|
Bharatanatyam is a classical dance form originating from Tamil Nadu, a state in Southern India. This popular South Indian dance form is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. The word Bharata, some believe, signifies the author of the famous Sanskrit treatise on stagecraft, called NatyaShastra, and the word Bharatanatyam is sometimes given a folk etymology as follows:Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Ta for tala or rhythm.
Bharata refers to the author of the Natya Shastra, and natya is Sanskrit for the art of sacred dance-drama brought to the stage at the beginning of the 20th century..
Bharatanatyam traces its origins to the Natya Shastra written by Bharata Muni, a Hindudasiattam by temple Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsaras,
who are depicted in many scriptures dancing the heavenly version of
what is known on earth as Bharatanatyam. In the most essential sense, a
Hindu deity is a revered royal guest in his temple/abode, to be offered
a standard set of religious services called Sodasa Upacharas
("sixteen hospitalities") among which are music and dance, pleasing to
the senses. Thus, many Hindu temples traditionally maintained
complements of trained musicians and dancers, as did Indian rulers. sage. In ancient times it was performed as
Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti.
Bharata Natyam, it is said, is the embodiment of music in visual form,
a ceremony, and an act of devotion. Dance and music are inseparable
forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized.
Includes
- Abhinaya or Natya - dramatic art of story-telling in Bharatanatyam
- Nritta - pure dance movements usually performed as an opening item
in Bharatanatyam, reflecting different rhythms of the universe
- Nritya combination of abhinaya and nritta
Karanas
Karanas are the 108 key transitional movements that punctuate Bharatanatyam and other classical Indian dances. Most of these 108 Karanas
have a central, static pose as a base, i.e. the dancer is usually
supposed to stop and maintain it for a very brief duration (0.5 sec).
Read more about Karanas.
Hastas
A distinctive feature of Bharata Natyam Dance is the use of
expressive hand gestures as a way of communication. Hastas refers to
the varieties of hand symbols that a dancer can use. Many of these hand
gestures are well known. For example, Anjali is often used as a
salutation when a person greets another person. There are two types of
Hastas : Asamyuta and Samyuta (single and combined, respectively). Abhinayadarpanamviniyoga, although Natya Shastra mentions many more, and the usages stated in Abhinavabharati describes 28 Asamyuta Hastas and 24 Samyuta Hastas and their usage
differ considerably from those of Abhinayadarpanam, which is a
relatively recent text. Many hastas can be used in more than one way,
depending on the song accompanying the dance, and what the dancer is
trying to convey to the audience.
Adavus
A series of steps, adavus,
and their execution vary greatly from style to style. While some styles
include over 150 adavus, others use less than 70. A combination of
adavus is called jathis, which make up the Nritta passages in a
Bharatanatyam performance.
Bhedas and eye movements 
Bharatanatyam technique includes many other elements, such as
elaborate neck and eye movements. Abhinaya Darpanam has defined in all
9 head movements, 4 neck movement and 8 eye moments which are used
extensively throughout the dance.
Head Movements (Shiro bhedas): Sama, Udhvahita, Adhomukha, Alolita,Dhutam, Kampitam, Paravruttam, Utkshiptam and Parivahitam.
Neck Movements (Griva bhedas): Sundari, Tirashchina, Parivartita, Prakampita
Eye Movements (Drishti bhedas): Sama, Alolita, Sachi, Pralokita, Nimilite, Ullokita,Anuvritta, Avalokita
|
