IV Space Design: Bharatanatyam

A) Movement in Dance

In Bharatanatyam dance form movement is considered to more grounded unlike other western dance styles which emphasis more on free style movement in air. Comprising of Macro movements to Micro movements, in radial to axial directions, which all can be together understood when compared to the Microbode the smallest vibrating unit of

space 9.

However, over the ages this art form has not seen much study of its movements imbibed in ancient science of space creation. The recent studies on Mayonic science have brought to us this science and thus stands as a base for analysis of spatiality in our Dance.

The Manduka mandala (8 x 8 ) is the fabric of the unmanifest .This frame serves as the fountain head of creativity, and manifesting factor for sculpture, dance, music, drawing, languages etc. Abiding to these frameworks is our dance form which has its basic rooted , and evolved in set framework.

9 (Pg.24The Fabric of Manifestation IV MICROABODE

B) The Body

Figure 19 Three - Basic position in Bharatanatyam in a Manduka Mandala (BxB)

The smallest unit is Square, which further forms cube, later undergoes through various stages of 4 x 4, 6 x 6 and lastly 8 x 8 which is the fabric of unmanifest. This geometrical form is identical to Microbode. The point of intersection called as Bindu, joining them in certain geometries lets us visualise dancer's body in 3 Dimensional forms .Thus, a dancer's body is constantly put into forms, geometries and lines, such dance is called Cosmic Dance. The central vibrating luminous thread is the Cosmic Dancer Shiva.

Figure 20 - Hands of a pose traversing through all the Bindu points Oiagonaly.

C) Aesthetics Of Dance (RASA Theory)

Raso Theory was expounded deeply by many Aestheticians, and widely excepted theory today is of Abhinava Gupta. Raso is the aesthetic value or experiential essence of an art form. It is perceived as the enjoyment of aesthetic bliss derived by witnessing a performance, and is communicated by the artist to the audience through the art. Phenomenology10 is identical to Raso Theory as both hold experience to be the soul subject of Design of Movement be it in Architecture or in Dance.

Dancer's body is a vibrating energy which carries forward its vibration to the spectator who starts vibrating and resonating with the performance, this takes us closer to definition of Abhinaya. In Nrttia all the movements are elegant only when they are executed with utmost perfection called Anga-Shuddham, then and then only dancer's body can work as a vibrating instrument. Though Raso is mostly associated with Abhinaya and of which is 4 types as follows

1. Angikam 2. Vachikam 3. Aharyam 4. Satvikam

Thus we can say that any of these Abhinaya when executed with precision will lead to experience of bliss or Rasasvada. For Analysis of movements we emphasis more on Angikam aspect however presence of all the 4 surely contributes to amplification of Rosa.

D) Space Making Theory

The journey from physical planes which transcends to cosmic bliss, is the art of space making in Bharatanatyam. This could also be compared to the Meditation process which takes us from Internal happiness to External one. Though it is temporal but being performed by a lively vibrating instrument called as Body it carves vibrating forms in limitless space.

10 Pg.35Phenomenology A) ELEMENTS OF DESIGN

This continuous rhythm in dance, indicates a constant awareness of the dimension of time and the implication of its continuum to any space and any activity in the space. A dancer creates architecture through a series of levels as follows -

A) The body itself, the shapes and lines it creates. B) Dancing with other people is about composition, the way the implied body spaces relate and inter-penetrate.

C) The surrounding space in which dance is presented .

The Figure below shows these series levels. The study here will be limited to the first level by understanding the time constraints for the research, and further if one goes further to next 2 levels it will definitely be advantageous to dancers.

Figure 2 l - A dancer creates architecture through a series of levels

The Spatial experience at the 3 levels in group performance and 2 levels with solo performance. Here the Spatial experience of audience will be highly subjective, thus l st level of spatial experience will be of great value.