Book-The Music of Bharata-Natyam

Book Title: The Music of Bharata-Natyam
Author/Editor : Jon Higgins

The present work is the inaugural volume of a continuing series on ethnomusicological studies of performance traditions of India published under the auspices of the Archives and Research Center for Ethnomusicology (ARCE) of the American Institute of Indian Studies. This volume looks closely at the music played in a traditional Bharata Natyam performance. The series editor is Shubha Chaudhuri. This edition is for sale within India only.

Product Details

• Hardback : 391pp, with cassettes
• Author/Editor : Jon Higgins
• Year of Publication : 1993
• Publisher : ARCE-AIIS/Oxford & IBH
• Language : English
• Product Dimension : 1.2 x 6.5 x 9.8 inches
• Shipping Weight : 750 g
• ISBN Number : 8120407059
• Price Rs. 500

Table of Contents :

• Note on Transliteration Foreword: Rhea Padis Higgins
• Preface: Jon B. Higgins
  
• Preface to this Edition: T. Viswanathan
  
• Acknowledgements: Daniel M. Neuman
  
• List of Taped Examples
  
• PART 1: THE TEXT
  
  • Chapter 1: Introduction
    
  • 1. The Dance Tradition of Bharata Natyam
    
  • 2. The Music Tradition of Bharata Natyam
    
  • 3. The Relation of Music to Dand in Bharata Natyam
    
  • 4. Notations Adopted for the Transcription of Music and Dance
    
  • Chapter II: Alarippu
    
  • Chapter III: Jatisvaram
    
  • Chapter IV: Sabdam
    
  • Chapter V: Padavarnam
    
  • Chapter VI: Padam
    
  • Chapter VII: Javali, Tillana and Sloka
    
  • Chapter VIII: (Epilogue) : The Artistic Progression
    
  • Glossary Bibliography
    
• PART 2: NOTATED AND TAPED EXAMPLES
  
  • Notated Example 1-1: Two avartas of adi tala from Pantuvarali padam
    
  • Notated Example1-2: Two avartas of adi tala from Pantuvarali padam
    
  • Notated Example 11-1: Khandam alarippu: Recited Solkattus and adavus
    
  • Notated Example 11-2: Alarippu-Juxtaposition of three stages of reduction In parts B,C and D
    
  • Notated Example 11-3: Tiruppugal in svara notation with one stanza of text
    
  • Notated Example 11-4: Tiruppugal with one stanza of text, khanda capu tala
    
  • Notated Example 111-1: Jatisvaram-Pallavi in svara notation
    
  • Notated Example 111-2: Jatisvaram-Pallavi (Kalyani raga, rupaka tala)
    
  • Notated Example 111-3: Jatisvaram-stamping, uccarippu and tirmanam with solkattus and adavus
    
  • Notated Example 111-4: Jatisvaram-Mora phrases from seven jatisvarams
    
  • Notated Example 111-5: Jatisvaram-Svara Section #1 with svara adavugal #1
    
  • Notated Example 111-6: Jatisvaram-Svara Setion #1 (kalyani raga, rupaka tala)
    
  • Notated Example 111-7: Jatisvaram-Svara Section #2 in svara notation with adavugal
    
  • Notated Example 111-8: Jatisvaram-Svara Secton #2 (Kalyani raga, rupaka tala)
    
  • Notated Example 111-9: Jatisvaram-Svara Secton #3 in svara notation with adavugal
    
  • Notated Example 111-10: Jatisvaram-Svara Secton #3 (Kalyani raga, rupaka tala)
    
  • Notated Example 111-11: Jatisvaram-Svara Secton #4 in svara notation with adavugal
    
  • Notated Example 111-12: Jatisvaram-Svara Secton #4 (Kalyani raga, rupaka tala)
    
  • Notated Example 111-13: Jatisvaram-Outline of a full performance of Kalyani jatisvaram (See taped example 111-10)
  • Notated Example IV-1: Sabdam Line 1 (Kambhoji raga)
  • Notated Example IV-2: Sabdam Line 1 (Kambhoji raga misra capu tala)
    
  • Notated Example IV-3: Sabdam Line II (Bhairavi raga)
    
  • Notated Example IV-4: Sabdam Line II (Bhairavi raga, misra capu tala)
    
  • Notated Example IV-5: Sabdam Line III (Natakuranji raga)
    
  • Notated Example IV-6: Sabdam Line III (Natakuranji raga, misra cap tala)
    
  • Notated Example IV-7: Sabdam Line IV (Surati raga) Notated Example IV-8: Sabdam Line IV (Surati raga, misra capu tala)
    
  • Notated Example V-1: Outline of Bhairavi padavarnam (mohamana)
    
  • Notated Example V-2: Varnam-tirmanam #1 (trikala, full version
    
  • Notated Example V-3: Varnam-tirmanam #1 (trikala), without tala markings
  • Notated Example V-4: Varnam-Pallavi-A in svara notation
    
  • Notated Example V-5: Varnam-Pallavi-A (Bhairavi raga, rupaka tala)
    
  • Notated Example V-6: Varnam-tirmanam #2 (tisra nadai), full version
    
  • Notated Example V-7: Varnam-tirmanam #2 without tala markings
    
  • Notated Example V-8: Pallavi in svara notaion
    
  • Notated Example V-9: Varnam-Pallavi-B (Bhairavi raga, rupaka tala)
    
  • Notated Example V-10: Varnam-tirmanam #3, full version
    
  • Notated Example V-11: Varnam-tirmanam #3 without tala markings
    
  • Notated Example V-12: Anupallavi-A in svara notaion
    
  • Notated Example V-13: Varnam-Anupallavi-A (Bhairavi raga, rupaka tala)
    
  • Notated Example V-14: Varnam-tirmanam #4, full version
    
  • Notated Example V-15: Varnam-tirmanam #4 without tala markings
    
  • Notated Example V-16: Varnam-Anupallavi-B in svara notation
    
  • Notated Example V-17: Varnam-Anupallavi-B (Bhairavi raga, rupaka tala)
    
  • Notated Example V-18: Varnam-tirmanam #5, full version
    
  • Notated Example V-19: Varnam-tirmanam #5 without tala markings
    
  • Notated Example V-20: Varnam-Muktayi svaras in svara notation, with sahitya and translation
    
  • Notated Example V-21: Varnam-Muktayi svaras with adavugal
    
  • Notated Example V-22: Varnam-Muktayi svaras with tatti mettu
    
  • Notated Example V-23: Varnam—Muktayi svaras (Bhairavi raga, rupaka tala)
    
  • Notated Example V-24: Varnam—three alternative rhythmic subdivisions of phrases in avartas five and six of the muktayi svaras
    
  • Notated Example V-25: Varnam

The book may be purchased from the source of this article at  http://www.scholarswithoutborders.in/item_show.php?code_no=EMU006&ID=1&calcStr=

Filed under: Arts, Bharatanatyam, Bharathanatyam, CD, Carnatic Music, Dance, Introduction, VCD, academics, adavus, books, choreography, learning, students

A Thesis Titled “Development of sadir in the court of Raja Serfoji-II (1798-1832) of Tanjore”

Here is a detailed  PhD. Thesis titled “ Development of sadir in the court of Raja Serfoji-II (1798-1832) of Tanjore” submitted to the University of Hyderabad by Radhika V.S, under the supervision of Nataraja Ramakrishna in the year 1996.

The content of the thesis is as follows:-

• Preliminary: (Includes Contents).. Download here
• Chapter 1 (Itroduction,The Colas, Nayaks,the Maratas of Tanjore, Significance, objectives and Scope of Study). Download Here
• Chapter 2( Raja Serfoji II- and his patronage to the development of Art, includes information on Sarawathi Mahal Library, Serfoji II, Music, Dance, Bhagavatamela Nataka, Rules for  Court dancers and Nattuvanars etc.). Download Here
  • Chapter 3  Development of Technique and Format of Sadir (Includes a comparitive study of the adavus in Sangita Saramrita with the current practice, Nirupanas, systematization by the Tanjore Quartet) Download here
  • Chapter 4 Contribution of Court Composers and Musicians (A detailed study on the Tanjore Quartet). Download here
  • Chapter 5 Last Phase of Royal Patronage for Sadir at Tanjore.(Includes a write up on present day scenario and some intersting appendix including a Shapdam on serfoji II, Nirupana text by Serfoji and Interview schedules administered to prince tulajendra Raj Saheb, Guru Kitappa Pillai and Smt. Tilakam, a descendant of the devadasi tradition) Download here

 

It must be noted these are huge PDF files and take a while to download and showup. Dont be worried if the links dont immediately show up on your screen!

Source: http://dspace.vidyanidhi.org.in:8080/dspace/handle/2009/739?mode=full

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, Dance Gurus, History of Bharathanatyam, India, Literature, Nattuvangam, Performing Arts, South Asian Dance, Tamil, Thanjavur, adavus, artists, books, choreography, dance drama, experiences, learning, students , devadasi, guru Kitappa Pillai, Serfoji II, Tanjore Quartet

Vaishnavism and related aspects in Bharathanatyam

A reader of this blog recently attended a dance program by Zakir Hussain titled “Narayanam”, that showcased his reasearch work in Vaishnavism.Zakir received training in dance under Chitra Visweswaran and learnt theory from Krishnaveni Lakshmanan of Kalakshetra. She told me that his work was based on Vaishnavism during 5th and 6th century and that he had learnt the Aagama mudras from the chief priest of Sri Parthsarathy Swamy Temple, Chennai. I recall that Ms. Anita Ratnam did a similar research with the Aryar Sevai and their revival. She incorporated her research into her production titled “Neelam”.

 At this point, my memories take me back to the small Thengalai Iyengar ” Kothanda Ramaswamy” Kovil in the colony that I grew up in. The mudras that the temple priest used in his everyday rituals were indeed mesmerising and narrative.

Here is an excerpt form the Aryar Sevai

” Arayar Sevai means : ” the service of offering of royal priests”.
They sang and danced before the Lord and intrepreted the individual paasurams of AzhwArs as a part of the temple ritual known as Arayar SEvai . This tradition continued at Temples such as Srirangam, SrivilliputthUr,  AlwAr Thirunagari. The Arayars had a distinct place of honor in the worship of the Lord at the above temples. Great AchAryAs like RaamAnujA , EmbAr, ParAsara Bhattar enjoyed these bhakthi-laden SamarpaNams of the ARayars before the Lord during major festivals like Pagal Patthu and Raa Patthu . Special programs were carried out during this important festival.

The Arayars always performed inside the temple and in front of the Lord alone. They developed a repertoire of paasurams of the AzhwArs in general and those of Swamy NammAzhwAr in particular dealing with the dasAvathArams of the Lord and those pasurams , where KuruhUr SatakOpan looses Himself in the role of  ParAnkusa Naayaki seeking the aasrayaNam of the Sacred feet of the Lord and the unparalleled joy of union with her Naayakan , the Sarva Swami , Sriman NaarAyaNan.

The Arayars were trained by their own forefathers to follow the Arayar Sevai in the strictest sampradhAyic manner going back to Swamy Naatha Muni. The Arayars wear the DhOti in panchakaccham style, adorn a silk upper garment and have a conical cap(VishNu’s cap) during their service(sEvai) to the Lord . They wear the garlands used by the PerumAL and hold the brass cymbals in their hands to beat time to the vocal music and perform SaathvIkAbhinayam to the passages of the AzhwAr Paasurams.Unlike the dance that emphasizes Nruttham techniques requiring the wearing of ankle bells , the Arayars engage in the performance of Nruttham-free Naatyam , where facial and body movements (abhinayams) are most important. The basic Thatta-Adavu of Nruttham is occcasionally used. Whenever the Paasurams dealt with SringAram , even the Thatta- adavu is eschewed. The Arayars of Each temple have their own particular rasAnubhavams during the performance of the Arayar sEvai. For instance , at SrivilliputthUr and AzhwAr Thirunagari ,  the Arayars walk back and forward in a delectably sweet way that is a treasure to behold.

So for those of you who want to look into more information on these lines, please check the links below.

http://www.ramanuja.org/sv/bhakti/archives/sep2001/0012.html (Info on Satvika Abhinaya of Aryars fro Andal Pasurams)

http://www.ramanuja.org/sv/bhakti/archives/apr99/0069.html ( Anitha’s Aryar Sevai and Kaisiki Natakam)

http://www.narthaki.com/info/rev07/rev433.html  (Review on Neelam) 

http://www.thehindu.com/fr/2008/11/21/stories/2008112151220300.htm ( Review of Zakir Hussain’s Narayanam)

Unfortunately  Arangham’s link on the research no longer is active.!

Srimathi KaLLapirAN RanganAyaki AmmAL , a devout  Bhakthai of VaanamAmalai Matam has written extensively about Arayar Sevai at Srirangam temple in her book: “Acharya PrabhAvam”..

Bharata Natyam artist , Srimathi Lakshmi VisvanAthan has a small chapter on Arayar sevai in her book , Bharatha Naatyam: The Tamil Heritage .

Will keep this post updated when I find more details.

Filed under: Abhinaya, Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chennai, Chitra Visweswaran, Dance Gurus, History of Bharathanatyam, India, Literature, Madras, Male Bharathanatyam dancer, Performing Arts, Sudharani raghupathy, Tamil, adavus, artists, books, choreograhers, choreography, experiences, program, review, upcoming artist , ritual, Vaishnavism, Zakir Hussain

An introductory book for beginners

Bharatha Natyam, A Basic Study is written by Subashini Pathmanthan for the benefit of non-Tamil speaking students of Sri Lanka. The printing and publishing of this book is sponsored by the India-Sri Lanka foundation.

The author’s personal talent and experience in the field of Bharatha Natyam are apparent in this book of 42 chapters that cover almost all aspects of dance, including its origin and development.

She traces the ancient dance forms such as koothus, modern and ancient works, dance in ancient pun music and devotional music which enable the reader to understand the ancient role of the divine art in society.

The book also includes references to dance found in numerous inscriptions, the relationship of dance with fine arts such as music, ancient pun isai, sculpture, and paintings, choreography in classical Bharatha Natyam, Keerthanams, Padams and Jaavalis. All these aspects clearly indicate how Bharatha Natyam is connected to numerous other aesthetic art forms.

Current and emerging trends in Bharatha Natyam, costumes, styles, accompaniments, stage décor, the impact of technical developments and the influence of Tamil cinema in Bharatha Natyam are also dealt with.

The book examines the relationship of Bharatha Natyam with other classical Indian dance forms and Sri Lankan classical dance forms ( Kandyan dance), and South east Asian dance forms. In these chapters one can understand and trace the origin of all other dance forms which are based on Natya Sastra.

Again these chapters reveal the relationship, similarities, dissimilarities of Bharatha Natyam with other Indian classical dance forms, the Sri Lankan classical dance forms ( Kandyan dance) and South East Asian dance forms.

Further this book deals with the contribution of men towards the development of Bharatha Natyam, and their role in the development of Indian Classical Dances. It also deals with temples, Indian classical dances and royal patronage to Indian classical dances as well as popular Tamil folk dances.

Source:

Delving into dance By Vathana Varatharajan published on Aug17th in Sunday Times.

http://www.sundaytimes.lk/080817/Plus/sundaytimesplus_14.html 

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, Introduction, Performing Arts, South Asian Dance, Sri Lanka, UK, adavus, books, learning, promotion, students

Melattur Bhagavatha Mela

“MELATTUR, a small village 18 km from Thanjavur in Tamil Nadu, witnesses a spurt of activity every midsummer during the Bhagavatha Mela Natya Nataka Utsav inaugurated on the Narasimha Jayanthi day. The festival falls on the Swathi Nakshatram in the waxing fortnight of Chittirai masam, in May. It was on this day, some mythical aeons ago, that Vishnu assumed Narasimha avatar to save his devotee Prahalada from his father Hiranyakashyap.” (Hindu) Here is an interview with Mr. Vijay Madhavan, a regular participant in this event.

Mr. Vijay Madhavan is a familiar face – yes he is the JayaTV face icon of morning melody, the Bharathiyar song ’senthamizh nadenum pothinilae’. He is a regular performer in Bhagavata Mela Natya Natakam. The awards to his credit include the Yuva Kala Bharti by Bharat Kalachar, Best Dancer award from Indian Fine Arts Society and the Vasanthalakshmi Narasimhachari Endowment award .Vijay is a senior disciple of Padmashri Smt. Chitra Visweswaran . He has made his mark as a dedicated and committed performer, choreographer and teacher. At his institute RECHITA NRUTHYALAYA, he trains students who demonstrate exemplary devotion and passion towards Bharathanatyam. Academically he holds a Masters in Molecular Biology. He has brought out a DVD titled “Bharatiyil Shanmatam” which features his students presenting his choreographies.

The Melattur Bhagavatyha Mela (MBM)- In your Words

Vijay : It is actually 250 year old tradition, and it was patronised by the Nayaks who ruled the region of Tanjore. Due to several mishaps, we are probably performing the revived tradition which is barely 67 year old tradition, which in itself is remarkable. Thanks to the family of Sri Ganeshan and Mr. Natarajan, who are keeping this art form alive. Predominantly the scripts are in Telugu. Bhagavatha mela had been in practice in several villages Theperumanallur, Oothukadu, Soolamangalam, Saliamangalam, Melattur amongst others. But sadly there are only few villages which still cherish and continue the effort of keeping the tradition alive.

The Melattur natakams were composed by Sri Venkatrama Sastry, who was a contemplory to Saint Tyagaraja of Tiruvaiyaru. Venkatrama Shastry and several others from Melattur village have contributed innumerous compositions even to current day Bharathanatyam repertoire, the popular Sabdam of Melattur and few Padams like ‘Indendu vachhiti vi ra’ in Sruti were compositions of Melattur Kasinatha ayya. So the village being donated for artists by Achuttapa nayakan, comes to be no surprise. There is a special mention of when the Bhagavatha mela need to be performed in Melattur particularly, in the famous Pattabisheka Sabdam of Prahlada. This drama is considered very sacred and reflects the rich cultural heritage of the country.

Melattur apart from its Byhagavatha Mela dance compositions is also famous for its music- melattur ghanta and melattur ahiri are unique, and are employed in the drama, to bring out the rasa.

Infact we can trace lot of Margam style repertoire to Melattur drama. Apart from various dharus which were prevelant earlier, like Samvada dharu, prashnottara dharu, Pravesha dharu we have the Padavarnams, Thillanas, Jathiswarams, Padams etc. It would be a critical point to note that the Tanjore Quartet have chiseled the existing item list, not the sole creator of the current day repertoire. History holds that all the artists traveled from the Telugu region and settled in this place.

How is it different from a normal dance drama?
Vijay :MBM has story lines based on Bhagavatham, and were ideally performed before the sanctum of Varadaraja shrine. It was a Bhakti cult which stressed on the fact that God is the masculine principle and the rest, feminine energy. So the characters of female too are donned by the males. There is a penned story line, and authorship that is unique -no assorted composers ;this gives MBM a unique advantage or charm. We have 13 plays, which are authentic Venkatrama Shastry works.

But you can see the participation of entire village in drama. And also to mention the village has another drama during a different time interval- the Iravaan kalabali, in the temple of Goddess, with the verses in Tamil. This also has the musical influences of MBM natakams.

Is being trained in Bharathanatyam an added advantage for you to perform in the MBM?

Vijay : Indeed dance is advantage, but the traditional MBM dancers, also do similar adavus, but it may miss some refinement. But their hasta prayogam are fantastic and deserves mention. Few hasta vinyoka are extremely Melattur, you cant see them in bharathnatyam.

But sad thing to note is few critics hold an opinion that current day classical dancers have made a loss to Melattur original style of dancing. They associate Melattur with coarse dancing, which is not true, (and using trained Bharathanatyam dancers) this came up as stop gap to hold on to the tradition. The history of legends in Melattur (Veerbadrayya) who have challenged dancers and performers would not have been true, if their dance styles have been coarse.

How is the current response to MBM?
Vija y : People from various parts of the country flow through. There is an “ok” response from the Sangeet Natak Academy, Tamilnadu Iyal Esai Nataka manram, and from various Telugu universities, however they barely cover the annual expense or the entire cost. Our chairman, Sri Natrajan and the rest in the crew support with their collections from various organisations and well wishers – rest of it from the pocket, with the noble intent of serving Sri. Nrisimhmar.

Today MBM is gaining a lot of spectators, but we need more consolidated minds not just to see, rather make it happen through financial support.

This year the MBM begins on the the 18th of May, 2008. Here is a copy of the invitation and program schedule for this year

Invitation

MELATTUR

SRI LAKSHMI NARASIMHA JAYANTI

BHAGAVATA MELA NATYA NATAKA SANGAM

(Estd. 1938 )

63-64, SOUTH STREET, MELATTUR 614 301, THANJAVUR DISTRICT, TAMIL NADU

Grams:

BAGVATMELA

E-mail: bhagavatamela@excite.com

Tel:

04374-273445

68th Year

BHAGAVATA MELA NATAKA MAHOTSAV

INVITATION

The Bhagavata Mela tradition, a rare temple/theatre art in a unique blend of Bhakti, music, dance & drama in vogue for the last 455 years, is the only surviving link today in Tamil Nadu that connects us with the ancient Sanskrit theatre.

The Bhagavata Mela natakams, composed by Melattur Venkatarama Sastry (1743-1809 AD) are performed annually,

in adherence to Natya Veda, in the sannidhi of Lord Sri Varadaraja, the presiding deity of Melattur village as part of

Sri Narasimha Jayanti Vasantotsav

Members of SLNJ Bhagavata Mela Natya Nataka Sangam, residents of Melattur and the sponsors

cordially invite you and your family for the

BHAGAVATA MELA NATAKA MAHOTSAV – 2008

VENUE :

Sri Varadaraja Perumal Sannidhi, Melattur

DATE:

On & from the 18th May, 2008

PROGRAMME

18 May, 08

7.30 p.m

Mangala Isai – Nadaswaram by

Thirukkarugavoor Brothers

.

Sri T.K. Ramanan & Sri T.K. Saravanan

9.15 p.m.

Inaugural functon

(Invitations printed separate)

BHAGAVATA MELA NATAKAM

PRAHLADA CHARITAM

19 May, 08

7.30 p.m

Ramjhi’s “Bakthi Mazhalai”

Abhilash & Vaishnavi accompanied by

(popular classical & devotional songs) by

Anandhi – Keyboard &

.

Akshay Ram – Mrudangam

9.30 p.m.

Sri Raja Rajeshwari Kala Niketan, Bangalore presents Kuchipudi by

Guru Veena Murthy Vijay & disciples Shama Sanjay & Hema Gautam

.

20 May, 08

9.30 p.m.

BHAGAVATA MELA NATAKAM

USHA PARINAYAM

21 May, 08

7.30 p.m.

Bharata Natyam by

Smt. Priya Venkataraman, Gurgaon

9.00 p.m.

Bharata Natyam by

“Yuva Kala Bharati”

Uma Nambboodripad Sathyanarayanan

(disciple of Smt. Chitra Visweswaran)

22 May, 08

9.30 p.m.

BHAGAVATA MELA NATAKAM

HARISCHANDRA – Part I

23 May, 08

9.30 p.m.

BHAGAVATA MELA NATAKAM

HARISCHANDRA – Part II

24 May, 08

7.30 p.m.

Bharata Natyam by

Kum. K L Krithika

(disciple of Smt. Jayanthi Thyagarajan)

8.30 p.m.

Bharata Natyam by

Smt. Rupa Ramkumar

9.30 p.m.

Bharata Natyam by

Kum. Iyshwarya Balasubrahmanian & Kum. Kavitha Ananthasubrahmanian

25 May, 08

9.30 p.m.

BHAGAVATA MELA NATAKAM

SEETHA KALYANAM

26 May, 08

9.30 p.m.

Tamil Opera (composed by eminent Tamil scholars)

VALLI THIRUMANAM

27 May, 08

7.00 p.m. onwards

Sri Anjaneya Aradhana & concluding rituals

“Namasankirtan” by Udayalur Sri Balakrishna Bhagavatar & Bhagavata Mela artists.

Procession of Lord Sri Nrusimha with His Consorts.

ALL ARE WELCOME

BHAGAVATA MELA NATAKA MAHOTSAV – 2008

Key Sponsors

Sangeet Natak Akademi • Dept. of Culture / Govt. of India • South Zone Cultural Centre • City Union Bank Ltd. •

Indian Overseas Bank • P.S.Telugu University • “Pragnya” • Sri Sarvaraya Sugars Ltd. •

Sri Ramani Guruji • Dr. (Sri) “Nalli” Kuppuswami Chetty • Sri Prakash Challa •

Co-sponsors

Tamil Nadu Eyal Isai Nataka Mandram • BSNL • SIDVIM Foundation • Integrated Enterprises •

Shemaroo Entertainment Pvt. Ltd. • Manickbag Automobiles • Sree Auto Accessories •

Smt. & Sri Ramakrishnan • Smt & Sri K N Nagendra • Smt. C. Kantha & Family • a Host of Well Wishers

&

Bhagavata Mela Foundation

Supported by

Dept. of Tourism, Government of Tamil Nadu

An Appeal

Conduct of the annual Bhagavata Mela Nataka Utsav and implementation of projects including management of BHAGAVATA MELA VIDYALAYA that imparts systematic training to younger generation to preserve, protect and promote the great Bhagavata Mela tradition need huge funds. We appeal to connoisseurs and patrons of music, dance and other performing arts, and the ardent devotees to contribute their mite for the cause of the divine art-form and be a recepient of bountiful blessings of Lord Sri Lakshmi Nrusimha.

Your donation may kindly be sent to:

The Secretary, Sri L.N.J. Bhagavata Mela N.N. Sangam, 63-64, South St., Melattur 614 301, Thanjavur District by DD or Cheque or M.O. drawn in favour of Sri LNJ Bhagavata Mela, Melattur.

Donations to Bhagavata Mela Foundation are allowed deduction u/s 80G of IT Act. Cheques drawn in favour of BMF may please be sent to the address above. For acknowledgement & receipt, please provide your postal address at the back of the instrument.

For those interested in more reading on Bhagavatha Natakams - Link (a downloadable PDF file)

Credits: I am thankful to Mr. Rajendra Kumar for his guidance in editing this interview.

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chennai, Chitra Visweswaran, Dance, Introduction, Madras, Male Bharathanatyam dancer, Performing Arts, Rasika, adavus, artists, choreography, dance drama, dance festival, experiences, learning, program, promotion, students, talent , Melattur Bhagavatha mela, Vijay Madhavan

Rediscovering the Spirit at Tennangur

Text and Photos by Mr. Rajendra Kumar.

Said the Guru to the student-‘Breathe from your lower abdomen. Feel your breath’.

The student took a breath..

Guru said ‘Deeper .. deeper’.

The student tried hard.

The Guru banged the student’s lower abdomen with his fist and the student was flabbergasted

But there……… the miracle happened.

The student felt very different right from that moment.

The Guru was a German and the student is better known by the name the name Aruna Sairam .

Her journey as a musician is quite interesting.

Gifted with a great voice and with an intellect that could grasp all intricate details with ease, she did succeed in becoming a musician. But what was lacking was that ‘feel’. When she sang ‘sa pa Sa’ she was not feeling free. That is when she decided to take the help of the Guru.

Now she is able to transcend all barriers and feel the music as she sings.

This ‘feel’ is what is needed by an artiste-be it a musician or a dancer.

Smt.Aruna Sairam narrated this to the group of dancers at the Dance Camp in Tennangur.

Could there have been a better place or forum to narrate this journey?

Tennangur, a small and beautiful village near Vandawasi in Tiruvannamalai district in Tamizh Nadu has a magnetic aura.

The first thing that strikes us as soon as we step onto the village is the serenity. We feel relaxed, and the mind is uncluttered.

That is why Natyarangam, the Dance wing of Narada Gana Sabha, Chennai has been conducting this camp for the last 9 years in this village.

This Camp is different from the other camps/workshops. The participants are not taught anything. They undergo an experience that goes a long way in learning about the finer elements in life.

Art is nothing but the use of imagination to express ideas and feelings in an aesthetic way. The classical art forms of India have a structure but there is lot of scope for creativity and imagination within this structure. This creativity or imagination cannot be taught. It is an experience by itself. This is what is the aim of the camp.

The participants undergo an experience during the camp that finally gets reflected in their works and in their life as well.

Let us take the Aangika sessions for example. Prof.Chandrasekhar- the Convenor of the camp for 9 years now-asked the participants to stand still and express themselves only through their eyes to Questions/Statements like ‘Hello’ ‘How Are you?’ ’Why didn’t you come yesterday?’ etc.

The participants were then asked to perform Allaarippu using only the eyes..

This experience made the dancers feel the importance of eyes in dance.

The ‘Thatti Namaskaram’ that is done before and after any practice session/performance has almost become a ritual and it is a fact that many dancers do this mechanically.

Participants realized this fact only when they did the Namaskaram in the camp.

Balancing ourselves has become an integral part of our fast paced life.

In an art form like Bharathanatyam , balancing plays a very important role. After all, is art not a reflection of life?

Dancers were asked to stand in a single legged posture. It was a revelation for many dancers since they could not hold on to this posture for a long time.

Uddhatha and Sukumara prayogas can be applied to any adavu.But how and where these are applied? The participants danced to the same jathis for both the prayogas..

This way they experienced the difference.

Jathis have emotions. Not just by the way they are rendered…but by the way the syllables are composed.

For example, in Prof.Chandrasekhar’s production ‘Aparajita’ when Devi gets the Astras from Devas, she shows the ‘Attahasam’ and the jathis go like this: Ha Ha Ha Ha…

Innovation within the parameters..

In a similar vein, the seventh thatadavu that is usually performed in Chathushram was performed in Khanda jaathi Dhruva talam.

The participants understood the rhythm better..

While composing a Teermanam, one of the devices that could be used is the stress on one particular adavu. The Kambodi varnam –Naadanai Azhaithu vaadi- composed by Prof.Chandrasekhar has one teermanam that has 23 ‘Talaangus’.When one of the participants performed this, others watched this with awe and admiration.

Aahaarya -–make up and costumes-is important not just during a performance but also when one goes to class/practice. The importance of wearing practice costumes and be presentable was stressed during the session conducted by Prof.Chandrasekhar.

During a performance, dancers must choose the costume as per their body structures.

A short person must not wear costumes with broad borders. Heavily built dancers must not wear stripes. And a strict ‘no’ for stitched costumes for men.

Vaachika-

What is Poetry?

Anything that is beautiful and graceful..

There is poetry in a beautiful dance performance.

Dancers must have the sensitivity to appreciate poetry. This helps them understand and appreciate the dance more.

Dr.Sudha Seshaiyyan made the participants realise this.

There are essentially three levels of understanding in appreciating poetry:

1.Padam-Words

2.Vaakyaartha- Sentence

3.Dhwani-Inherent tone (hidden meaning)

Though the first two are important, one must concentrate on the third part to experience and feel the poetry.

Poetry must be interpreted like how a painting is interpreted.

Some of the participants danced to pieces like ‘Kakkai Chiraginile’ and ’Maitreem Bhajatha’ and the interpretations of each dancer were different.

Is it not true that what one experiences is totally different from that of the other’s?

Music and dance are inseparable.

Smt.Aruna Sairam brought out the Musical aspects in dance wonderfully

An expert in Abhangs, she sang in a voice soaked in devotion and the participants responded..

The Morning sessions of yoga by Anil Kumar and the one session lecture by Dr.Kannan Pugazhendi made the participants realise the importance of the harmony between the mind and the body.

Finally, the spontaneous dancing by the participants during the Dolotsavam and the Garuda Sevai in the Panduranga temple said it all..

What makes an artiste?

Creativity, imagination, expression, communication, passion, aesthetics, spontaneity…

But an artiste is incomplete without the internalization and the ‘feel’…

And this what the German Guru made Aruna Sairam realise..

And this is what the Tennangur camp makes us realise…

About the Author :

Mr. Rajendra Kumar describes himself as a “Fine Arts Enthusiast”. Passionate about Music, Dance and Literature, he regularly attends the Tennangur Camp organized by the Natyarangam wing of the Narada Gana Sabha. An articulate writer himself, he shares his appreciation of music in his blog, http://rajamanjari.blogspot.com/. He resides with his wife Manjari, a Bharathanatyam danseuse, and kids in Chennai.

Filed under: Abhang, Abhinaya, Arts, Bharatanatyam, Bharathanatyam, C.V. Chandrashekhar, Chennai, Conference, Dance, Dance Gurus, Madras, Performing Arts, South Asian Dance, Workshops, adavus, artists, do's and don'ts for dancers, experiences, learning, students, talent, upcoming artist , Costume, Narada Gana sabha, Natyarangam, tennangur

Thanjavur Temple and dance….

Interesting excerpts from the lecture on the Big Temple organised by Ranga Mandira Trust and the department of Natya, Dr.M.G.R. Janaki College. Kudavayil Balasubramaniam reveals some rare facts about the Thanjavur Big temple.

“Nayak installation The nandi before the sanctum sanctorum was installed by Sevappa Nayak.

The Srivimanam does cast a shadow. The dome on top of the vimanam is not a monolith.

Fine arts There were 430 dancers in the Big temple. Their names and addresses have been recorded in the inscriptions. They were paid out of a corpus fund.

During the five pujas in the temple, all 430 dancers danced and worshipped Lord Siva, accompanied by 150 musicians. Raja Raja gave the honorific Raja Raja Perum Thachan to the chief architect of the temple.

Highlights There are sculptures of dancers showing 81 karanas. The remaining were not completed, because Rajendra, son of Raja Raja, took all the sculptors with him to build a Siva temple in his new capital.”

Read the entire article here…

Filed under: Arts, Conference, Dance, History of Bharathanatyam, Institutes, Karanas, Natyanjali, Performing Arts, Thanjavur, adavus, experiences, learning, students , Brihadeeshwara Temple, Thanjavur

A book on adavus

Here is a book on adavus and karanas that I came across. Have a look…

“Dance units in Bharata Natyam

NATANA ADAIVUGAL (Tamil): Natyacharya S. Balachandra Raju; Sivaranjani Publications, 16, Sakthinagar 2nd Street, Choolaimedu, Chennai-600094. Rs. 210.

THE ADAVU (or Adaivu as the author prefers to spell it) is a dance unit called Karana in Sanskrit and is made up of a specific pose, a foot movement and a Nritta Hasta. A combination of Adavus is known as an Adavu Jati. According to experts, there are 10 different groups of Adavus, each having 12 different modes, making in all 120 basic dance arrangements. Dancers, however, generally learn about 40 to 72 Adavus.

Reference to Adavus can be found in Chola inscriptions ascribed to the 12th century and in inscriptions in some Siva temples. This basic unit is adopted in some other art forms like Kalaripayattu, Kathakali and Mohini Attam. Although in other forms also some poses and hand movements are combined, it is only in Bharata Natyam that they are combined to such a perfection as to produce an immense variety of dance patterns with hands synchronising with poses and footwork, embellished by graceful neck and eye movements.

Present day writers on dance try to make a distinction between Adavu and Adaivu. The Tamil term “Adaivu” has no less than 14 meanings while Adavu is used only in dance. The Sangita Muktavali says that Karanas are known as Adu-s (also Adugu and Aduvu) in Telugu.

In the dance section of the Sangita Saramruta of Tulaja (1729- 1735 A.D.), ruler of Thanjavur, a number of Adavus have been described and the Sanskrit equivalent of the term has been shown as Kuttanam which means the striking of the ground with the foot. Most of the Adavus now presented by Bharata Natyam dancers are those enumerated in Tulaja’s treatise.

Natyacharya Balachandra Raju is a prolific writer on Carnatic music and Bharata Natyam with more than 50 publications in English and Tamil to his credit. He is also the director of the Nritya Sangita Niketan in Chennai which teaches music and dance on scientific lines aided by his theory books and model dance compositions.

The book under notice is the most comprehensive account of Adavus published so far and is an enlarged version of the first edition published in 1993. The author has an enviable command over Tamil prose and writes with great clarity and vigour. The general introduction highlights the unique greatness of Bharata Natyam when compared to other styles and the vital role played in it by Adavus. Before taking up a discussion on the Adavus, the author deals with Talas which play an indispensable role in dance. The Suladi Sapta Talas namely Dhruva, Mathya, Rupaka, Jhampa, Triputa, Ata and Eka, are described and the matras of the five Gatis in each of them furnished.

He then takes up the main subject Adavus and discusses at great length Tattadaivu, Nattadaivu, Kattadaivu, Alankara Kattadaivu, Pakkadaivu, Ettadaivu, Simradaivu and others. Photographs (220 in all mostly in colour and not sketches) of Adavus and the 108 Karanas in addition will be found highly useful by teachers and students of dance. For the first time in dance literature, the scientific names of the muscles of the body that are toned up and strengthened by the various Adavus have been furnished. The author has made every effort to make the book useful to dancers by adding chapters on Abhinaya, the 108 Karanas, make-up and costuming.

The book is thus a thesaurus on Adavus and is a bargain for its low price.

Source: An article in 2001 Hindu by Sri.T. S. PARTHASARATHY

Filed under: Arts, Bharat Kalachar, Bharatanatyam, Dance, Dance Gurus, History of Bharathanatyam, Introduction, Madras, Performing Arts, adavus, artists, books, experiences, learning, students, talent