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

Lakshmi Viswanathan’s book release

Chronicling a lost heritage

Lakshmi Viswanathan’s book on the devadasis captures the spirit of a bygone era .

The very title is evocative — “Women of Pride-The Devadasi Heritage”. Dance artiste and choreographer Lakshmi Viswanathan’s book on the devadasi heritage is based on years of research disguised as an easy read.

“I want to make this information accessible to every one, not just to academics or the dance community,” she smiles. “The lay reader may be surprised by some of this information, with details about devadasi participation in court life, the extraordinary status they enjoyed, and their philanthropy. There were nationalists and freedom fighters too among them, who wore only khadi.”

Read the full article from The Hindu here

Thanks to Mr. K.T.J. who identified the article for us.

Filed under: Arts, Bharathanatyam, Chennai, Dance, Dance Gurus, December season., History of Bharathanatyam, India, Literature, Madras, Performing Arts, Rasika, Tamil, Thanjavur, artists, books, choreography, dance festival, experiences, learning , devadasi, Lakshmi Viswanathan

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

Sruti’s dance writing Competition..

Here’s a chance to get your article published in Sruti magazine
Ranga Mandira in collaboration with Sruti magazine calls for entries from dancers and dance lovers from across the world for an article writing contest, to be held in memory of the revered musicologist T. S. Parthasarathy. The topic for the article is ‘Bharatanatyam – identity, tradition and modernity.’

The best written article will be chosen by a panel of judges comprising senior dance gurus and scholars. The winner will be honoured at the annual T.S.Parthasarathy Memorial Seminar to be held on December 14, 2008, and their article will be published in Sruti.

Last date to send in your entries is November 30, 2008.

Articles to be sent via email to rangamandira@gmail.com — cc to srutimagz@gmail.com or as hard copy to Sruti-RM- TSP, C/o, S. Janaki, Executive Editor, Sruti. No.19, Cathedral Road, Chennai- 600086.

The Sri. T. S. Parthasarathy Memorial Seminar 2008 will be held on December 14. Senior and experienced artistes, scholars and critics are invited to share their thoughts and expertise.

Sri.T.S.Parthasarathy Honour will be bestowed upon Dr.Sunil Kothari.

Some of the participants at the seminar, besides Sunil Kothari, are V. R. Devika, Dr. Raghuraman and Sruti Janaki.

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Performing Arts, awards, books, competitions, contest, experiences, students, talent

Dance Writing Workshop a combined effort by Narthaki and The Hindu

The writer/critic indeed assumes a great responsibility in terms of  helping  the sustenance and growth of all art forms.  Narthaki and Hindu have come up with this effort to train and educate interested participants. I indeed appreciate the timing of this workshop just before the season unfolds in Madras… and,  those of us who can only wish we were there will get to so lovingly read and reread those reviews that bring accross the season to us in words.

Narthaki lists the following details in the website …

www.narthaki.com and The Hindu organize 
a week long dance writing workshop 
in Nov 2008 at Chennai

Mentored by 2 distinguished writers

- 3 hours a day daily for 7 days
- Watching performances and rehearsals with dancers at Anita Ratnam’s dance space or 
at a specified place arranged in advance where some senior dancers will perform for 30 minutes and have discussions about process and choreography
- Responses about the performance. 

Participants have to pay Rs. 750 only for the entire session
A certificate will be given at the end of the session
All will have to keep their evenings free to watch performances

Participants from outside Chennai have to make their own travel and stay arrangements. 

Exact dates and other details will be announced shortly. 

Those interested, please write to narthakionline@gmail.com 

Irresponsible review and criticisms just leave so much bitter after taste … It is high time some channelised effort in terms of informing the media is undertaken. Well we indeed need to Thank (with a capital T) the management of The Hindu for being one of the major newspapers which delegates considerable space to the Arts…
Our electronic media?:)  Well, that’s not in our purview..

Well there is also this subjective bias inherent in the human form, in you and in me that we need to  “unlearn” over and over again… Sentiments, emotions and passion runs high in this field and it is indeed difficult to steer clear of all of this and come up with a sensible unbiased review..

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Chennai, Conference, Dance, India, Madras, Performing Arts, Rasika, Workshops, artists, books, choreography, experiences, learning, review, students, talent

Sruthi- a magazine for Indian Music and Dance

Here is a magazine that most of you would love to subscribe.. “Sruthi”

To know a little more about this magazine which recently celebrated its Silver Jubilee, here is an excerpt of a write up from their website..

Sruti is India’s leading monthly devoted to Indian classical music and dance and theatre. The target audience of Sruti comprises several groups. These include lay music and lay dance enthusiasts, connoisseurs, musicians, dancers, teachers, scholars and students of the fine arts, institutions and organisations active in the field and officials of Government agencies concerned with the arts.
Many customs that have today come to be recognised as established best practices in the performing arts especially in south India have been the result of Sruti’s systematic campaigns in favour of good taste, decorum and performance excellence. Among its early triumphs was the restoration of the importance of ragam-tanam-pallavi, which had become conspicuous by its absence on the concert platform.

For over two decades, Sruti has constantly practised what it preaches—adherence to high standards of authenticity, objectivity, sophisticated writing based on thorough research, and a healthy respect for individuals and institutions, balanced by an equally healthy irreverence towards holy cows. Sruti is not an academic journal, even though it carries scholarly and technical articles from time to time.

Sruti’s several profiles of the leading exponents of music and dance have been pathbreaking in the annals of Indian journalism, as have been its special projects to document the teaching methodology and stylistic characteristics of leading schools of dance and music. It is a veritable treasurehouse of in-depth knowledge of the many centres of excellence—the kshetras which have served to propagate the classical arts of India.

Started under private auspices, Sruti was promoted as a not-for-profit venture and placed under a Trust in April 1985 when the Sruti Foundation was established with Founder-Editor N Pattabhi Raman as its Managing Trustee. Sruti, is its `flagship’ endeavour, while Samudri (Subbulakshmi-Sadasivam Music & Dance Resources Institute), is an ambitious initiative towards archiving valuable resource material in music and dance and promoting research and cooperative endeavours to ensure the sustainable development of the performing arts, based on traditional ideas and practices.
Other information

Special projects:

National Seminar on Bharatanatyam Dance Traditions

Analysis of the music of violin maestro Lalgudi G. Jayaraman

Analysis of the music of Carnatic vocal maestro G N Balasubramaniam

Bridging the North-South Divide – discussions on Carnatic & Hindustani music

Seminar on E. Krishna Iyer’s role in the Renaissance of Bharatanatyam

Books published:

Bala on Bharatanatyam

Semmangudi – A Mosaic Portrait

Thakur Jaideva Singh – A Great Savant

Awards

The Sruti Foundation instituted the E Krishna Iyer Medal in 1989, to be awarded to an individual or institution who has made a significant contribution to the preservation and promotion of Bharatanatyam traditions. The Medal is presented every alternate year.

The Sruti Foundation has also been entrusted with the task of administering TWO awards:

The Vellore Gopalachariar Award instituted by mridanga vidwan Vellore Ramabhadran, in memory of his father Vellore Gopalachariar. This award is given to a deserving musician every year.

The M Venkatakrishnan Memorial Award instituted by Bharatanatyam & Kuchipudi exponent Ramaa Bharadvaj of California, in memory of M Venkatakrishnan, the head of the cultural organisation called Sankarabharanam. This award is to be presented to an organiser of cultural events every alternate year.

The Indira Memorial Scholarship instituted by her family members, to be awarded to a talented but economically backward music student.

You can sample the current issue of the magazine at http://www.sruti.com/index.php

You can subscribe to/renew the magazine online at http://www.sruti.com/onlinesubscription.php

Subscription Charges (Inclusive of taxes)

For India  Rs. 540 /-

For countries other than India  Rs. 2110 /-

I have personally subscribed to the magazine  and their customer support is excellent and emails are promptly attended to.

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chennai, Dance, Dance Gurus, History of Bharathanatyam, India, Introduction, Madras, NRI, Performing Arts, Rasika, artists, books, do's and don'ts for dancers, experiences, learning, promotion, review, students

Kavuthuvams- a study

In recent years one witnesses on the performing platform the dances belonging to the ancient temple tradition of South India. Navasandhis, Pushpanjalis and Kavuttuvams form an integral part of this group. Though these pieces have been performed for a number of years within the hallowed precincts of temples, it is only recently that they have gained prominence in Bhratanatyam recitals. Of these, the Kavuttuvam presents a fascinating scope for study, both historically and technically. As one delves deeper, the subject becomes even more intriguing.

This article will consolidate some ideas regarding the historical references to kavuthuvam, its position in a Bharathanatyam recitals, the structure, prevalent practices etc..

Kavutuvam- the common thread:

Kavuthuvam is an invocatory item in Bharathanatyam and Kuchipudi recitals. It is a hymn a song of devotion in praise of a deity. It was performed by the devadasis as part of the daily rituals, or on special occasions or during the festivals. Most of the Kavutuvams are dedicated to a particular deity. For eg, the Chidamabara Natesa Kavutuvam by Gangai Muttu Nattuvanar is dedicated to the deity at the Chidamabaram Natarajar temple and similarly Nachiar or Andal Kavutuvam is dedicated to the shrine at Srivilliputthur. Whereas, there is no apparent mention of a particular kshetra or shrine in the Subrahmanya and Ganesha Kavutuhuvams.

 When my students heard it the first time they brightly came up with the idea that rap must have originated from the kavuthuvams. Kavuthuvam have an unique structure – it begins with a rhythmic recitation of sollukattus, followed by lyric recitation in the same santham (rhythmic metre) as the sollus and the later a melodic rendering of the lyrics and ends with a sollukattu. No sancharis or elaboration herev(the choreography sticks to padartham). Sometimes Thattimetti for the lyrics when repeated the second time may be seen.

Musically most Kavuthuvams are composed in Nattai, Gowlai, Arabhi, Varali, Hamsadhwani and Sri Ragam. Gangai Muttu Nattuvanar and the Tanjore Quartet have penned most of the Kavutuvams.

Kavuthuvam- Historical References

“A study of the temple tradition and extant literature sheds light on the fact that the Kavuttuvam of Tamil Nadu has a parallel tradition in the Kavuttuvam of Andhra. The earliest mention of the formal Kavuttuvam in Tamil literature dates back to the work Kulappa Nayakkan Virali Vidu Dhuthu by Supradeepa Kavirayar (about 1725 AD).

            Aadavarai eyyum madhavel kaikkichayum malar evalpol

Thaiyalal pushpanjali cheithal – cheithu pillaiyar

Kavuttuvam kondal ada ilaya nayanar

Kavuttuvam kondu nanninen

The term used here is Kavuttuvam and not any distortion of or derivation from it. The lines suggest that the dancer first struck the basic position of the feet essential for commencing the dance. Whether she chanted the Kavuttuvam in a ritualitis manner and then struck the position of the feet in order to dance or whether she first took the position to dance and then performed the Kavuttuvam is, however, not very clear. ” (2)

Kavuthuvam- Position in the margam

Though Kavutuvams are usually performed in the beginning of a recital today, there are references that show that a Kavutuvam may have been featured towards the end of a recital too. “Serfoji II was the Maratha ruler of Tanjavur from 1798 to 1832. He was a great patron of Bharatanatyam and himself wrote many Nirupanams for dance in the Marathi language but in Karnatic ragas. In his time there were eighteen items in a Bharatanatyam performance and these were

 

1) Jayastuti

2) Sharanu Sharanu

3) Alaru (This was perhaps Alarippu)

4) Sollu

5) Shabdam

6) Varnam

7) Padam

Swarajati

9) Abhinaya Padam

10) Tillana

11) Abhinaya Padam

12) Jakkini Padam

13) Geetham

14) Prabandham

15) Triputa

16) Shloka Varnam

17) Kavuthuvam

18) Mangale

 

Serfoji patronized four brothers called Chinnaiah, Ponnaiah, Sivanandam and Vadivelu who came to be known later on as the Tanjore Quartette. They reduced the eighteen items to eight and introduced the Margam which is now in force.” (1).

Prof. Sudharani Ragupathy in her VCD on Navasandhi Kavuthuvam talks about Kavuthuvam being performed before a Shapdam or instead of one.

Kavuthuvam: Different Views on its emergence…

The most common view that is present among the dance fraternity is that “Kavuthuvam” is a term that is beleieved to have originated from Kavithvam or kavithuavm referring to its poetic excellence. Bhagyalakshmi (2005) says that it may have been derived from the Kavitvam/salamu repertoire of Kathak.

 In an article authored by Smt. Chitra Visweswaran, with Sri. T.S.Parthasarathy’s support, the emergence of  Kavuthuvam is discussed as follows…

“Discussing the word Kavuttuvam, Prof. P. Sambamoorthy suggests the possibility of its being a distortion of Kavithvam (from kAvya, which has much to do with poetry). But the Kavuttuvams available to us are by no means great works of poetry. Nor can they be traced back ritualistically to kavithva and kavya. In his introduction to Jaya Senapati’s Nritta Ratnavali, Dr. V. Raghavan traces the present day shabdam to Kavithvam, which appears to be a more plausible explanation.

On the other hand, while studying the term Kavuttuvam from the ritualistic point of view, it is possible to associate it with temple rituals. The main deity in any temple is called the moolavar or moola bimbam; the deity taken out in procession is known as the utsavar, utsava bimbam or kautuka bimbam. It is known that Kavuttuvams were performed in the temple processions in the presence of the kautuka bimbam. Could the origin of the name of this dance piece be traced to this ritual? It is significant that the ceremony of tying the kappu around the wrists of young couples during the wedding is called kautuka bandham. It is also interesting to note that Kautukamu in Telugu literally means kapu utsava or the celebration of tying the kapu (see Suryaraya Andhra Nighantu – Sangeeta Sabda Chandrika, a dictionary of musical terms in Telugu). It is thus possible that the Kavuttuvam or Kavutam was performed in the presence of the deity, in the nature of tying a kapu to ward off evil.

My observation on the close bond between Kavuttuvam and Kappu is further strengthened by the study of old pieces such as Bhairavakappu in Takkayaga Parani by the famous Tamil poet, Ottakuttan, who belongs to the 12^th century A. D.

BHAIRAVAKAPPU

 Uraka kankanath tharuvana panamani

Ulakatangalum thuyil ezha veyil ezha

Udai thavirthathan thiruvarai udai mani

Ulavi onrodonru alamara vilakiya

Karathalam tharum thamaruka chathipothi

Kazhal punaindha chemparipura oliyodu

Kalakalan kalan kalanena varum oru

Kariya kanjukan kazhalinaik karudhuvam

Many literary and poetic pieces begin with such kappus. The Bhairavakappu has many characteristics found in Kavuttuvams as available to us today. This clearly leads to a discussion of the essential characteristic features of this dance piece that is today performed in the name of Kavuttuvam.

Perhaps, the most comprehensive definition of Kavuttuvam, is in Natyacahrya Vedantam Parvatheesam’s Kuchipudi Natya Darpana in Sanskrit.

Pataksharena samyuktam devata vishayatmakam

Nanartha chitrasamyuktam kitthantam kautam uchyate

[That which has a combination of syllables pertaining to footwork (sollukattu), that which pertains to the deeds of Gods and thus presents pictures of various types and ends with the rhythmic syllable, kittha, is called a Kavuttuvam]

Whether it is done in the Bharatanatyam or Kuchipudi styles, the concept and structure are the same. The most important characteristic feature peculiar only to Kavuttuvams is the close intertwining of sahitya (lyric) and sollukattu (rhythmic syllables), which is non-existent in any other dance number.”(2)

Kavutuvams- The Variety

Two kinds of Kavutuvams are important from the historical point of view:-

• 1. The Panchamurthi Kavutuvams on Lord Vinayaka, Muruga, Sambanadar, Sandeswarar(Chandikeswara), and Nataraja. This was performed on the Thiruvathirai day in the month of Margazhi,when the idol was taken out in procession.
• 2. The Navasandhi Kavutuvams propitaiate the ashtadikpalaks(the guardian of the 8 directions) and Bramha at the centre. These were composed by the Tanjore quartette and performed during the Dwajaroha(Flag hoisting) festival at the Thanjavur Periya Kovil or the Brihadeeshwara temple. The Navansandi Kavutuvams are composed on Bramnha, Indra, Agni, Yama, Niruthi,Varuna, Vayu, Kuberaand Isana. The Navasandhi Kavutuvam, is a vast research topic in itself. All the 9 Kavutuvams talk of the attributes of the particular deity(their mount, their consorts, their kriya (loosely translated as responsibilities etc.),
• This has been researched by prof. Sudharani Raghupathy who is a disciple of Tanjore Kitappa Pillai, a direct descendant of the Tanjore Quartert. This project is now brought out as a Geethanjali VCD titles “Navasandhi Kavuthuvam” brought out by the Super Audio Madras Pvt. Ltd. A video search in the You tube will help you watch a few of these.More about this Cd and Kavuthuvams here
• I intend to write a note on Navasandhi Kavutuvams shortly.

 Priyadarshini Govind in her DVD on Invocatory Items talks of  a few kavuthuvams on nature like the “Vanambadi Kavutuvams” and Kavuthuvams that mention”Nithyasumangali” or “Rudrakanika”, the devadasi.

 The Kuchipudi repertoire includes Kavutuvams, in which the dancers use their feet to create patterns of birds and animals while dancing to special songs. For example, in a Kavutuvam in praise of the Goddess Durga, the dancer creates the image of a lion, the mount of the goddess. In the Mayura Kavutuvam they create an image of the peacock. The Mellatur Bhagavatha Mela  Sampardaya also features its own Kavutuvam.

Popular Kavuthuvams performed today include

• 1. Natesha Kavutuvam-
• 2. Ganapathy Kavutuvam-(In ancient times it is said that training began for the student with this kavutuvam who learnt to perform the steps to the rhythm of the kavutuvam)
• 3. Subramanhya Kavutuvam-
• 4. Srivilliputtur Andal/nachiar Kavutuvam-
• 5. Hari Narayana Kavutuvam-sings  praises of the dasavatar
• 6.  Tiruvallankadu Kaali Kavuthuvam-
• Less common ones.
• 7. Tharugavana Mahalingar Kavutuvam
• 8.Seergazhi Ganasambandar Kavutuvam
• 9.Madurapuri chokkar kavutuvam

Definitely kavutuvams with their divine nature please the traditionalists and their crisp rhythmic construction and its brevity impresses the uninitiated audience too. No wonder the Kavutuvam is making its indent into the margam today. It is said that many kavutuvams are still kept and preserved in their respective temples and are yet to be brought to the performance arena. Research and collaboration with the traditional nattuvanars may discover many of these unseen gems.

Sources:

• 1. BHARATANATYAM IN HISTORY by Sangita Kala Acharya T. S. Parthasarathy,http://www.carnatica.net/special/bharatanatyam-history-tsp.htm
• 2. KAVUTTUVAM Padmashri Chitra Visweswaran & Sangita Kala Acharya T. S. Parthasarathy http://www.carnatica.net/special/kavuttuvam-tsp1.htm
• 3. http://www.narthaki.com/nforum/messages/11225.html
• 4. Bhagyalekshmy, 205, Approach to Bharathanatyam, Third Edition, CBH Publications Nagercoil.
• 5. Kavuthuvam and Mallri, Natya Dwami, Swathi’s Samskrithi Series CDpresented by priyadarshini Govind
• 6. Navasandhi Kavuthuvam in Bharathanatyam , CD produced by Super Audio Madras, directed by Prof. (smt) Sudharani Raghupathy
• 7. My gurus oral teaching and notes ( Smt. Chitra Visweswaran and Smt. Priyadarshini Ramchand)

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chitra Visweswaran, Dance, Dance Gurus, Literature, Performing Arts, Sudharani raghupathy, Tamil, Vijayanthimala Bali, books, choreography, learning, students , Kavuthuavam, Navasandhi

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

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