Thursday 5 May 2011

Bharatnatyam Arangetram Theory

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Arangetram is a granduation performance that is the part of the traditional format – the Margam ( path) . It reflects the different stages of the dancer’s consciousness . In Tamil (one of the south Inidan languages)Aranga means is raised stage and etram means climbing. Ii is also called as Rangaprevesha in Kannada (another South Indian Language) where Ranga means stage and prevesha means enter. Arangetram is test for the Sishya ( student) as well as the Guru (teacher) as the Guru’s knowledge and the Sishya’s talent are judged by the Public. So the Arangetram is done only when the Guru feels that the Sishya is capable and talented enough to perform the Arangetram. For performing this Arangetram the student must have atleast 10 to 12 years of training. Arangetram was known as Gejjepooje once in the Old Mysore District (the State of Karnataka in South India) which means worshipping the jingles in Kannada. In Tamil this is known as Salangai Poojai where Salangai means the jingles and the poojai menas prayers to God. The Sishya is not supposed to wear the Jingles until this ceremony is performed. However, this concept has changed slightly and the Salangai poojai or Gajjepooje is performed after a few of learning dance . And the Arangetram is performed after advance learning. The accompaniment include the singer, the Mridhanga Player, the Violin player and the Natvanga. Other instruments like veena , flute etc., are optional. These accompaniments play a very important role. The performer wears a lot of jewellary , make-up and specially stiched dress. Jingles are a must. The performaer must have a lot of stamina and concentration as he or she has to perform the Arangetram for about 3 hours. This time is divided into two parts. 



The first part of the Arangetram comprises the following items. 



Pushpanjali or Alaripu

Jathiswara 

Shabdha 

Varna



The second part comprises of

Padam
Ashtapathi or Devernama
Thillana
Mangala

Pushpanjali 

In this item the dancers salute the God, Guru and the Audience. It is warm up item where the artist prepares the body for the next hours of vigorous performance. Alaripu (budding flower)

It includes pure Nrtta. And the movements are performed according to the syllables set for beat (thala). The complexity of the movements gradually increase. This ia also a warm up piece to prepare the body for the next hours of the Bharatnatyam performance. It doeasn’s convey any message but is considered as an item where the artist salutes the God , Guru and the audience.


Jathiswara 


It is more complex than the previous items. It comprises of amazing postures and teermanas or muktayas (ending of the jathi). This ia musical composition set to a Raga unlike alaripu. 


Shabda


This is a dance item with both Nrtta and abhinaya. The theme of the lyrics is usually devotional like depicting
Krishna’s childhood, praising a King or describing any sequence from any of the famous devotional stories. In the shabdam the emotions are withheld at the beginning; thereafter when the dancer has clarified herself , they are released in a measured and disciplined manner. After mastering this discipline she dances the Varnam.


Varnam:


In this item Bhratanatyam dancers are tested for their capacity to perform both abhinaya and nrtta. It containe many complex steps and expressions. The lyrics can be devotinal .
Varna can also have Shringara Rasa as its theme. 


Padam:


It is includes expression of divine love or pangs of separation in love. The tempo is comparatively slow that is based on a specific mood of love. Padams will have nayakas ( hero, supreme lover, divine lord,) and Nayika ( heroine, the yearning soul). Usually a heroine tells her friend her feelings towards the hero . The Bhratanatyam lyrics is about how the hero has betrayed , how he has delayed his arrival, how she is angry with her beloved hero etc. 


Ashtapathi


These are poet Jayadevas Sanskrit compositions called Geethagovinda an extremely romantic composition..It described the love of Lord Krishna and Radha (
Krishna’s childhood friend ) in 12 cantos containing songs. The songs are sung by Krishna or Radha or by Radha’s maid. Each canto is named differently based on Krishna’s status of mind. 


Saamodadamodara -joyful Krishna
Aakleshakeshava – careless Krishna
Mugdhamadhusoodhana – bewildered Krishna
Snigdhamadhusoodhana – tender Krishna
Saakankshapundareekaksha – longing Krishna
Kuntavaikunta – indolent Krishna
Naagaranaaraayana – cunning Krishna
Vilakshalakshmeepatihi – abashed Krishna
Mandamukunda – languishing Krishna
Chaturachaturbhuja – intelligent Krishna
Saanandadamodara – blissful Krishna
Supreetapeetambara – ecstatic Krishna



Expressiona play a very important role in this item. The Rasa can be expressed only if the Bharatanatyam dancer is matured enough to understand the lyrics and the situation. 


Devaranama


This item comprises of devotional lyrics in praise of God , describing the God etc., It mainly comprises of Abhinaya with almost no emphasis on Nrtta. These sons are the Bharanatyam compositions of great mystics like PURANDARADASAR , KANAKADASAR, VIJAYADASAR ,VYASARAJA to name a few. The Bharatanatyam compositions are popularly known as Daasa Sahitya. It is a devotional literature written in simple language. It preaches philosophies of love , devotion and peaceful co existence. 


Tillana


This is usually the last item in any Bharatanatyam performance. It is full of complicated movements and postures including complicated muktayas are Sollukattu,ending of any step or adavu. This mainly a Nrtta piece which might have a charana, a meaningful lyrics for which Abhinaya is shown. 


Mangala. 


It denotes the ending of the performance. Here the Bhratanatyam artist will again salute the God, Guru and the Audience for making the performance a success and as a token of thanks giving. 
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Bharatnatyam karanas theory

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The Karanas are synchronized movement of hands and feet.





Talapuspaputa: Puspaputa hand to the left side.,the (right) foot in Agratalasancara and the side (hips) bend (sideways to the left).


Vartita: One hand in Vyavrtta, the other in Parivartita. both bent at the wrists, and then placed on the thighs.


Valitoru: Sukatunda hands in Vyavrtta and parivartita and the thighs in Valita (bent).


Apaviddha: Theright hand in the Sukatunda gesture to be placed on the right thigh with a circular movement and the left on chest.


Samanakha: The two feet touching each other toe to toe (lit. their nails in a straight line) the two hands hanging down and the body in a natural (straight) pose.

Lina: The two Pataka hands in an Anjali gesture placed on the chest, the neck stretched and the shoulders drawn in.

Swastika (Recita): The two hands in Recita and Aviddha (held together and then) separated and placed on the hips.

Mandalaswastika :The hand's in Swastika, they are raised above. palms inwards and then the Mandala posture

Nikuttaka: The two hands (bent at the elbow) moved up and down between the (corresponding) arm and head and the feet bent.

Ardhanikutta: Bending (hanging low) arms and head and hand with fingers facing.

Katichinna: The hips bent alternately to both sides and Pallava hands on the head.

Ardharecita: Hand in Apaviddha. striking (the floor with Suci foot, body bent to one side.

Vaksahswastika: Feet crossed, Recita hands on the chest which is bent.

Unmataka: Foot in Ancita posture and hands in Recita gesture.

Swastika: Both hands and feet respectively in Swastika.

Prsthaswastika: The two feet in Swastika, the two arms in Viksipta and Aksipta and (again) the feet in Apakranta and Ardhasuci-

Dikswastika: One movement in which one goes to both the sides and then to the front- and hands and feet in Swastika.

Alata(-ka): The foot in Alata (cari), the right hand quickly coming down from the shoulder and then making an urdhvajanu (cari).

Katisama: Feet in Swastika to be separated, one hand on the navel and one on the hip, and sides in Udvahita.

Aksiptarecita: The left hand on the chest, the right hand in Recita thrown up and sideways and then in Recita and Apaviddha gestures.

Viksiptaksiptaka: Hands and feet thrown out and thrown in.

Ardhaswastika: The two feet in Swastika, the right hand making a Karihasta gesture and the left one on the chest.

Ancita: The Karihasta in Ardhaswastika in Vyavrtta and Parivar- tita movement and then bent on the tip of the nose.

Bhujangatrasita: Raising up the bent foot, the thigh in a diago- nal posture hip and knee also in a similar posture.

Urdhvajanu: The Kuncita foot to be lifted up, the knee and the hand raised to the level of the chest.

Nikuncita: The foot in Vrs'cika karana, the left hand to be bent sideways and the right one on the tip of the nose.

Mattali: The left and right foot, one whirling round and round and the other slowly sliding forward and the hands in Udvestita Apaviddha.

Ardhamattali: The left hand in Recita, and then on the hip and the feet moved away in Skhalita.

Recitanikuttita: The right hand in Recita, the left foot in Nikuttita, the left hand swinging.

Padapaviddhaka: Hands in Khatakamukha with palms outwards on the navel, and the feet in Sucividdha and Apakranta.

Valita: Hand in Apaviddha, feet in Suci and the Trika (i.e., three, viz., waist, chest and head) turned round (i.e., slightly twisted sideways).

Ghurnita: The left hand in Vartita and turned round and round, the feet in Swastika moved away from each other.

Lalita: The left hand in Karihasta, the right turned round, the foot in Kuttika again and again.

Dandapaksa: The hand in Lata gesture to be placed on the foot in urdhvajanu.

Bhujangatrastarecita: Both the hands to be in Recita to the left side (with feet) in Bhujangatrasita.

Nupura: Gracefully turned round Trika, hands in Lata and Recita, feet in Nupura cari.

Vaisakharecita: Hands, feet, hip and neck in Recita and body (posture) in Vaisakhasthana

Bhramaraka: Crossed feet in Aksipta cari, hands in Udvestita and Trika turned round.

Catura: Tlie left hand in Anicita gesture and the left foot in Catura, the right one in Kuttita

Bhujangancitaka: Feet in Bhujangatrasita, right hand in Recita and the left one in Lata-

Dandakarecita: Hands and feet in Recita being thrown about on all sides—like a stick.

Vrscikakuttita: Both the hands (first) in the Vrscikakarana with Nikuttita movement (clapping).

Katibhranta: Right foot in Suci cari and then in Apaviddha and the hip in Recita (turning round).

Latavrscika: Foot in Ancita backwards, the left hand with palm outwards and fingers bent in lata gesture

Chinna: Hand(s) in Alapadma on the hips and then bending with the hip sideways alternately and standing in Vaisakhasthana.

Vrscikarecita: Foot in Vrscika. hands in Swastika, first in Recita and then in Apasrta (i.e.. separating).

Vyamsita:Alidha posture, two hands on the chest in Recita (gradu- ally) moved up and down stretched out.

Vrscika: Bent hands on the head, foot bent backwards, and back also bent low.

Parsvanikuttaka: Swastika hands to one side and the foot in Nikuttita.

Lalatatilaka: The foot in die Vrscika, a mark in the forehead (suggested) by the toe of the foot.

Krantaka: A leg to be bent backwards, then an Atikranta all round, both the hands to be thrown down.

Kuncita: The right foot in Ancita left hand in Kuncita with the left side raised.

Cakramandala: Stretching out the hands, the body bent, and the hands in Apaviddha between the legs.

Uromandalaka: The feet in Swastika and then drawn apart, then the Apaviddha cari with the hands in Uromandala gesture.

Aksipta: Hands and feet in quick succession in Aksipta.

Talavilasita: Foot with the toe upwards stretched to the side and the palms of the hands bent.

Argala: Feet two and half tala-s apart, hands stretched out in front.

Viksipta: Hand and foot thrown out together to the side or backwards.

Avar(-vr)ta(-tta): Kuncita foot stretched and turned round (or drawn back) hands moving accordingly.

Dolapdda: Foot bent at knee to swing from side to side, hands moving accordingly.

Vivrtta: Hands and feet thrown out, Trika twisted round, both hands in Recita.

Vinivrtta: Feet in Sucividdha cari, Trika turned about and both hands in Recita.

Parsvakranta: Feel in Parsvakranta cari (lit..steps in etc.).hands moving accordingly, and stepping in front (or forward).

Nisumbhita: Feet bent back. chest inflated. and hand held at the centre of the forehead.

Vidyudbhranta: Foot bent back and stretched to touch the head, and hands in Mandalaviddha gesture.

Atikranta: Feet in Atiknuita cari to be stretched forward (i.e., long steps). hands moving accordingly.

Vivartitaka: Hands and feet thrown forward. Trika turned about. hand in Reciia.

Gajakriditaka:The left hand bent and touching the (left) ear, the right in Lata gesture and foot in Dolapada cari.

 Talasamsphotita: The foot to be swiftly lifted up. and placed forward; the two hands in Talasamsphotita (palms wagging) ges- ture.

Garudaplutaka: Foot stretched back. one hand in Lata and the other in Recita gesture and chest inflated.

Gandasuci: Feet in Suci cari with one side raised up, one hand (left) on the chest and the other bent to touch the cheek.

Parivrtta: Both me hands in Apavestita raised up. foot turned about in Sucipada and Trika turned round.

Parsvajanu: One foot in Sama cari, the other by the side of the thigh, hand in Musti gesture on the chest.

Grddhravalinaka: One foot stretched back. knee slightly bent, and arms stretched out.

Sannata: Coming down from a jump. the two feet must be in Swastika, the hand. hanging and bent.

Suci: Kuncita foot to be raised and put down on the ground, hands to move accordingly.

Ardhasuci: Hands in Alapadma on the head, right fool in Suci (cari).

Sucividdha: A foot in Suci (cari) touches the heel of the other foot. one hand on the chest and other on the hip.

Apakranta: With the thigh in the Valita.’ the foot in the Apa- kranta. hands moving accordingly,

Mayuralalita: Two hands in Recita in the Vrscika karana. Trika turned about-

Sarpita: Both the feet in Ancita to move awav one from the other, the head in the Parivahita (dragging away or flowing) and both the hands in Recita.

 Dandapada: The foot in Nupura cari should be stretched in Dandopada cari and quickly the hand to be in Aviddha gesture.

Harinapluta: From the Atikranta cari. one should jump up and coming down, the shanks are bent and thrown up (straight- ened).

Prenkholita: From the Dolapada cari, one should jump and come down turning about the Trika.

Nitamba: Arms going out. fingers facing the body, assuming the Baddha cari.

Skhalita: Foot in Dolapada cari, the hands shaking or in Recita moving accordingly.

Karihasta: Left hand on the chest, the other palm twisted (or turned) upwards, the feet in Aincita.

Prasarpitaka: One hand in Recia. the other in Lata and the soles grazing the ground.

Simhavikridita: One foot in Alataka placed forward, the other One to take quick step and hands moving accordingly.

Simhavikridita: One foot stretched back. and Kuncita hands turning round in front

Udvrtta: Hands, feet and body (upper part) to be moved swiftly and then the whole body to be moved as swiftly.

Upasrtaka: Foot in Aksipta, hands to follow and body slightly bent

Talasanghattita: Foot in Dolapada cari the two palms clapping, then the left hand in Recita.

Janita- One hand on the chest, the other hanging loose and standing on the tip (toes) of the feet.

Avahitthaka: Hands in Janita gesture, then raising them with fingers facing.

 Nivesa: Both the hands on the chest, chest bent (or drawn in). posture of Mandala sthana.

Elakaakriidita: Feet in Talasancara, Jumping up and coming down with body bent and turned.

Uuruudvrtta: Hand in Avrtta to be placed on the back. side and bent. shanks in Ancita and Udvrrta.

Madaskhalita: Both the hands hanging down, head in Parivahita gesture (dragging to and fro) and Aviddha feet turned round.

Vislukraanta: Foot stretched forward and bent as if about to walk on, and hand in Recita.

Sambhraanta: The Avartita hand to be placed on the backside of the thigh, and then the thigh in Aviddha.

Viskambha: Right hand in Apaviddha, left on the chest, and striking the ground with Suci foot.

Udghattita: Both feet in IJdghattita. both the hands in Talasanghattita to be placed by the side of the hips.

Vrsabakriidita: Foot in Alataka. both the hands in Recita and later these hands to he in Kuncita and Ancita.

Lolita: (Feet in Vaisnava sthana). hands (first) in Recita and Then in Ancita and head turned to both sides.

Naagaapasarpita: Feet in Swastika to glide forward, hands in Recita, head turning all round

Sakataasya: Gliding with Talasancara feet while in a sitting posture, chest thrust forward.

Gangaavatarana: Foot with sole and toes turned upwards (i.e., not touching the ground), Tripataka hands with palms downwards (i.e., facing the ground) and head bent down.


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