indian classical dances

indian classical dances




Bharata natyam techniques of communicating a verbal message are Abinaya, which uses mostly facial expressions and gestures. While some authentic styles, such a Melattur style, emphasise a highly expressive, spontaneous and elevated mode of abhinaya, the late Balasaraswaty tradition's abhinaya was extremely subtle and understated, while the Kalakshetra style expressions are largely theatrical. Some contemporary styles, such as the one propagated by Shobana, favour the clownish Bollywood-type expressions.

While gestures can be seen from any distance even in a large dance hall, the subtle facial expressions can only be seen from the front rows. This is the main feature that distinguishes Bharatanatyam from the western ballet dances. Thus, unless a Bharatanatyam recital is held in a small hall, a close-up, high-resolution video is the only adequate medium of presenting the Abhinaya. Bharata-natyam is an ekaharya (solo) performance: one dancer presenting various characters, regardless of their gender.

The Abinaya can be of 4 kinds. Angikabhinaya deals with communicating the meaning of the songs by moving the limbs of the body.Vachikabhinaya is verbal story-telling.Aharyabhinaya includes the use of costumes, jewellry, make-up. Satvikabhinaya is the subtle and direct communication of moods (Bhavas) by a mental contact or glance.

Lord Shiva is described in this stanza:

We bow to Him, the benevolent One
Whose limbs are the universe,
Whose song and poetry are the essence of all language,
Whose is clothed in the moon and the stars...
Bharatanatyam




bharatanatyam


Bharatanatyam dancer often portrays Shiva's characteristic pose of Nataraja: his right hand holds the drum of creation, symbolising a primeval sound. Hhis left hand holds fire destroying the old universe; his second right hand is raised in Abhaya hastha (blessing ). Tthe second left hand points to his left foot that crushed demon Muyalaka who is the embodiment of ignorance.

There are 8 main or primary emotions-relations-moods, Sthayi (basic) bhavas, which correspond to 8 Rasas: Shringara (Love), Hasya (Mirth) , Veera (Heroism), Roudra (Wrath) , Bhayanaka (Terror ), Bheebatsa (Disgust) , Adbhuta (Amazement), Karuna (Compassion ). Shanta (Calm) was added much later, just as Vatsalya (parental affection) rasa. Apart from the fundamental bhavas, there are Vibhava (what triggers an emotion), Anubhava is the result (consequence) of an emotion, and Sanchari bhava (transitory states).

These Bharathanatyam elements are also seen as the mystic symbols of Bhakti Yoga. Sringara means love, but this is not confined to rati sringara. There is bhakti sringara and vatsalya sringara besides rati sringara. Even among some of its practitioners, Bharatnatyam is often misinterpreted as being limited solely to bhakti. Balasaraswati believed Bharatanatyam is based on bhakti and that "it is justified in being called a yoga because it is a spiritual discipline perfecting the mind to thought-free serenity".

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