarity when it comes to the conceptual aspects of Bharathanaatyam, but by no means are the long performances better tolerated in India simply because the audience is multilingual. Similar to the concept of sign language: the theory of Bharathanaatyam forms a signed language in itself. Once a dancer
knows the basic words, Bharathanaatyam becomes a language, and the burden of a performer’s inability to understand is lessened greatly. Regardless of whether you are an aficionado or a student of this dance form, learning basic theory is critical in the process of understanding a Bharathanaatyam performance in its entirety. Every single hand gesture has its respective definition. To watch a performance for hours with no understanding of the message is potentially painful, but to understand the reenaction of stories that have been retold for thousands of years is not. In view of this, the simple solution promised is finally presented: learning the definitions of hand gestures can make a world of a difference. Being trained in both a native and non-native setting, I could see only one major difference: students who lacked interest usually lacked basic theoretical knowledge. The bulk of Bharathanaatyam theory focuses on defining expressions, gestures or movements, with a portion overlapping basic Indian classical music. Expressions are easily associated with when there is a clear understanding of the character; characters are understood when there is a clear understanding of context and history- and knowing basic theory gives the performing the medium to freely express it, without the need to copy the guru’s every move. Equipped with the knowledge of theory, even the most inexperienced dancer is given the power of expression in a universal language of Bharathanaatyam. To imitate one’s movements very closely never replace the ability to express ones’ self intuitively; perhaps this is the missing piece in the execution of abhinaya. By merely a reproducing the shlokas that were taught by oral tradition and combining it with additional contextual information upon Bharathanaatyam and its traditions, a concrete solution is provided to an abstract problem. This theory is over thousands of years old, and is derived from the Natya Sashtra itself: one cannot help but look at Bharathanaatyam differently after understanding what a developed and complex art form it is. Quite contrary to common belief, I assure you that it is anything but irrelevant.
ORIGIN From an anthropological and scientific perspective, factually speaking, there is no one person that the conceptualization of Bharathanaatyam can be credited to. Anthropologically, the origin of dance is said to have evolved from a particular set of actions that early humans used to convey emotions such as clapping, jumping and exertion of vocal chords. As the art of expression was forced to become more specific and structured out of a need for efficient communication to keep up with intellectual and technological evolution, ethnochoreologists believe that the concept of dance was created. Society was not nearly as individualistic as it is today; it makes sequential sense that the model of being able to take part in a ritual together (such as dancing around fire) was an effective method of developing a sense of camaraderie. No matter the extent of its evolution, the original function of dance is yet to change. All dance forms have their own stylistic signatures, therefore making it so that the cultural norm and societal context can easily be deduced from their structures. Functioning as more than just a repository and as a kinetic archive of sorts, dance’s anthropological consequence is in the fact that its effect on culture is a two-way street (effecting and being affected). Taking this into consideration, by analyzing culture we can surmise an approximated time when Bharathanaatyam’s style of dancing started forming- the earliest being a bronze statue of a dancing girl from an archeologist site in Mohenjo-daro1. Surprisingly, it is not too hard to reconcile the mythological perspective with that of contemporary science. There are many interesting concepts in the mythological story which are all surprisingly ahead of their time. Bharathanaatyam has been
1
c.a. 2600 B.C., an Indus Valley civilization site.
mentioned in the earlier recordings of human writing2. It is assumed to have existed before humanity’s ability to transcribe; there is no concrete date as to when it originated.3 Considering the age of the art form, there is no recorded founder either- which goes along with the myth that it is an art form that was given by immortal beings to the mortal world.4 There is a myth common to all styles and forms of Bharathanaatyam: According to the Indian calendar, there are four ages (called yugas) that the world goes through. As the belief goes, the earlier we are in the cycle, the more divine mankind is; and reversely, the later we are in the stages, the more worldly or materialistic mankind will be. During a certain treta yuga (the second of four stages), the laws of nature were being questioned by mankind. In order to calm the collective existential crisis that men were plummeting into, the devas approached the Lord of Creation, Brahma. The Lord went into deep meditation and created the art of dancing, and sought to calm man’s inner instability by introducing an art form that would entertain, uplift, express and teach. By giving man the ability to feel true passion, he believed that it would assuage their pain and help them come back to leading a dharmic life. Thus, he is said to have discovered Bharathanaatyam. Tying in with the scientific concept of dance having been created out of a need to assuage mankind’s increasing need to express themselves (and consequentially feel the contentment that accompanies expression), the supposed diametrically opposed worlds weave into each other. 5
He chose to pass this art form to a sage called Bharatha, this giving way to another possible explanation to the naming of Bharathanaatyam (Bharatha’s naatyam being Sage Bharatha’s dance). The Sage went on to teach Bharathanaatyam to his one Cathir is an ancient dance form that was renamed Bharathanaatyam. Many ancient texts speak of Cathir (further discussed in Chapter 4). 3 Schechner, Richard. Between Theatre and Anthrolpology, University of Pennsylvania Press, pp 77. 4 Banerji, Projesh. Dance of India, Kitabistan Publications, 1956. pp 127. 5 The four stages are Satya, Treta, Dvapara and Kali. 2
hundred sons, due to their exceptional grahana, dharana, prayog and gnyaana6. However, his sons (as males) weren’t able to perform a certain style (called Kaishiki Vruthi), due its delicacy. The Lord of Creation then created 24 female apsaraas, who explored the art from the female perspective. Such a concept speaks of art’s power on mankind, the ability to calm chaos through realizing true passion, the gracefulness of women and the strength of a man. Soon after, Bharatha conceptualized what we know as the first performance: a dramatic execution of all the aspects of Bharathanaatyam. With rhythm, music and expression, they performed the “Asura Parajai” (the defeat of the Demons). When the asuraas heard of the performance, they were offended and approached Lord Brahma who in turn is said to have reminded himself of the purpose of Bharathanaatyam- for it was an art form that was meant to recover the inner divinity in all. He encouraged them to learn the art. Soon after, it was introduced to the mortal realm, and has been practiced here ever since. Bharathanaatyam is meant to consume one’s self, and break one’s perennial connection with the materialistic world. For dancers who find that passion, that ‘mythical’ divinity is still very real. Bharathanaatyam was never genderist, but there is another sub-story to its origin that highlights the difference between a male performer and the female dancer (and is an excellent example of how dance acts as an archive by reflecting cultural norms and roles). The dance form is said to be truly mastered by Lord Shiva, in his form of Nataraaja, who is the face of Bharathanaatyam and is often pictured dancing with his wife, Paarvathi whom he taught. His method of instruction was to execute a particular dance step so she could repeat it; as imaginable for a Goddess, she did not have difficulty repeating and executing her lessons. As time progressed, it is said that many began to question if she was on par with the skill of Lord Nataraaja himself. The story continues to say that Lord 6
Four traits of a good student; namely intelligence, retention, expression and knowledge.
Nataraaja then performed a particular pose referred to as the urdhava-Nataraaja, whereupon he lifted his right leg high enough for it to be parallel to his body. As the culture of India goes, females are not ones to expose themselves, and therefore his wife did not repeat the pose. This story is often used as evidence of India’s deeprooted sexist nature, but such an opinion seems to be ill-formed and ill informed; the sons of Bharatha were unable to dance with the gracefulness of the upsaraas; yet Paarvathi was unable to dance with the unabashed vigor that Lord Nataraaja could perform with. Sex roles were defined, but there was no negative connotation attached to either of them.7 The story of Bharathanaatyam’s origin is usually taught to the student before the journey of learning commences. As the dancer Isadora Duncan8 said, “…there are likewise three kinds of dancers: first, those who consider dancing as a sort of gymnastic drill, made up of impersonal and graceful arabesques; second, those who, by concentrating their minds, lead the body into the rhythm of a desired emotion, expressing a remembered feeling or experience. And finally, there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul.” The student is asked to recall the concept of why Bharathanaatyam entered the mortal world. To some, it is considered to be a form of meditation. The script of Sage Bharatha’s meticulous notes on the theory of Indian dance is referred to as the Natya Shastra. Some schools of thought believe that Lord Brahma created the Natya Shastra to present what the first four Vedas9 preached Before globalization, the concept of questioning norms may not have been prevalent in India; but that is not indicative of cultural conservatism. Post-assimilation, India actually has one of the most progressive laws, even if the societal norm is yet to catch up. 7
(1877- 1927), she was a world renowned dancer who is usually referred to as the creator of modern dance. 8
Sanskrit; ancient scriptures of India. There are four: Rig, Yajur, Saama and Atharvana. The four Vedas are very fundamental in the religion of Hinduism, and consequentially are influential in many other religions that originated in India such as Jainism, Buddhism and Sikhis 9
philosophically, but in a more accessible way. When mankind found it hard to find true peace within themselves, Brahma is said to have diminished their pain and confusion with the stability of passionate divinity. Through dancing, we are given a chance to experience the inner peace that a sage who rigorously studied the Vedas could attain- yet still be functional in the world of samsaara. Thus, the Naatya Shastra is referred to as the fifth Veda. Although the origin of Bharathanaatyam seems to be very close knit to Hinduism, the dance form itself is not based on religion. The myths of its origin and its lyrical aspect are usually very germane to Hinduism, but we must consider the fact that the dance form existed before cultures began to interact; the only world that Bharathanaatyam knew of was that of ancient India. The concept to be learned from the origin is applicable universally- to dance with passion is to dance with purpose. With the globalization and consequential assimilation that is occurring right now, Bharathanaatyam is not only easily accessible to different cultures and countries, but is also open to evolving into something that it did have the opportunity to develop into before. Understanding the movements, meanings and theoretical background will not only make a considerable difference in being able to understand the philosophy of Bharathanaatyam, but it will also give students the ability to compose, and therefore be able to express themselves. The survival and redefinition of this ancient art and its language falls unto their hands, which seems quite an ironic task given that the most common complaint is a lack of understanding Bharathanaatyam’s hand gestures.
"Dance is a constant communication; not just performing. Every experience and communication has to be through the body; the intellect is only one part of the body." - Sardono Waluyo Kusomo
SINGLE HANDED GESTURES Single handed gestures are the key to understanding a Bharathanaatyam performance. The single handed gestures are more commonly referred to as the asamyuktha hastas. There is one parent shloka that delineates all the hand gestures that can be portrayed in one hand. To understand the meaning of the first mother shloka is enough to change one’s perspective and understanding in a dance performance. Advanced students may proceed to learning every possible use for those every one of those single handed gestures. It is the vocabulary to the language of Bharathanaatyam; each gesture is defined: treat this as a dictionary for an ancient Indian version of sign language.
asamyuktha hasta viniyogaha (all possible single handed gestures)
pathaakas thripathaako ardhapathaka kartharimukhaha mayoorakyo18 ardhachandrascha araala shukathundakaha mushtischa shikaraakhyascha kapittha katakaamukaha soochi chandrakalaa padmakosha sarpashirasthathaa mrugasheersha simhamukaha kaangoolascha alapadmakaha chathuroo bhramarascheiva hamsaasyo hamsapakshakaha sandhaamsho mukulaschaiva thaamrachooda trishulakaha
18
Certain schools pronounce the word differently: mayoorasyo
pathaakas thripathaako ardhapathaka kartharimukhaha mayoorasyo ardhachandrascha araala shukathundakaha mushtischa shikarakyascha kapitha katakaamukaha soochi chandrakalaa padmakosha sarpashirasthatha mrugasheersha simhamukaha kangoolascha alapadmakaha hathuroo bhramarascheiva hamsaasyo hamsapakshakaha sandaamsho mukulaschaiva thaamrachooda trishulakaha
flag a flag with three parts half mast scissors peacock half moon small vessel parrot head fist peak wood apple (fruit) bangle (to wear) needle crescent moon a lotus or its bud snake head deer head the face of a lion bell bloomed lotus square, the number four bee swan’s beak swan wings any repetitive action bud of a flower cock’s plume trident/ the number three
pathaaka hasta viniyogaha (all possible hand gestures for pathaaka)
naatyaarambe vaarivaahay vanay vathunishethanay kuchasthalay nishaayaamcha nadhyaam amaramandalay thurangay khandanay vaayou shayanay ghamanodhyamay prathaapecha prasaadhaycha chandrikaayam ghanadhapay kavaatapaatenay sapthavibhakthyarthay tharangakay veethipraveshabhaavepi samathvecha angaraagakay aathmaarthay shapathaychaapee-thushneem bhava nidharshnay thaalapathraycha kaydaycha dravya disparshanethatha aashirvaadhakriyaayaamcha nripashreshtasyabhaavanay thathrathathrethi vachanay sindouthu sukridikramay sambhodhanay purogaypee kadgaroopasya-dhaaranay maasay samvathsaray varshadhinay sa-maarjanaythathaa yevamardhesu yujyanthay pathaakahasta bhaavanaaha
naatyarambe varivaahay vanay vathunishethanay kuchasthalay nishaayaamcha nadhyaam amaramandalay thurangay kandanay vaayo shaayane gamanoshyamay prathaapecha prasaadhaycha chandrikaayam ghanadhapay kavatapaatenay sapthavibhakthyarthay tharangakay veethipraveshabhaavepi
the starting posture of dance clouds forest to say no or to avoid chest a gloomy or ominous night river the heavens horse to ignore wind lying down attempting to move forward to delineate greatness to give blessings moonlight unbearable (ex: heat, weight) closing/ opening doors seven categories19 water ripples the act of entering into a street
This term has evolved to represent ‘categories’ or ‘examples’. The original meaning is acknowledged to be ‘seven cases’ which refers to the seven senses (example: “A common man has six senses, but for him to be a King he requires seven”). Interestingly so, the concept of there being seven senses is a fairly progressive psychological notion, it is defined to be some sense of precognition in which the human mind somehow is capable of detecting future events and can adjust its actions accordingly. It is also suggested that not all human beings can access this sense; contextually speaking, the premises of the contemporary discussion upon the subject is quite congruent to the exact same concept as discussed thousands of years ago in the Natya Shasthra. 19
samathvecha angaarakay aathmaarthay shapthaychaapee thooshneem –bhaava-nidharshnay thaalapathraycha kaydaycha dravya disparshanethatha ashirvaadakriyayamcha nripasrestasyabhaavanay thathrathathrecthi vachanay siduvtoo sukrudikramay sambhoodhanay puroogaypee kadga roopasya dhaaranay maasay samvathsaray varshdhinay sammaarjanaythathaa
to remind someone of equality denoting the body to show one’s self to take an oath to be silent to write (on a palm leaf) a (or to) shield to touch things to bless to speak of the emperor this or that waves to do well (be healthy or safe) to address to progress or move ahead sword one’s’ body or form to wear month year rainy day to sweep
tripathaaka hasta viniyogaha (all possible hand gestures for tripathaka)
makutay vrukshabhaaveshu vajray thathdhara-vaasavay kaythakee-kusumay deepay vanhi-jwaala-vrijrumbhanay Kapothay pathralaykhaayam bhaanaarthay parivarthanay yujyathay thripathaakoyam kathitho bharadhothamaihee
makutay vrukshabhaaveshu vajray thaththara-vaasavay kaythakee-kusumay deepay vanhijwaala-vijrumbhanay kapothay pathralaykhaayam bhanaarthay parivarthakay
crown tree with branches a thunder bolt Lord Indra screwpine flower20 lamp to create a fire a pigeon to draw or design to aim and shoot an arrow to make circular movements
The screwpine flower is known for its fragrance. Myth logically, the flower is known for not being used for any form of worship, as it lied to Lord Shiva to support Lord Brahma’s false claims. 20
ardhapathaaka hasta viniyogaha (all possible hand gestures for ardhapathaaka)
pallavay palakay theeray ubhayorithivaachakay krakakchay churikaayaamcha dwajay gopura-sringayoho yujyathay ardhapathaakooyam thathakarmaprayogakay
pallavay palakay theeray ubhayorithivaachakay krakakchay churikaayaamcha dwajay gopura sringayohoo
leaves (that are tender, new) a wooden plank the river bank the number two (or a duo) saw small knife flag tower horns
kartharee hasta viniyogaha (all possible hand gestures for kartharee)
sthreepum-sayosthu-vishlayshay viparyaasapadaypivaa luntanay nayanaamthaycha maranay bhedhabhaavanay vidhyudarthay ekashaiya-virahay pathanaythatha lathaayam yujathay yasthu sakara karthareemukhaha
sthreepum-sayoosthu-vishlayshay viparyaasapadaypivaa luntanay nayanaamthaycha maranay bhedabhaavana vidhyudarthay yekashaiya-virahay pathnaythatha lathaayam
the difference between genders to compare this and that to roll one’s eye corners death to argue a difference of opinion lightening to pine for your lover in bed to fall down or trip creeper (plant)
mayura hasta viniyogaha (all possible hand gestures for mayura)
mayuraasyay lathaayaamcha shakunay vamanaythathaa alakasyaapanayanay lalaata-thilakay-shucha nadhyuda-kasya-nikshaypay shaastravaaday prasidhakay yevamardhyeshu yujyanthay mayurakara-bhaavanaahaa
mayuraasyay lathaayaamcha shakunay vamanaythathaa alakasyaapanayanay lalaata-thilakay-sucha nadhyudakasya-nikshaypay shaastravaaday prasidhakay
peacock creeper (plant) bird the act of vomiting to comb one’s hair to put on a bindhi21 sprinkling water discussing the ancient texts (describing someone as) popular
A bindhi is also known as a pottu—it is the traditional sacred mark that Hindu women wear on their forehead. 21
ardhachandra hasta viniyogaha (all possible hand gestures for ardhachandra)
chandray krishnaashtamee-bhaajee galahastaartha-kaypicha ballaayudhay devathaanam-abishechanakarmani bukpaathray cha udbhavay katyaam chinthaayaam aathmavaachakay dhyaanaycha praarthnaychaapee angaanamsparshnaythathaa praakruthaanaam-namaskaaray ardhachandroniyujyathay
chandray krishnaashtamee-bhaajee galahastaartha-kaypicha ballaayudhay devathaanam-abishechanakarmani bukpaathray udbhavay katyaam chinthaayaam aathmavaachakay dhyaanaycha praarthnaychaapee angaanamsparshnaythathaa praakruthaanaam-namaskaaray
the moon eight days after the full moon to choke someone weapon God’s offerings (blessings) eating plate birth waist to worry musing about yourself meditations prayers to touch one’s own limbs to greet people
araala hasta viniyogaha (all possible hand gestures for araala)
vishaadhyaam-amrutha-paanayshu prachanda-pavanaypicha
vishaadhyaam amrutha paanayshu prachanda-pavanaypicha
poison nectar to drink violent winds
shukathunda hasta viniyogaha (all possible hand gestures for shukathinda)
bhaanaprayogay-kunthaarthay vaala-yasyas-smrithikramay marmokthyam ugrabhaavayshu shukathundoniyujyathay
bhaanaprayogay kunthaarthay vaala-yasyas-smrithikramay marmokthyam ugrabhaavayshu
shooting an arrow a spear the act of remembering the past to utter mystic things great anger
mushti hasta viniyogaha (all possible hand gestures for mushti)
sthiray kachagrahay dhaartyay vasthvaadheenaamcha-dharanay mallaanaam yudha bhaavaypee mushtihasthoya mishyathay
sthiray kachagrahay dhaartyay vasthvaadeenaamcha-dharanay mallaanam yudha bhaavaypee
to be steady grasping someone’s hair courage holding things to be riled up to fight
shikara hasta viniyogaha (all possible hand gestures for shikara)
madahanay kaarmukay sthambhay nishchayay pithrukarmani oshtay pravishtaroopaycha radhanay prashnabhaavanay lingay naastheethivachanay smaranay abhinayaanthikay katibhandaakarshanaycha parirambha-vidikramay gantaaninaadhay shikaroo yujyathay bharathaadibihi
madahanay kaarmukay sthambhay nishchayay pithrukarmani oshtray pravishtaroopacha radhany prashnabhaavanay lingay naastheethivachanay smaranay abhinayaanthikay katibhandaakarshanaycha parirambha-vidikramay gantaaninaadhay
god of love bow pillar certainty offering to ancestors lips to pour liquid teeth questioning shiva lingam/ phallic symbol to not know recollection to express to tighten a waist band embracing sounding a bell
kapitha hasta viniyogaha (all possible hand gestures for kapitha)
lakshmyaamcheiva saraswathyaam nataanaam thaala-dhaaranay godhohanay abhyanjanaycha leelakusuma-dhaaranay chelaanchalaadi-grahanay pataschaivaava-kuntanay dhoopa-dheeparchanay-chaapee kapitha-samprayujyathay
lakshmyamcheiva saraswathyam nataanaam thaala-dhaaranay godhohanay abhyanjanaycha leelakusuma-dhaaranay chelaanchalaadi-grahanay pataschaivaava-kuntanay dhoopa-deeparchanay-chaapee
Goddess Lakshmi Goddess Saraswati to hold cymbals to milk a cow to cleanse one’s eyes to hold a flower while in love grasping the end of the saree to wrap one’s head offering incense/ light
katakamukaha hasta viniyogaha (all possible hand gestures for katakamukaha)
kusumaavachayay mukthaa-sragdhaanaam dharanay-thathaa sharamdhya-karshanaycha naagavallipradhaanakay kasthoori-kaadivasthoonaam payshanay gandhavaasanay vachanay drushti-bhaavaypee katakaamuka ishyathay
kusumaavachayay mukthaa-sragdhaamnaam dharanay-thathaa sharamdhya-karshanaycha naagavallipradhaanakay kasthoori-kadivasthanoonaam payshanay gandhavaasanay vachanay drushti-bhaavaypee
plucking flowers a pearl necklace to wear drawing the middle of a box to offer betal leaves preparing musk paste to mix to smell to speak to glance
soochi hasta viniyogaha (all possible hand gestures for soochi)
yehkaarthaypee parabrahma bhaavanaayaam shathaypicha ravau nagaryaam lookaarthay thathythi vachanaypicha yachabday-api-thachabdhay vijanaarthaypi tharjanay kaarshyay shalaakay vapushi aashcharyeh venibhaavanay chathray samarthay paanaucha romaallyaam bherivaadhanay kulaalachakra-bhramanay rathaanga-mandalaythathaa vivaychanay dhinaanthaycha soochi-hasta prakeerthithaha
yehkaarthaypee parabrahma bhaavanaayaam shaathaypicha ravau nagaryaam lookarthay thathythi-vachanaypicha yachabday-api-thachabdhay vijanaarthaypi tharjanay kaarshyay shalaakay vapushi aashcharyay venibhaavanay chathray samarthay paanaucha roomaalyaam bherivaadhanay kulaalachakra-baramanay rathaanga-mandalaythathaa vivaychanay dhinaanthaycha
to denote a number the supreme soul; Brahma to denote one hundred the sun a city to refer to the world to show someone, “like that”. to question “this or that?” a lonely place to threaten somebody to grow thin a thorn one’s body to show astonishment to display your hair an umbrella one’s capability hands to refer to your eyebrows to play the drums a potter’s wheel the circumference of a wheel to ponder the end of the day