Gwangju News August 2007

Culture

Bharatanatyam Classical dance form of India

I

was first introduced to Bharatanatyam at the age of three while attending a dance performance. The first thing that fascinated me must have been the brightly colored costumes and the quick changing expressions of the performers. I was formally introduced to this form of dance when my mother admitted me into the dance school at the age of seven.

Though I opted to perform Bharatanatyam as a hobby, to me it's more of a discipline than just an art form. My studies and the daily trips to the dance school not only taught me how to dance, but also gradually, over time, changed my personality, adding grace and spirituality to my life. Through the practice of this art form, I was able to bring the aesthetics and egalitarianism of the art world into my workspace. "A child sings before it speaks, dances almost before it walks. Since rhythm is in our hearts from the beginning." ~Pamela Brow I whole-heartedly agree with this quote. No matter what name we give to the dance form, the bottom line is that it is monogram for expression. In India we may choose to call it Bharatanatyam, Kathak, Kuchupudi, or "A child sings before it speaks, dances almost before it walks. Since rhythm is in our hearts from the beginning." ~Pamela Brow

Mohiniattam, while in Korea it may be named Salpuri, Hallyangmu , Nammu, or Sungmu. Dance is a fantastic way of portraying one's feelings without words and crosses cultural, social and language barriers. This is a short introduction to Bharatanatyam, one of the classical dance forms of India. Bharatanatyam, a two thousand year-old art form, has had many modifications during its journey to the present day style. The general interpretation, translated from the Sanskrit alphabet is: BHA va (expression), RA ga (music), TA ( rhythm) and NATYAM (dance). In a performance, all the various elements of the presentation are focused on the dancer and become unified in the performer. There are two main categories, the masculine and the feminine. The masculine form, Nritta or abstract dance, is expressed exclusively by the feet, while the feminine form, Abhinaya, consists of more graceful expression. Abhinaya is a medium of presentation to convey ideas

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Gwangju News August 2007

and emotions, not by use of speech, but by means of mudras, which are hand gestures. Other ways of expression are mime, facial expression and movements of the body. It is like describing a story without uttering a word. The bhavas (emotions) that a dance depicts represent the emotions of daily life. These emotions, in their stylized form, are hasya (humorous), karuna (fierce), satvika (peaceful), vira (heroic), bheyanaka (fearful), bibatsa (disgusted), sringara (erotic) and bhuta (wondrous). The rhythm of the piece and these emotive expressions join together in harmony to create a beautiful whole. When learning Bharatanatyam, a student begins by learning the adavus, or basic steps. These basic first steps can be compared to learning the alphabet in a language which leads on to forming words, complete sentences and finally, compositions. Adavus steps are performed in five rhythms and at three different speeds. To perform an adavu aramandi, bending of the knees while you squat is very important. Hand gestures (hasta) are as important as the foot work. There are 28 single and 24 double hand gestures, each with defined usage called Viniyoga. Bharatanatyam follows dance rules from the Natyasharta, which is a treatise for all the dance forms in India, according to which the entire physical body is divided into Anga, Pratyanga and Upaanga. Anga (gross classification of the physical body) Anganyatra shirohastau vaksha paarshwakateetatau Paadaviti shaduktaani greevamapyapare jaguh (as mentioned in Natyasatra) Head, Hands, Chest, Waist, Legs. Pratyanga (sub-classification of the physical body) Pratyangaani twathaskandhau baahoo prushtam tathodaram ooroo janghe shadityahurapare manibandhakau jaanooneekoorparamiti trayamapyadhikam jaguhu (as

mentioned in Natyasatra) Shoulders, Arms, Stomach, Thighs, Knee. Upaanga (finer classification of the physical body ) Drushtibhrooputatarashcha kapolau naasikaahanuhu Adharodashanaa jihwaa chubukam vadanam tatha Upaangani dwadashitaanyanyaanyangaani santi cha Paarshnee gulbautathangulyaa karayoho padayostale (as mentioned in Natyasatra) Sight, Eyebrow, Eyelids, Eyeballs, Cheeks, Nose, Gums, Lower Lip, Teeth, Tongue, Chin, Face. According to the Natyasharta, Pratynaga and Upaangas should move along with the Angas, such as, “where the hand goes, there the eyes should follow, where the eyes go there the mind will follow, where the mind is, there emotion/mood is felt, where the mood is felt, there the flavor is experienced.” Even though Bharatanatyam has evolved and changed through the decades, it is deeply rooted in the rich mythological heritage of India. Both male and female artists take part in modern performances. While a few practitioners are professionals, many are passionate amateurs. Whether as a hobby or a profession, Bharatanatyam requires a great deal of practice, concentration and dedication. As the embodiment of asceticism, dancers have the power to educate their audiences, encourage them to go out and change the world and even their own lives. Through the power and beauty of dance, the eyes of many can be opened, effecting positive changes in our world. So the next time you have an opportunity to attend or watch a performance, be open and immerse yourself in the total experience. By Shilpa Ramesh Shilpa has been in Gwangju for the past ten months, and is presently working at GIST as a researcher. She started learning Indian classical dance at the age of seven. Though she would like to call Science her passion, dance has always been her second love. She would love to learn some form of Korean classical dance during her stay here. Gwangju News August 2007

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