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TEMPLE

Balasaraswati along with Rukmini Arundale in the early 30s revived Bharatanatyam.  She compared this reportaire of this art form to that of going to a temple.

 

Renga Prevesham

Arangetram is the commonly used word that puts a dancer on stage as a professional.  It simply means Arangam-Renga-Stage Ettram-Prevesham-Entering.  In KNS importance is given to graduation.  4 levels:  Aarambam – Beginners; Pravesh – Entering; Madhya-Intermediate; Purthi – Graduation.  Then the student gets trained for an additional two years before an Arangetram is conducted.

Renga Prajvalanam

A new concept and terminology by Guru Ranidevi which means Polishing the Stage.  The idea was to get the Graduates to pursue Masters degree in Bharatanatyam, hence the Graduation was stylized in par with dance universities in India.  Sharing the stage with expertise, interacting with lead exponents has been  distinct feature.

Aharyam…

Aangikkam Bhuvanam (your gesture is the world) yeshya (and) Vachikkam Sarva Vaang Mayam (your words/music prevail every where in all languages); Aharyam Chandra Taraditvam (your décor is the moon and stars); namaha (we bow) Saatvikkam Shivam (your emotion is Truth).

As the artistic director and guru of Kalairani Natya Saalai, for decades, and known for having a large collection of Bharatanatyam costumes (I have often joked that I could have built a house for the amount of money invested in KNS costumes jewelry and props), I have given my thoughts about the Bharatanatyam decor in this section. I trust it will be useful to my own students and others.
— Rani

ONCE A STUDENT ENROLLS IN KNS, HE/SHE WILL GAIN ACCESS TO AN EXCLUSIVE SITE THAT ELABORATES ON AHARYAM AND OTHER ASPECTS OF BHARATANATYAM.

History of Bharatanatyam

The world existed with 4 vedas; VEDA means philosophy. The four Vedas were RIG, ATHARVA, SAMA, YAJUR. Sages felt these Vedas were too rigid and wanted something more uplifting and enlightening. God INDIRA came up with the idea to create a 5th Veda and told God BRAMMA who reviewed the presentation and summoned sage BHARATAMUNI to undertake the task. (Muni means sage so actual name is Bharata). Bharatamuni took assistance from TANDU who felt there was a lack of grace called LASYA or LAYA so a 100 APSARAS (females) were created to portray grace. It was only after that, Shiva mastered the dance style. Words (Vachikkam) were taken from RIG Veda. Emotions (Saatvikkam) were taken from ATHARVA Veda. Music was taken from SAMA Veda. Gesture (Aangikkam) was taken from YAJUR Veda.

And a 5th Veda called NATYA Veda was created. A 5th element of AHARYAM or Décor was added to this Natya Veda.

Here in KNS one of the strict principles we follow is the AHARYAM.

Nethichutti – single or double depending on the dance item and the costume
Sun Moon Raakodi
Jimikki Mattel
Mookuthi – Nuthu Bullaacku
Pottu – above the eyebrows
Necklace
Aaram or Maalai
Bangles
Odiyanam
Salangai

But the one common error I see around is the Hairdo. Because that takes the longest time, the dancers compensate with a ponytail or a bun. To have such a hairstyle with a classical Bharatanatyam costume is simply INCOMPLETE. True, we are in a fast ‘changing’ world, but when you have chosen a traditional art, spend hours in practicing and staging, then a little more effort to keep the art complete and alive should not be compromised for the long hair or the traditional braid.

Yes, we are all looking for something different especially if you perform frequently. Here’s something we did at the Kumbabishekam show September 2016. We used fresh flowers from the garden of Smt. Rani Jayamathi.

Here in US we do not have make-up person for Bharatanatyam. We are on are own. A good dancer should learn to fix her own hair rather than dragging her mother or sister. Here is an example. This little girl (below picture third from right) Aarthi finished graduation at age 9 and this was a tour to Pennsylvania without her mother to accompany. I walked into the dressing room to fix her hair and she was all dressed up – hair done as well. I found out that she practiced and practiced before the tour to do it herself. Kudos! Way to Go!

 

WHAT IS UNIQUE ABOUT BHARATANATYAM

  1. CLASSICAL — valued as a country’s asset;
  2. CULTURAL — the best link to our heritage;
  3. DISCIPLINE — physical and mental focusing on cultural values;
  4. DEVOTION — not a social entertainment;
  5. ANCIENT — 2000 years old; revived in 1930;
  6. COMPLEX — coordinates facial expression with hand gestures and footwork;
  7. TEXTUAL — every gesture, every move, every tune is recorded and has a name;
  8. MENTAL NOURISHMENT — brain teaser – a lot to remember;
  9. SYMMETRICAL — lines are geometrical;
  10. RICH MUSIC — using Mridangam – Carnatic music – 72 basic ragas;
  11. RHYTHMIC – precise beat because it is performed with salangai (bells);
  12. EXPRESSIVE — story plots based on myth;
  13. LIVE ORCHESTRA — using recorded music is common, but the dancer gains a different experience when dancing for a live orchestra;
  14. GURU-SISHYA PARAMPARA – even in USA we adhere to this tradition where the relationship between the teacher and student is in a different platform;
  15. NO CEILING – although there is no hierarchy like the London Music of Trinity, this dance style has vast scope in a large global horizon.

 

INFORMATIVE WHEEL OF BHARATANATYAM

The Natyachakkra is an exclusive Kalairani Natya Saalai (KNS) publication. Its principle purpose is to provide a public forum for the expression of views in Indian culture and dance. Natya means Drama/Dance and Chakkra denotes the wheel, a symbol of any movement. The Ashok Chakkra is seen in the center of the Indian Flag; Shiva gave the chakkra to Vishnu as a weapon to destroy demons; this Natya Chakkra comes to you as an instrument to strengthen your ties with India & Indian dance. The Natya Chakkra is copyrighted and any duplication without written consent is prohibited. KNS Guru & Artistic Director: Rani David, 1909 Wooded Way, Adelphi, MD 20783. (301-439-7264 Email:  kns@ranidevi.com

Some Archived Issues:

  • November 2006
  • March 2006
  • December 2002