tag:blogger.com,1999:blog-58174304208069259562024-03-21T09:29:07.762-07:00Thinking DanceAnuradhahttp://www.blogger.com/profile/00479364293803218922noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-5817430420806925956.post-28388582459639839452012-11-23T10:36:00.001-08:002013-08-02T23:09:31.924-07:00ARAIMANDI, The Brilliance of Bharatanayam<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">As a teacher of Bharatanatyam I get a lot of complaints on
how they want to quit, as <i>araimandi </i>and <i>muzhumandi </i>seem to be postures which
are very painful. I wondered in my years of learning did I feel the same. It
used to be painful and I remember my first master rolled a paper and hit me for
not sitting properly in the posture but it did not want me to give up. I want
to understand the origin of <i>araimandi </i>in dance and why the generation today
almost finds it impossible to continue because of that.</span><br />
<span style="font-family: inherit;"><o:p></o:p></span></div>
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<br />
<span style="font-family: inherit;">The word <i>araimandi </i>basically means half sitting posture and
closely resembles the <i>Ayata Mandala</i>. <i>Mandala </i>is basically a body posture which
may involve a small movement. <i>Ayata
Mandala </i>is defined in <i>Abhinaya Drapanam</i> as: “Standing in <i>Chaturasra </i>bending the
knees slightly and obliquely and keeping a distance of <i>Vitasati </i>between the two
feet “(A.D 692-93, Translation by Prof.P.S.R.Appa Rao). Another important aspect is <i>saushtava </i>which
means that the body posture is erect without a hunch. The height of a person
decided the <i>araimandi</i>, the distance from the navel to the head should be equal
to the distance from the navel to the ground.<o:p></o:p></span></div>
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<span style="font-family: inherit;"> One <i>Vitasati </i>is half
a cubit according to scholar Manmohan Ghosh
which equals to 22.86 cm, being a standard measurement it has to be the
distance between the feet as measured from the heels. This is definitely not
the distance allowed by our traditional gurus maximum allowed space seems to be
generally a space of two fingers and the heels are always touching the ground. Bending the knees obliquely means there is a
slant and not a complete turn out of the knees, but in <i>araimandi </i>one is required
to get a complete turn out of the knees. This turn out happens from the thigh
and not just from the feet and differs from person to person. If we observe
some of the dance sculptures we can see the complete turn out of knees which is
obviously in stone quite easy but in human body it needs practice and for some,
the body structure might not allow it. <o:p></o:p></span></div>
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</v:group></v:group><![endif]--><!--[if !vml]--><span style="font-family: inherit;"><span style="height: 292px; margin-left: 141px; margin-top: 150px; mso-ignore: vglayout; position: absolute; width: 302px; z-index: 251659264;"><map name="MicrosoftOfficeMap0"><area coords="54, 52, 250, 240" href="" shape="Rect"></area></map></span>The
<i>araimandi </i>closely resembles the demi-plié of western ballet, where there is
greater emphasis on the knee turn out. As we tend to standardize ourselves
according to the west I hope the dancers and the critiques are not doing the
same with <i>araimandi </i>seeing demi plié as a standard. As I feel that in ballet
demi plié is one of the postures whereas in Bharatanatyam <i>Araimandi </i>is “the
“posture. <o:p></o:p></span><!--[endif]--></div>
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<span style="font-family: inherit;">The spiritual symbolism of <i>araimandi </i>is that it becomes a
mandala where the body is divided into two equal triangles with their apex
meeting at the navel inside a square. A mandala is symbolic of the cosmos, it
is a sacred space and with deep focus on the mandala one aims to dissolve the
microcosm into the macro.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJ00oVofy3HVqVGGJLk6-x8MUgIBSTgAKEmJHaLBsJWk1RTd99nnWpepusAFGSeDQ69X9PtxCZ3D3tnJljF5cyVMcDBmDAqg_qF3RTN5YgWhqyLOUMGHKPy49loaDtfuefjdbw5fWfCI/s1600/araimandi.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEJ00oVofy3HVqVGGJLk6-x8MUgIBSTgAKEmJHaLBsJWk1RTd99nnWpepusAFGSeDQ69X9PtxCZ3D3tnJljF5cyVMcDBmDAqg_qF3RTN5YgWhqyLOUMGHKPy49loaDtfuefjdbw5fWfCI/s1600/araimandi.gif" /></a></div>
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<span style="font-family: inherit;">The body of the
dancer not only acts as the mandala but also the axis mundi connecting the
heaven and the earth. This body of the dancer so imagined also resembles the
<i>damru </i>held in lord Nataraja’s hand which produced the first sounds leading to
creation.</span></div>
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<span style="font-family: inherit;">Another interesting aspect
about body postures in stylized dancing which I read was in a book
called “The Secret Art of The Performer “by Eugenio Barba & Nicola Savarese , here
they call the unnatural balance of the body as precarious balance and that it
prepares the body of the dancer in such a way that they look alive even before
they start. As a Bharatanatyam dancer I definitely feel that <i>araimandi </i>is such
a posture. Under the same topic a Japanese Buyo dancer says “My master used to
say that every performer has to find his own power centre. If he finds that all
movements will be powerful. But this power is not synonymous with tension of
violence.” This is exactly how I feel as
a performer and a viewer, when <i>adavus </i>are done in a perfect <i>araimandi </i>they not
only look powerful but graceful. The power center in Bharatanayam happens to be
the navel in the <i>araimandi </i>and it automatically creates energy in the dance if
perfected.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Each person’s body is going to react differently to this
posture. It is better to start at the age of 7 when the body is able to take
the strain. It is a slow process in which our body muscles get trained to turn
and bend the knee. It cannot be achieved
overnight but one has to push oneself to get there. Like in any athletic sport
where one has to train the body to get accustomed to postures and movements so
is in Bharatanatyam. Doing Bharatanatyam in that <i>araimandi </i>position can have
spiritual and philosophical connotations but simply put it has to be
experienced and cannot be expressed. It is painful initially but once you
overcome that it gives you a sense of power which untrained bodies do not
have. The amount of exposure to
different forms of art and sports is in a way wonderful but also sad that
people tend to push around their children everywhere. As a result they are
tired before a dance class and don’t want to push themselves. It is important
to know things but it would be better to delve into one thing deeper. </span><o:p></o:p></div>
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Anuradhahttp://www.blogger.com/profile/00479364293803218922noreply@blogger.com1tag:blogger.com,1999:blog-5817430420806925956.post-32631166920223424942011-07-03T07:44:00.000-07:002013-08-02T23:14:16.224-07:00Bharatanatyam and its content<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit; font-size: large;">The existence of a form of dance, that shows some resemblance to what we now see as Bharatanatyam, has been shown through literary evidences. Silapadikkaram a sangam period literature work describes in great detail the arangetram of a courtesan called Madhavi. Around 6th century AD during the rule of Kalabhras, a separate idea of belief was rising, as seen in Buddhism and Jainism. Hinduism as a different religion took its shape and Bhakti margam spread this across south India. Bhakti traditions celebrated life in contrast to Jainism and Buddhism and propagated their ideas of love towards the supreme soul through music and dance. Hand in hand movement of performing arts with Hinduism grew in the Bhakti Period. It was the Bhakti period that created the rich lyrical content that gave the backbone for the narrative element in dance.</span><br />
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<span style="font-family: inherit; font-size: large;">Earlier called as Devadasiattam and then as Sadirattam, a form of dance seems to have existed which has evolved in different time periods. Bharatanatyam in its present format took its shape under the Tanjore quartet in the 19th century patronized by the Martha rulers of Thanjavur. The sequence of basic movements called as Adavus, and the items of the margam that are taught today and performed took shape in their hands. In the 20th century it was the work of Rukimini Devi Arundale and other like-minded people who gave it respectability so that anybody could practice it. The content of dance seems both secular and sacred from the period of Tanjore Quartet, as there are pieces describing both the King and the Gods .</span></div>
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<span style="font-family: inherit; font-size: large;"><b>Narrative Structure of Content</b><br />Dance as a form of expression has always existed in human civilizations. It serves the purpose of a language that translates thought and words in a beautiful manner. The visual imagery created through dance has an aesthetic appeal which is subjective to the culture. An image translated into a movement slowly leads to building of the vocabulary of dance, and the process continues to evolve into a dance form. The term classical when associated with a dance form reflects its rich history from which it has flowed. Does this mean that a form of dance does not exist which has no narrative element? This we know is surely not true. Dances have existed and evolved new grammar which may just explore a thought without a narrative structure to it, which may or may not be the same as perceived by the audience. Did the content richly contribute to the physical form of dance or did they exist separately and came together when required? The answer to this question I feel is important, as it will help in understanding how far Bharatanatyam can be ‘the form’ that we associate it today with.</span></div>
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<span style="font-family: inherit; font-size: large;">In Bharatanatyam Abhinaya plays a major role. Abhinaya means to convey an idea. So the dance form tends to always convey a thought, an idea or an image preconceived in the narrative aspect. It does not give scope to read your own image in the dance, at least in the way as it is practised now. People are exploring different content away from the margam .I saw a video clipping of a production where the dancer based in UK uses Bharatanatyam to show football match, it was very interesting. It showed that the place where she lives is full of football lovers and that has rubbed on to her creativity, she does not deviate from the physicality of the form and yet creates something that relates with the audience. Still the narration existed. But in contrast when I see a work of Chandralekha where the narrative content is not there, it is more like a thought explored. It is in a way giving universality to the art as one is open to read their own meaning and not restricted to that of what the choreographer feels. At the same time it is also very personal and individualistic that it can also make an audience feel lost. When you look into the form it is no longer Bharatanatyam nor claimed to be. So in trying to explore the content in an abstract manner she had to move herself away from the physicality of the form. In these views I am in no way trying to say one is better than the other but just trying to explore how the narrative content and form in a Classical dance moves. In Indian classical dance with Bharatanatyam in mind the form seems to have evolved along with the narrative content so closely that it is a little difficult to perceive them separately.</span></div>
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<span style="font-family: inherit; font-size: large;"><b>Classical Nature</b><br />Since the time Bharatanatyam has been seen as a classical form we have always tried to trace its roots to Natyashastra, which explores many aspects which are a part of dance today. I am not sure whether the dance actually flowed down like a river absorbing through different ages or the scholars and practitioners created a form with all these aspects of Natyashastra to give it its classical nature. Richard Schechner from an essay on Restoration of Behaviour say : “They saw in sadir nac not a dance in its own right but a faded, distorted remnant of some ancient classical dance. That ‘ancient classical dance’ is a projection backward in time: we know what it looks like because we have Bharatanatyam. Soon people believed that the ancient dance led to Bharatanatyam when, in fact, Bharatanatyam led to the ancient dance. A dance is created in the past in the order to be restored for the present and future.” This has made me think that the idea of giving a platform of classical, traditional , national pride to a form could have also led it to follow ‘ a’ structure in its presentation and hence giving it ‘a’ shape to present it.</span></div>
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<span style="font-family: inherit; font-size: large;"><b>Conclusion </b><br /><span class="Apple-style-span">The whole understanding of performance art in the world of culture today has a new meaning, boundaries are expanding and there are no clear outlines but grey areas. Bharatanatyam is losing its patronage the way it was practiced. Hence people are trying to explore different ways for it to reach the people. I wish I could predict the future, but anything in a civilization has to evolve for its survival and betterment. It is not a matter of grief that a form might die, as it is giving space to something new. Bharatanatyam might not have existed if people would have stuck to Devadasiattam. The type of evolution is different in each age. Maybe some now feel that the physicality of the form is itself in some way restrictive and want to use it as a base to evolve something which they relate more to. If an art form is something more personal yes it can survive in its exclusivity but when you are trying to reach out, it needs to encompass a more universal feeling to it. It is ultimately for an artiste to decide and use their creative sensibilities in the fullest and know at personal level what they are trying to create. </span></span></div>
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Anuradhahttp://www.blogger.com/profile/00479364293803218922noreply@blogger.com0tag:blogger.com,1999:blog-5817430420806925956.post-7568414308333399082011-06-26T04:43:00.000-07:002013-08-02T23:14:42.405-07:00Technique Vs. Soul<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit; font-size: large;">The socio-cultural milieus in which the Indian Classical dance forms grew and flourished have contributed richly to the shaping of the form both in the past and the present. The Bhakti traditions richly popularized music and dance adding to the content of the repertoire. It was patronized by both the Temple and the Kings. In the temple premises the Devadasis used to perform in praise of the presiding deity and in the patronage of the Kings they would perform so as to please kings. Sometimes the pieces were so camouflaged that one didn’t know whether the piece is addressed to the King or the God.</span><br />
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<span style="font-family: inherit; font-size: large;">The rich poetry which spread the sentiments of devotion and praise to both the King of the universe and the King of the land was used as a narrative backbone. Nritta or more loosely defined as abstract movements performed to rhythmic syllables was a part of dance as there are many evidences in literature and sculptures, though I feel , they have been serving the purpose of embellishments.</span></div>
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<span style="font-family: inherit; font-size: large;">Wondering why I am repeating the known facts? I am curious to look into Bharatanatyam performed in the yesteryears and what is being performed now. How is it different? I am basically looking into as era where dance was part of life and to a period where it rose to become a part of national identity.</span></div>
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<span style="font-family: inherit; font-size: large;">Dance serves many purposes, be it ritualistic or for simple entertainment, but what is it that pleases the dancer? What is it that makes a dancer move in a certain way, creating sheer beauty? I think it is hard core passion for movement of the body, a movement that creates a magic in the three dimensions of space, time and body. In the present day Bharatanatyam, I feel that these following things have marked its presence:</span></div>
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<li><span style="font-family: inherit; font-size: large;">Neatness in presentation, emphasis on clarity of movement and lines. This stress on clarity of movement could have been an aesthetic sense that was inspired by the west. Some thinkers have pointed out that as Dance became popular in the western audience, it required having that perfection in Body movement which the ballet dancers so well executed.</span></li>
<li><span style="font-family: inherit; font-size: large;">As Bharatanatyam grew out of the intimate spaces of temple and courts, it had to mold itself for a larger performing space. Hence this could have led to a shift in more nritta added as it allowed for movement with respect to abhinaya which required more intimate spaces.</span></li>
<li><span style="font-family: inherit; font-size: large;">The costumes are more minimalist which looks aesthetically better, the dancer is not lost is her huge finery.</span></li>
<li><span style="font-family: inherit; font-size: large;">The content of today’ performance is trying to accommodate more than just Bhakti. World is moving at a great pace and the arts have always reflected the society so one has moved to varied contents.</span></li>
<li><span style="font-family: inherit; font-size: large;">An interest in trying to create a confluence with other arts other than performing arts. One wants to create a better impact to one’s performance by using techniques of lighting , video, music ,voice-over so that their presentation reaches a larger audience.</span></li>
<li><span style="font-family: inherit; font-size: large;">Importance of nritta , as the form started catering to not an elite audience who understood the poetry and the nuances of dance. The audience is very mixed and what strikes note first is something dramatic ,something acrobatic, something that is fast paced and something that has an interesting score of music which one need not understand in terms of lyrical content</span></li>
<li><span style="font-family: inherit; font-size: large;">More appreciation of group choerographies have also led to increase in the nritta content as the scope to explore body movements in various patterns increases. Abhinaya by which I mainly mean the sattvika abhinaya is more individual specific.</span></li>
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<span style="font-family: inherit; font-size: large;">Most of these have added to the betterment of the form. At a more personal level I have started feeling that the physicality of the form itself have been given so much importance that the soul of the dance seems to be somewhere getting lost. It is important to have a neat presentation but not at the cost of the very spirit behind it. As Pina Baush said “I am not interested in how people move but what makes them move”.</span></div>
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<span style="font-family: inherit; font-size: large;">In Indian classical dance a movement is learnt, rehearsed years together to make it connect inwards. And when such a movement is brought out it has radiance in it .It might just be a glance a single movement of the hand or the leg or any limb. This moment of dance reflects that inner souls dancing.</span></div>
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<span style="font-family: inherit; font-size: large;">Now coming back to my personal feeling is that our emphasis seems to be shifting to create a perfect technique so much so that dancers injure themselves in the process. Why in our earlier teaching methodologies dance warm-up was not so much a part? Was it because our dance was not meant to stretch more than its limits and cause injury? In today’s dance classes warm up is such an important aspect.</span></div>
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<span style="font-family: inherit; font-size: large;">In the process of refining the technique and creating a standard for that, are we not ending up creating clones? As each young dancer is trying to achieve a posture, a movement which is considered the best. This seems to be leading more towards perfection of body while the soul seems to be ignored. Sometimes, I even feel that the abhinaya which is the heart of Indian classical dance that gives it a mark of uniqueness, a reflection of one’s inner self seems more like a practised set of facial movements!! In a movie I recently saw called the Black Swan, the choreographer says “stop being such a perfectionist and simply lose yourself in the role”. I think we as young dancers should remind ourselves of this. In initial days of watching perfect performances I used to be awestruck!! What a neat movement, what a beautiful araimandi. But after having watched a few I felt disconnected with such a dance .I felt something was missing. Do we prefer technique to soul? I think it is time to strike a balance between the two.</span></div>
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Anuradhahttp://www.blogger.com/profile/00479364293803218922noreply@blogger.com3