BHARATANATYAM 

the lower torso. The lower limbs are seen either as straight lines or two sides of an imaginary triangle in space. The upper limbs either follow the lower limbs or weave circular patterns along space which is covered by the lower limbs. It is the latter aspect, along with the use of the torso as a single unit, that gives Bharatanatyam its particularity.The dancer begins with samapada position which isthe first basic position, with the feet facing front. The body ofthe dancer is neither relaxed nor unduly taut This is followed by turning of the feet sideways which is known as the kalai tiruppudal in Tamil. Then comesthe ardhamandali position inwhich the feet are sideways and the knees also bend sideways. The ardhamandali is often termed asthe ukkaramandali, the Tamil word ukkar literally meaning sitting. The entire movement pattern is built from the first movement in which the feet are turned sideways, the knees are bent and the arms either extended out or placed firmly on the waist In terms of geometrical design, the dancer is trying to achieve a series of triangles. The line joining the two shoulders may be conceived as the base of one triangle and the waist as the imaginary apex of an inverted triangle. From this apex a second triangle is conceived with the thighs asthe two sides and the line joining the two knees as the base ofthis triangle. The third triangle is formed by the space covered by the two calves and the linejoining the two knees.The arms reinforce this by forming other triangles on either side—the extended arm forming one side ofthe triangle and the line joining the hand to the knee suggesting the second side.Foot contact is important. In the first position, the entire foot touches the ground and weight is equally distributed. The stamping ofthis flat foot on the ground is known as tattu. In the same position the second type of foot contact occurs, namely, where only the toes of one foot touch the ground and the heel is raised; the third type offoot contact results when the heel touches the ground and the toe is raised. These are the usual movements in the ardhamandali position. Then follows the permutation and combination ofthese positions by the use of either one foot or both the feet.

The unitwhich emerges as a coordinated pattern ofmovement ofthe feet, thighs,torso, arms, hands, neck, head and the eyes is known as the adavu. The adavu is perhaps the closest to the cadence of movement called the karana in the Natyasastra terminology. It is not known whetherthe adavus vrere a continuation ofthe cadence ofmovement described in the Natyasastra, but it is clear thatthey appeared to be the descendants of the same principle of kinetics. The adavu ahvays begins urith a static position in place and then explores the possibility of movement through different types offoot contacts, sole, the toe or the heel and the combination ofthese, first in place and then in space. In Tamil, adavu means adaibu which stands for a combination, a serkkai. The commentaries of the Shilappadhikaram or later inscriptions belonging to the twelfth and thirteenth centuries mention this wrord. However, there is still no conclusive proof of the origins of the word. King Tulaja’s work written sometime between 1763 and 1787 AJD called the Sangitasaramrita mentions the names ofthe adavus. It also mentions a set ofmnemonicsSollukattus, and, ofcourse, laterthe choreographers,composers, i.e. the four brothers speak ofthe repertoire which we shall consider shortly. 

To return to the adavus, these form the basis of the nritta technique of Bliaratanatyam. Each group is distinctive for its initial starting position and the manner in which the foot, the calf, the whole leg is used. Different family traditions and oral traditions grouped adavus into major categories. Most family traditions considered nine major groups. Each ofthese is again subdivided into several units which can be used singly or in combination. The adavus are like pharases in music set in sequential time and they can be utilised within a metrical cycle, a tala, in a number ofways, giving rise to new varieties. Most of these major categories of adavus begin and return to the ardhamandali or the ukkaramandali position. They begin from a moment of stasis, go through a sequence ofmovement and return to anothermoment ofstasis as ifit is movement frozen in tune. Symmetrical patterning of movement is essential. The training begins by executing a movement first by right foot and then by the left foot. This principle is essential so as to repeatedly remind both the dancer and the spectator of the juxtaposition of stasis and dynamics. One half of the body is static, the other half of the body is in movement. .Ml movement is conceived in relation to the ground and the invariable, hypothetical, vertical median or the brahmasutra. Hie first ofthese adavus is known asthe tatta adavu suggesting flat foot contacts in the basic ardhamandali position (a position akin to but not identical to demi plie of Western classical ballet). The second variety ofthe adavu is known as tei yum da t ta tei yum ta ha This group is known as the nattu adavu. It also begins from the second position of the

ardhamandali i.e. knee and foot outtumed but it explores space through extension oflegs. Thusits chieffeature isthe alidha sthana where one leg is bent,the foot ofthisleg is flat, the knee is outtmned, the other leg is extended out, first to the right and is then brought back to initial position. This is repeated with the right leg and foot in stasis, and left leg extended. Later each leg in turn is extended to front and is brought back behind the static leg. The dancer begins by first holding the ardhamandali position and then extends one leg to one side along with an extended arm. The heel touches the ground and the toes are up. This leg is brought back to position and the same is repeated to the other side. After directions to the right and left are explored, directions front and back are explored. Now one leg is extended to the front and then contracted and brought behind the static foot. In other varieties ofthis group, space is explored with the arms. Also, varying levels are explored; in one such variety, the hand touchesthe foot ofthe extended leg at the ground level and is taken back to the head level.

The Theyijumdatta variety of cidavus is both excellent exercise and is typical of the dance style because it gives the dancer immense scope for the execution of  terse lines demanded by the style. It also gives the dancer the possibility of exploring space while being in place. Space around her and space at different levels is as if demarcated through the movement ofthe legs, the hands and the arms. Along with the beautiful clear leg extensions, the torso is used as one unit and the extended and contracted arms follow the leg movement. All in all this results in the execution of many sculptural poses so characteristic of Bharatanatyam. The third group is tat tai tam. Once again, the dancer begins from the basic ardhamandali or ukkaramandali. However, now a combination offoot contacts is explored. There is initially a flat foot, then a slightjump on the toes and a return to the flat foot i. e. a combination ofstamping offeet, jump on toes and toe-lieel movements are introduced for the first time. This group is then a combination of both tattu natu. Also in this group, levels are introduced. There is the standing, there is the demi-plie or ardhamandali and there is the outtumed kneeling. One ofthese varietiesincludejumping onboth toesslightly in the initial ardhamandali position followed by the right foot and then the left foot stamping the grotmd. There is also the slightjump on the toes followed by stamping ofboth heels on the grotmd. After exploring different foot contacts in the ardhamandali position a combination of these foot contacts and leg extensions is executed. This is further developed in another variety where beginning with the ardhamandali, there is a leg extension in the alidha, a turning in place around the fulcrum ofthe body, followed by a leg extension. Arms move in diagonal patterns. This group of adavus enables the dancer not only to explore immediate space in place by the movement of her legs, torso and arms, but also enables her to explore space through half turns and juxtaposing symmetrically the lower half and the upper halfofthe body. Some varieties in this group of adavus are complex and provide for much scope for the use ofsemicircles, diagonals, and vertical and horizontal lines. The fourth variety is the tei hat tei hi. Here, the distinctive feature is the slight

jump on both toesfollowed by stamping ofboth feet together. There are a number ofwaysto execute this and some ofthelovelyrhythmic sequences ofBharatanatyam with extended arms and closing arms are done in this adavu. A subdivision ofthis group is the sliding or the slipping sideways ofboth the feet in an erect position. Here, the dancer does not execute the movement in the ardhamandali position, but glides in an erect posture sideways and then uses the heel-toe movement rather than the toe-heel movementThe final sequences ofthe tillana done in the third tempo are usually built on this adavu. The fifth group is the tat tei ta ha. Here the dancer learns a variety of permutations and combinations which she can use in all the different Apes of the Indian tala system, namely the jatis. The first subdivision is usually stamping ofthe right foot and then the left foot, followed by a jump on the heels, on the third beat, and stamping of only the right foot on the fourth beat. This is repeated by beginning the sequences with the left foot. The building of complex rhythmical structures from this basis gives much of the particular style and flavour of Bharatanatyam. The sixth group hastwo varieties and is known asthe tei tei ta adcivu. In this, the dancer tries to build up movement by the use of only one foot or leg in groups of three beats. The next group known as the di di tai has nearly 16 varieties and is another example ofthe number of permutations and combinations which can be woven around a basic movement executed to three beats. Certain varieties ofthis cidavu provide the climax to dance sequences or cadences known as the tiimanams in Bharatanatyam. The di di tai group, in itssimplestform, istheuse ofthe extended leg and its contraction. A typical example is the right leg extended front, the heel beating the ground, followed by the left foot in place stamping the ground. The

rightfoot is brought back to place in the third beat and stamps the ground in the ardhamandali position. In another variety, the arms weave circular patterns in contrast to the straight frontal ones ofthe lower limbs. The right hand, which is first extended in front, gradually moves back to the shoulder level on its own side, while the left hand goes back and, by the turning ofthe waist, is brought over the head and into a front-down position usually ending in the hasta known as the alapadma.The eighth group is sometimes known as the poi adavu, meaning the soft silent dance patterns, with graceful hops andjumps. While there are many varieties of this adavu, its distinctive feature is the lifting ofthe feet very silently to a newr position. Such extensions, front and back, are common. Some of the jumps of Bharatanatyambelong to thisgroup. Portions ofdance numberssuch asJatisvaram are executed in this adavu. The final and the ninth group is called ta dit dit tai. Here, the arms provide variation wiiile stamping in the ardhamandali remains constant. A combination ofthisvariety and the seventh group provides many complex, improvised patterns on the basic tala. The groupings of adavus differ from family to family in the Bharatanatyam sampradaya. Howrever, the system ofthe adavu as abasicunitisfollowed rigorously, only its categories may differ. A number ofthese adavus can be knit together to form sustained dance sequences. These dance patterns are known as the timianams. The difference between an adavu and a tirmanam is perhaps slight but a very real one. Actually the word tirmanam is literally used for the rhythmic syllablesspokenbythe dance conductor as he plays on the cymbals. The tirmanam is recited vocally and has its own mnemonics (sollukattu). The adavus and the timianams are set to the beats of a tala. In a tala, certain beats are Important and receive stress. For instance, in a tala called the triputa which may be expressed in terms ofWestern music as the 7/4th metre, the first, the fourth and the sixth are stressed. The weaker beats are counted only by the fingers or waiving ofthe hand. In the most common adi tala, which consists of eight beats, the first, the fifth and the seventh are stressed. The tirmanam can be performed either only on a drum (mridangam) orto a sung melodic line. In the nrittaportion, the dancer first performsthese patterns only to the beat ofthe dnun and then, as she proceeds, executesthem to the sung melodic line. Some ofthese patterns will be analyzed in the discussion ofthe repertoire. An adavu is a Karana, a tirmanam

a combination ot'adavus or an anghara culminating normally in a triplet. The Repertoire The Bharatanatyam dancer’s repertoire is extensive. Both from literary and from sculptural evidence it is fairly well-established that the dance was performed both as a solo dance and in groups. However, the present form ofBliaratanatyam crystallised as a solo dance about the nineteenth century, primarily through remarkable contribution of four brothers from Tanjore—Chinnayya, Ponnavya. Yadivelu and Sivanandam. The repertoire as it is danced today, conceives ofthe dance as a narration by the dancer rather than a performance ofa single role. It is possible that the dramatic tradition of Bharatanatyam is represented in Bhagavatamela, which conceives ofthe dance both as solo and group, while the devadcisi tradition is dominantly ofsolo dance. While it is generally accepted that Bharatanatyambelonged chieflyto the temple and itsprecincts, historical evidence doessupportthe possibilitythatthe traditions oftemple dancing and court dancing

shared much in common. The difference was in the attitude and degree of abstraction rather than in intrinsic quality. Hie present discussion is confined to the repertoire ofsolo performance only. The scope ofthe performance, as evolved in the courts is more or less adhered to by performers ofBharatanatyamtoday, their differentfamilytraditions (sampradaya) notwithstanding. Ofcourse, new numbers are constantly added to the repertoire. Oflate. there hasbeen a revival ofthe initial numbers, calledPuspanjalimentioned in texts like the Nrittaratnavali. Alarippu Normally, a recital opens with alarippu, considered an invocation. It is performed only to the rhythm of the drum (mridangam). This is a perfect example ofthe pure, abstract dance (nritta), executed through a number ofconcentrated, yet elemental rhythmic patterns. The basic and most significant movements are introduced almost like the introduction of the chief notes of a melodic scale, in ascending and descending order. Beginning with perfect, repose and an attitude of perfect  equilibrium (samabhanga) in the standing posture, the movements of neck, shoulder and arms are introduced with great charm. This is followed by the cirdhamandali, spoken of earlier. In the final sequences, the full mandali is introduced and the dance ends with a small adavu or dance cadence. The movements of all major and minor limbs are employed in their simplest forms. It may be said that this is the warming-up dance for the entire performance. The precursor of the alarippu was undoubtedly the pushpanjali, a dance composition common to almost all styles of the country. It has been identified as the Rangapuja mentioned in the Natyasastra. The Rangapuja literally means the worship of the stage while pushpanjali is the offering of flowers. The basic attitude of these items is obeisance to the God of Dance. Jatisvaram

The next piece is another example of a pure dance (nritta) composition in which the performer weaves several patterns on a basic musical composition. Indeed, the word jatisvaram is the name of a musical composition which follows the rules ofthe svarajati in musical structure and consists ofthree movements pallavi, anupallavi and charanam. It is distinguished from other musical compositions called the gita or sabdam or varnam by having no lines of poetry (sahitya) in it The sol-fa passages are all important and the composition is set to any of the five time units (jatis) of the metrical patterns (tala) of Kamatakmusic, namely, 8,4.5,7,9. The basic metrical cycle which guides the musician also guides the dancer. To the repetition ofthe sung melody, the dancer weaves different types ofrhythmic patterns from the primary dance cadences (adavus). Here, the dancer introduces, for the first tune, full sequence ofvarious types of adavus. Usually, the combinations are of the simplest kind and the dancer attempts to present patterns only in one group of adavus or another. The dance composition relates to the melodic line, sometimes through a note to note synchronization and, at other tunes, through syncopation. Further, first note ofthe melodic line, the first beat of the metrical cycle and the end of the dance sequence synchronize perfectly. The dance cadences are also set to the full line ofthe note (svara) and combinations of different svaras especially in the second half, the anupallavi portion. The dance patterns are invariably conditioned by the nature and duration of the svara.

We notice here that each melody consists of twelve beats but the tune interval and the pause position ofthe notes differs. While composing the dance pattern on each of these melodies, the dancer has to bear in mind the exact treatment ofthe note in the melody and the dancer’s patterns are governed by the musical pattern. The cross rhythms and the non-synchronized patterns of the dance when the dancer deliberately does not execute a note to note synchronization is equally governed by the musical melody and the metrical cycle (tala). It will be observed that, in the first portion, there is general synchronization of the dancer’s movements and the notes (svaras) of the melodic line. In the second portion, there is a note to note synchronization of the movements with the notes (svaras) of the melodic line. The Jatisvaram then becomes a dance composition which enables the dancer to present as much ofpure dance as she can. It provides opportunity for presenting a wide range of improvisation both in terms of the aclavu sequences and rhythmic patterns. Sabdam The piece that follows is called the sabdam, again a composition in Kamatak music. Here, the dancer performs to a song and introduces mime. The miming is deliberately elementary and only the literal illustration of the word is presented through movement. The end sequences of this short number are of pure dance and serve as a bridge between the pure nritta compositions like the alarippu and the jatisvaram on the one hand and the major composition of the vamam on the other. Vanlam After having introduced substantially all elements of the dance, the dancer proceeds to render the varnam, which is easily the most intricate and complex number. The varnam provides the fullest scope to the dancer to improvise on a given theme. Like the Jatisvaram and sabdam the varnam is essentially a musical composition rendered through dance. The dancer begins by presenting gigantic cadences of tinnanams, to a repetitive line of song.

These tirmanams are woven in three tempos, making the dance composition highly elaborate. The introduction demands the most exacting synchronization between the dancer, the singer and the drummer. The mnemonics used by the drummer and the dancer and those recited by the dance conductor (nattuvancir), who wields the cymbals, are all different; but each has a very intimate relationship with the melodic line and with one another. The architectonic structure of the vamam results from this manylevelled layers ofthe musical theme. Such diversification ofthe musical phrase by the singer, the drummer, the conductor and the dancer leads to a final synchronization when the end ofthe tirmanam coincides with the first note of the song. The beginning of each pure dance (nrttta) sequence is announced by constant stamping of the feet which maintains the inner beat of the time cycle. At the same time the drummer prepares through a particular rhythmic sequence for The svara of the fifth line is then sung and an adavu is executed in the same manner asin thejatisvaram. Afterthis, the firstline ofthepallavi is repeatedwith abhinaya and then the same abhinaya is performed to a characteristic toe-heel (tatta mittu) foot-pattern, ending with a phrase which is repeated usually three times and is called the araddi. This combination of the toe-heel pattern with miming is the most challenging part ofthe vamam. Abhinava Padams A period ofrelaxation or ease is called for immediately after this elaborate piece which can last about an horn* and it is provided not by a musical interlude, but by the dancer herself. She presents short, numbers called padams. The padam is best defined as an interpretive dance of a lyrical passage set to music.

The padams offer an uninterrupted opportunity for mime (abhinaya) through the language ofthe hands and limbs. Here, the literary contentrefers usually to a lady in love calling for her lover. In terms ofthe tradition, the dancer presents a type ofheroine (nayika) in a state of expectancy" ofseparation or union. The symbolic or the allegorical content ofthese pieces hasto be traced to theBhakti cult, where the human being is the lady-love waiting for union with the Divine visualized as the lover. The pieces, therefore, can be interpreted either secularly or religiously. The literary" imagery is so rich and full of traditional allusions that a dancer without adequatebackground and training tendsto execute themonlysuperficially. In the training ofa Bharatanatyam dancer this particular area is not taught until she has attained a certain maturity, both in technique and tmderstanding. They seem easy pieces, but when one begins to explore their depths, one realises that they should not be touched by those with insufficient knowledge or by those who are uninitiated. Some ofthe greatest writers and saint-musicians ofSouth India have been the composers ofpadams. The dancer can and sometimes does introduce other compositions such as the kirtcina or the svcirajati or thejavali in her repertoire. The principle underlying these compositions isthe same as in the vamam, butthe emphasis varies, for few pieces have the intricate structure of a vamam. Tillana The recital concludes with a brilliant number ofpure dance known as the tillana The tillana is a musical composition of mnemonics sung in a particular mode (raga) set to a particular metrical cycle (tala ). The statuesque quality of the dance style is never more dominant asit is in the tillana. The dancer, by thistime, reaches a degree of plasticity and fluidity of movement that she attempts to reinforce all that she rendered in her recital in a purely abstract number. What she had introduced in the alarippu, she fully develops here. Beginning with movements ofthe eye, she shifts to movements ofthe neck and then proceeds to movements ofthe shoulder, ofthe erect torso, ofthe outstretched arm positions and ofthe innumerable standing postures, the leg extensions, the pirouettes and the ardhamandali positions.

All the tempos are used and, the dance cadences (karvais) are designs in space along straight lines, triangles and diagonals. In this number, even semicircles are introduced in floor choreography. The characteristic finale ofthese cadences are the emphasized araddis. Finally, at a fasttempo, the dancer ends herrecital either by a concluding araddi or by a quick exit in alapadama hasta. Most dance recitals of Bharatanatyam ended here until a few years ago, but presently there is one more number which was perhaps also performed earlier. That is the final sloka in Sanskrit. Just as the nritta portion ends in the finale of the tillana, the abhinaya portion ends with the gravity ofa solemn sloka invoking God in His peaceful and calm moods. .This was the most common and characteristic sequence of a Bharatanatyam recital until the fifties ofthis century. Many changes and innovations have since taken place. Interesting musical compositions have been used for the dance, the repertoire has been enlarged and the sequence has changed. The navasandhi and the sloka have regained popularity and some lesser known jatisvarams, vamams and tillanas have been introduced. Some excellent dance-dramas have been composed. .  The process of constantly revitalizing the tradition by either reviving older forms or by introducing new forms has kept the Bharatanatyam vital and healthy. Changes in repertoire are inevitable and should be welcome. It is, owever, the dilution in the quality ofthe technique which is the cause ofsome concern. Although the dance style has gained in popularity during recent years,it is in danger of losing austre quality.