Bharatanatyam - Repertoire

The repertoire of a Bharatanatyam dance is extensive and we shall deal with those used in a solo dance as the Bharatanatyam of today is largely performed solo. We shall take a look at a typical Bharatanatyam solo dance recital.

Alarippu

The recital opens with the alarippu which is an invocation sequence set to the beat of a drum known as the mridangam. Through simple movements the dancer constructs rhythmical patterns. The basic and most significant movements are presented in an ascending order, quite like the introduction of the chief notes on the melodic scale. The dancer begins with the point of perfect equilibrium (sambhanga) and remains standing. The movements of the neck, shoulder and arms are then

introduced following which the dancer moves into the ardhamandali position. The movements of all the major and minor limbs are executed in a simple form, and this sequence can perhaps be described as a warm up to the main performance. The central theme for this sequence is a salutation to the God of Dance.

Jatisvaram

This is the next piece in the composition and in this sequence the dancer weaves several patterns depending on the musical accompaniment. It is set to five units of the tala of Carnatic music and this basic metric cycle guides the musician as well as the dancer. The dancer introduces more complex movements and full sequences of certain adavus are presented. The combinations are still simple and the dancer simply presents patterns as combinations of adavus. The dance is set to the full line of a svara or note and is guided and conditioned by the nature of the svara. A melody consists of twenty four beats but the time interval between individual notes can differ. A dancer when composing a recital must tie the dance and music together, for the music guides the dance. The dancer will then either do a note to note synchronization or in some cases deliberately avoid synchronization. The jatisvram is an opportunity for a dancer to present as much of pure dance as possible and also is an opportunity to experiment with the presentation of adavus and rhythmic patterns.

Sabdam

The following piece is known as the sabdam and is also set to a composition of carnatic music. This is when the dancer introduces mime into the performance, as acting is an important part of Bharatanatyam dance. This sequence acts as a bridge that wraps the introductory elements and prepares for the major Varnam sequence that follows.

Varnam

After all the major elements of the recital have been introduced., the dancer begins the Varnam sequence which is perhaps the most intricate and complex one of the lot. It also gives the dancer tremendous scope to improvise on the theme. It begins with the dancer presenting a number of sustained adavu grouped together and weaves these together in three tempos making the composition very elaborate. This particular sequence requires total synchronization between the dancer, the singer and the drummer. The theme of this sequence usually is about either Lord Vishnu or Lord Shiv. The dancer slowly builds up the sequence and at the climax a sense of deep devotion and adoration are brought out along with the human yearning for the divine. The dancer has a fair amount of freedom to improvise on the music and literary word. Various gestures depicting images are presented and this sequence calls for the imaginative faculties of the dancer. Without such a capability the dancer would be unable to present the complex story line with the relevant gestures.

Abhinaya Padams

After the elaborate Varnam sequence a period of relaxation follows and can sometimes stretch up to an hour. Short sequences called padams are presented and there is a considerable amount of drama enacted with short stories. A common theme is a lady in love waiting to be united with her lover. The literary imagery is extensive and the dancer must have a good understanding before attempting this sequence, otherwise it may come across as superficial. This is usually taught to Bharatanatyam dancers after they have reached a certain degree of maturity and capability.

Tilana

The recital is concluded with the Tillana which is a brilliant sequence of pure dance. It is a musical composition of mnemonics sung in a particular raga and set to a particular tala. The dance poses appear like beautiful sculptures. The dancer by this time is completely fluid in the way she presents her movements and re-inforces some earlier concepts in a more abstract form. A lot of concepts introduced in some of the earlier sequences are explored fully. All tempos are used and the movements are straight, triangle and diagonal designs in space. The choreography of their footwork also includes semi circular designs. The dance recital is ended in a fast tempo with a few concluding movements.

The basic sequences of Bharatanatyam dance have been illustrated above. Each family has their own different sequences and traditions. Much has changed however during the last fifty years. The constant cycle of re-discovering old techniques and adding to the repertoire is a healthy sign, for the biggest worry would be a dilution of styles.

The repertoire of a Bharatanatyam dance is extensive and we shall deal with those used in a solo dance as the Bharatanatyam of today is largely performed solo. We shall take a look at a typical Bharatanatyam solo dance recital.

Alarippu

The recital opens with the alarippu which is an invocation sequence set to the beat of a drum known as the mridangam. Through simple movements the dancer constructs rhythmical patterns. The basic and most significant movements are presented in an ascending order, quite like the introduction of the chief notes on the melodic scale. The dancer begins with the point of perfect equilibrium (sambhanga) and remains standing. The movements of the neck, shoulder and arms are then introduced following which the dancer moves into the ardhamandali position. The movements of all the major and minor limbs are executed in a simple form, and this sequence can perhaps be described as a warm up to the main performance. The central theme for this sequence is a salutation to the God of Dance.

Jatisvaram

This is the next piece in the composition and in this sequence the dancer weaves several patterns depending on the musical accompaniment. It is set to five units of the tala of Carnatic music and this basic metric cycle guides the musician as well as the dancer. The dancer introduces more complex movements and full sequences of certain adavus are presented. The combinations are still simple and the dancer simply presents patterns as combinations of adavus. The dance is set to the full line of a svara or note and is guided and conditioned by the nature of the svara. A melody consists of twenty four beats but the time interval between individual notes can differ. A dancer when composing a recital must tie the dance and music together, for the music guides the dance. The dancer will then either do a note to note synchronization or in some cases deliberately avoid synchronization. The jatisvram is an opportunity for a dancer to present as much of pure dance as possible and also is an opportunity to experiment with the presentation of adavus and rhythmic patterns.

Sabdam

The following piece is known as the sabdam and is also set to a composition of carnatic music. This is when the dancer introduces mime into the performance, as acting is an important part of Bharatanatyam dance. This sequence acts as a bridge that wraps the introductory elements and prepares for the major Varnam sequence that follows.

Varnam

After all the major elements of the recital have been introduced., the dancer begins the Varnam sequence which is perhaps the most intricate and complex one of the lot. It also gives the dancer tremendous scope to improvise on the theme. It begins with the dancer presenting a number of sustained adavu grouped together and weaves these together in three tempos making the composition very elaborate. This particular sequence requires total synchronization between the dancer, the singer and the drummer. The theme of this sequence usually is about either Lord Vishnu or Lord Shiv. The dancer slowly builds up the sequence and at the climax a sense of deep devotion and adoration are brought out along with the human yearning for the divine. The dancer has a fair amount of freedom to improvise on the music and literary word. Various gestures depicting images are presented and this sequence calls for the imaginative faculties of the dancer. Without such a capability the dancer would be unable to present the complex story line with the relevant gestures.

Abhinaya Padams

After the elaborate Varnam sequence a period of relaxation follows and can sometimes stretch up to an hour. Short sequences called padams are presented and there is a considerable amount of drama enacted with short stories. A common theme is a lady in love waiting to be united with her lover. The literary imagery is extensive and the dancer must have a good understanding before attempting this sequence, otherwise it may come across as superficial. This is usually taught to Bharatanatyam dancers after they have reached a certain degree of maturity and capability.

Tilana

The recital is concluded with the Tillana which is a brilliant sequence of pure dance. It is a musical composition of mnemonics sung in a particular raga and set to a particular tala. The dance poses appear like beautiful sculptures. The dancer by this time is completely fluid in the way she presents her movements and re-inforces some earlier concepts in a more abstract form. A lot of concepts introduced in some of the earlier sequences are explored fully. All tempos are used and the movements are straight, triangle and diagonal designs in space. The choreography of their footwork also includes semi circular designs. The dance recital is ended in a fast tempo with a few concluding movements.

The basic sequences of Bharatanatyam dance have been illustrated above. Each family has their own different sequences and traditions. Much has changed however during the last fifty years. The constant cycle of re-discovering old techniques and adding to the repertoire is a healthy sign, for the biggest worry would be a dilution of styles.