Thie first three letters of expression Bharatanatyam, to be precise, BHA- RA and TA are suppose to give an idea of what the art is: they stand for expression, melody and rhythm respectively. In the natya sastra several characteristic features have been mentioned. Some of them are Manasam, Vachikam, Kayikam, Iccha, Jnanam, Kriya, Nrityam, Geetam, Vadyam and so on. The traditional dancers and the nattuvanars call this art Keli or Silambu. According to tamil classics this is known as Koothu or Attam. The name of Bharatanatyam itself has been construed according to the ideas and interests of particular individual. Every one wants to satisfy his own petty provincial feelings. The simple meaning is the dance art of Bharata, because it is primarily the art of Bhaava, Raaga and Taala. Like all other dances Bharatanatyam also is mailnly classified into three elements, namely Nritta, Nritya and Abhinaya. Nritta (Abstract dance) has two complementary parts, namely ‘Karana’ or body position and movement and ‘Aduvu’, position of the feet with reference to the floor. ‘Aduvu’ is classified again into two: ‘Jathi’, that is, initial rhythmic patterns and ‘Theermana’ or concluding rhythmic patterns. Nritya and Abhinaya stand for dance which express ideas or sentiments. Here facial expressions and hastas of hands are used as the principle medium of expression. Natya is the combination of both Nritta and Nritya.
ADUVU
Aduvu is an inseparable part of Karana. This is related to different types of foot actions and of floor contacts in the execution of rhythmic patterns. When Karana is represented Aduvu also is to be displayed simultaneously.
According to ancient treatise the art of dance in India is divided into three species, Nritta, Nritya and Natya. Aduvus can be classified mainly into 15 categories which have their own separate rhythmic syllables. Special attention should be taken not to exceed the number of steps prescribed when faster steps are done. Generally for each Aduvu there are three speeds: single, double and quadruple. Some of the Aduvus are classified into two, three or more movements.
Very few exponents only know all the Aduvus. The Nattuvanars (dance guru) teach the Aduvus according to their own discretion. When examining the Chidambaram sculptures one can get a working idea of Aduvus. There we can see both the Virile and Graceful poses of the dance. Some of the Aduvus which are carved in this great temple are unknown to people even today.
JATHI
Jathi is a rhythmic pattern which cannot be separated from Aduvu. There are differences between Aduvu and Jathi. Jathi attaches more importance to the foot beats while Aduvu emphasises the postures. Jathi is equivalent to Sollu Katu, a word in tamil which intimates the same sound syllables. When Jathi is displayed the nattuvanar utters Sollu Katu.
Jathis are displayed in three speed: Starting speed, Double speed and Quadruple speed. For this the teacher, the nattuvanar keeps the rhythm in such a manner as to enable the dancer to adjust himself to these three speeds.
THEERMANA
Theermanas are the concluding steps used in Bharatanatyam. These are the rapid strokes to finish the item. In certain occasions as in Sabda these are used at the beginning but generally they come either in the middle or in the end. Here long and short phrases are repeated three times in three increasing speeds.
OUTLINES OF BHARATANATYAM TECHNIQUE
NRITYA
Nritya is the expressive dance. This includes expression of body, face and hastas. Here Hastas, Padams, Sabdas and Slokas come to our notice. The theme of the play is conveyed through Abhinaya. Both in Nritta and Nritya gestures of hands are used. These Hastas are exhibited either to convey the code of language or to debict pictures of natural phenomena
MAARGA
Is a collection of a large number of movements, a variety of rhythms elaborate facial expressions, gestures of hand and body movements and different gesticulations. This can be grouped into six items, viz., Alaripu, Jathiswaram, Sabda, Varnam, Padam, Tillana accompanied with concluding Sloka. The accompaniment of vocal as well as orchestral music enrich the aesthetic value of the programme.
This is an antique art but its growth has never stopped. In the course of time even though there have been many changes in representing this art the basic principles and ideals are the same. Alaripu is the opening item of any Bharatanatyam programme.
ALARIPU
This is an invocational dance and also a short form of pure Nritta. Alaripu is a telegu word for flowering which is meant here either flowering out the body, i.e. to get oneself prepared for the ensuing items or the scattering of flowers as a mode of salitation to God or the audience.
JATHISWARA
Jathiswara, the second item of the programme, is a little more complicated. This also is a pure dance sequence. This means a combination of Jathi and Swara, i.e, Jathi or rhythmic syllables are exhibited first and according to this the rhythms of the drums are beaten. It has been described in the Naatya sastra thus: “the dance is occasioned by no specific need it has come into use because it creates beauty. As dance is naturally loved by almost all people, it is eulogized as being auspicious. It is eulogized also has being the source of amusement on occasions of marriage, child birth, reception of a son in law, general festivity and attainment of prosperity”.
SABDAM
Sabdam is the first form of dance to introduce to the spectator expression and abhinaya. It is an interpretative dance with religious or erotic statement. There is much scope for “Sancharibhavan”.
The meaning of Sabdam is panegyric either of the king or God or the hero. The meaning of this is interpreted through abhinayas. The dance starts with movement, Theermana followed by a song which will be generally describing the qualities of the hero.
This dance concludes with the salitation, i.e. placing the two hand palms up in front of the chest, then raising to the forehead indicate to the audience “ I bow before you”.
VARNAM
Varnam is the most interesting as well as difficult item of a Bharatanatya programme. The word Varnam or colouring itself indicates its function in the dance. It is a combination of both Nritta and Abhinaya. The beauty of this dance lies in the uniformity of Taala of the feet and the Abhinaya of the hands and the Expressions of the face.
Outlines of a Varnam are given below:
Swara equals to Nritta
Sollukatu equals to Jathi (Nritta)
Sahithya which is divided into three:
Pallavi (Abhinaya, Nritta) , Swara (Nritta)
Anupallavi (Abhinaya, Nritta), Swara (Nritta)
Charanam (Abhinaya, Nritta)
Swara (Nritta)
Jathi (Nritta)
Theermana (Nritta)
PADAM
Next comes Padam which contains six or seven padas for exhibition. These are the interpretation of songs through Abhinaya. Here there is only little scope for Adavu, Karana or Jathi because the dancer is exclusively engaged in the hand gestures and abhinayas.
THILLANA
Thillana is a pure dance with complicated foot rhythms. It is a performance in which the charms of a female dancer are best displayed. There is only less Abhinaya in this item and usually this ends in praise of God.
Sloka in the concluding item of Bharathanatyam programme.This is the recital of a brief Sanskrit verse which usually will be form the Gita Govinda of Jayadeva. There is no rhythm or music. She acts out with her eyes and hands the meaning of sloka.
