Lecture Demo Part II - The Language of Dance

Lecture Demo Part I - Introducing Bharata Natyam

Decoding Bharata Natyam - The Hand Gestures Part I – Asamyukta Hastas

Using your hands to communicate is one of the oldest forms of communication. In the Vedic age, hands were used to recite mantras. In dance, each hand gesture or “mudra” has a particular divine origin. A common example can be the “Abhaya Hasta” that is known across religions all over the world as a gesture of protection. The Hindu deities, Jesus, Buddha, Mahavir – to name a few, all have one hand positioned in front of them in a gesture of protection and blessing.

We Indians greet each other with joined palms or namaskar  – a mudra known as “Anjali” in dance. So you see, the hands translate conscious thought to the universe.

Types of Hand Gestures/Hasta Bhedas

The Abhinaya Darpana cites two major types of mudras – Asamyukta (Single Hand) and Samyukta (Double Hand).

There are twenty eight Asamyukta Hastas:

1. 1.       Pataka
2. 2.       Tripataka
3. 3.       Ardha Pataka
4. 4.       Kartari Mukha
5. 5.       Mayura
6. 6.       Ardha Chandra
7. 7.       Arala
8. 8.       Shuka Tunda
9. 9.       Mushti
10. 10.   Shikhara
11. 11.   Kapitha
12. 12.   Kataka Mukha
13. 13.   Suchi
14. 14.   Chandra Kala
15. 15.   Padma Kosha
16. 16.   Sarpa Shirsha
17. 17.   Mriga Shirsha
18. 18.   Simha Mukha
19. 19.   Langula
20. 20.   Alapadma
21. 21.   Chatura
22. 22.   Bhramara
23. 23.   Hamsasya
24. 24.   Hamsa Paksha
25. 25.   Samdamsa
26. 26.   Mukula
27. 27.   Tamra Chuda
28. 28.   Trishula

Pataka or Flag: 

Bend the thumb to touch the fingers. Hold other fingers together and extended.

Origin: Brahma greeted Parabrahma by saying “victory!” abd held his hand like a flag. This has since been known as pataka.

Usage Examples: Beginning of a dance, forbidding something, flag, sword and so on.

Tripataka:

From Pataka, bend the third finger.

Origin: Lord Indra lifted his weapon Vajra using the Pataka hand but leaving out the third finger.

Usage Examples: A crown, tree, thunderbolt, weapon, fire flames and so on.

Ardhapataka:

From Tripataka, bend the little finger.

Origin: Unknown

Usage Examples: Sprouts, small knife, tower, horn, and so on.

Kartari Mukha:

From Ardhapataka, bend the forefinger and little finger.

Origin: When Sashanka Sekhara went to slay Jalandha, the Rakshasha, he drew a circle with his forefinger in the center of the earth.

Usage Examples: Separation of husband and wife, to show eyes, lightning, falling, creeper and so on.

Mayura:

From Kartari Mukha, join the third finger to the thumb and extend the other fingers.

Origin: Unknown

Usage Examples: Peacock, Vulture, creeper, tilak (auspicious mark on the forehead), sprinkling water, wiping tears, and so on

Ardha Chandra:

From Pataka hand, stretch out the thumb.

Origin: Shiva took the moon as an ornament. Understanding his desire for an ornament in the shape of a flower, the moon became the half moon.

Usage Examples: moon, catching by the throat, begging plate, waist, and so on.

Arala:

From the Pataka hand, bend the first finger.

Origin: Indra tok Arjuna to slay the rakshashas who were causing havoc in the heavens. Some rakshashas hid under the ocean and could not be caught. The Gods then approached Sage Agastya for help and while Arjun waited on the shore, Agastya drank the seven seas to expose the hidden Rakshashas.

Usage Examples: Drinking position or nectar, and strong wind

Shukatunda:

From the Arala hand, bend the third finger.

Origin: While dancing with Shiva, Parvati used this gesture in a lover’s quarrel.

Usage Examples: Releasing an arrow, throwing a spear, ferocious.

Mushti:

Bend the four fingers together into the plam and place the thumb upon them.

Origin: Vishnu used this hand while fighting the rakshashas, Madhu and Kaitaba

Usage Examples: Immobility, grasping the hair, firmness and so on

Shikhara:

From the Mushti hand, raise the thumb.

Origin: When Shiva held the mountain meru in the center using it as a bow, he used this hand.

Usage Examples: Madana or God of Love, bow, pillar, phallus husband, and so on.

Kapitha:

From the Shikhara hand, bend the forefinger over the thumb.

Origin: Vishnu used this hand to pull the mountain Mandara while churning the ocean for nectar.

Usage Examples: Laxmi, Saraswati, milking cows, beating cymbals, and so on.

Kataka Mukha:

From Kapitha, join the thumb, forefinger and middle finger.

Origin: Shiva used this hand to instruch Kumara in archery. Alternatively, Shiva used it to instruct Parashurama in archery.

Usage Examples: Plucking flowers, to show a necklace, drawing a bow, and so on.

Suchi:

From Kataka Mukha, raise the forefinger only.

Origin: Brahma used this hand to say “I am the One”.

Usage Examples: Showing one, Parbrahma, hundred, sun, city, world, and so on.

Chandrakala:

From the Suchi hand, separate the thumb.

Origin: Unknown

Usage Examples: Crescent moon, span of an object, Ganga, and so on.

Padma Kosha:

Stretch out the fingers then bend them slightl;y, hollowing the palm to make a flower shape.

Origin: Narayana used this hand while worshipping Shiva with lotus flowers to obtain the sacred discus.

Usage Examples: Fruit, wood apple, breats, rounded, ball, and so on.

Sarpa Shirsha:

From Pataka, curve the top of the fingers.

Origin: When Vamana, the fifth avatar of Vishnu promised the Gods his protection against King Bali, he used this hand.

Usage Examples: sandal paste, snake, slowness, and so on.

Mriga Shirsha:

From Sarpa Shirsha, extend the thumb and little finger.

Origin: When Gauri decided to worship Shiva for the second time, after Madana’s death, she used this hand to draw three lines with sacred ashes.

Usage Examples: Women, cheek, makeup, drawing three lines, and so on.

Simha Mukha:

Join the middle finger and third finger to the thumb at the tips, with the rest extended.

Origin: Unknown.

Usage Examples: Sacrifice, hare, elephant, grass moving, lion, and so on.

Kangula:

From Padma kosha, bend the third finger inwards.

Origin: Shiva used this hand to make a pill out of the poison that arose from the ocean of milk.

Usage Examples:  Grapes, betel nut, breasts of a young girl, cluster of coconuts, and so on.

Alapadma:

Follow the little finger with the others, separated and curved.

Origin:  Shri Krishna used this hand to steal the freshly made butter.

Usage Examples: Full blown lotus, fruit, elephant, praise, full moon, and so on.

Chatura:

Combine the first three fingers and extend them. Curve the thumb to touch the base of the third finger.

Origin: When Garuda wanted to steal the nectar, Kashyapa used this hand to show him the way.

Usage Examples: Musk, a little, gold, copper and other metals, ghee, oil, and so on.

Bhramara:

Touch the second finger to the thumb, keeping the forefinger bent and the other finges extended.

Origin: Kashyapa used this hand to make earrings for his wife, Aditi.

Usage Examples:   A bee, parrot, wings, and so on.

Hamsasya:

Extend and separate the middle and last two fingers, joining the forefinger and thumb.

Origin: Shiva used this hand to teach the Tattva system of philosophy to the sages.

Usage Examples: Tying the mangalsutra, teaching of wisdom, string of pearls, and so on.

Hamsapaksha:

From Sarpa Shirsha, extend the little finger.

Origin: The Rishi Tandu used this hand to learn the Tandava.

Usage Examples: Showing the number six, covering, arrangement and so on.

Samdamsa:

Repeatedly open and close the Padma Kosha hand.

Origin: Unknown

Usage Examples: Giving, insect, showing the number five, and so on.

Mukula:

From Padmakosha, bring the five fingers together.

Origin: When Hanuman tried to grasp the sun, thinking it was a fruit, he used this hand.

Usage Examples: Water lily, eating, five arows of the God of Love, and so on.

Tamra Chuda:

From Mukula, bend the forefinger.

Origin: Unknown.

Usage Examples: Cock, crane, crow, and so on.

Trishula:

Bend the thumb and the little finger.

Origin: Unknown:

Usage Examples: Bel tree leaf and to show three togther.

Decoding Bharata Natyam - The Costume and Jewelry

In all the years that I learnt dance, that is, Bharata Natyam, and performed it on stage, many people, even those who said that they did not understand it would tell me that the costume and jewelry for Bharata Natyam looked fabulous. When I would get ready and stand in front of the mirror in full costume and  makeup, I would feel a certain sense of pride at looking the part. However, there is a lot of intricacy to the entire get-up that makes a Bharata Natyam dancer.

Let me talk about the costume first. Amongst all the variations, there are two main styles of Bharata Natyam costumes, the saree style and the pajama style. I still remember my first costume being a saree style one, which my mother had folded and stitched herself. Nowadays, in both the styles, the saree is cut up. The saree itself is a Dharmabalam saree (not a Kanjeevaram as is commonly believed) of a bright color like red, pink, yellow, green or blue. It needs to have a contrasting border with solid zari.

In the pajama style, the costume comprises at least five separate pieces; the blouse, the pallu, the fan(s), the pajama, and the waist cover. In the saree style, there are usually four pieces; the blouse, the pallu, the skirt and the fan.

Once you wear the costume, the next step is to tie the hair which involves a bun on top of the head and a long plait whose ends are tied with three kunjams. Keep many pins and clips ready. After the hair is tied, the dancer needs to put flowers around the bun, usually white ones on top, and orange ones on bottom. You can also decorate the plait with a strand of flowers or tie some brooches to it. Here I must tell you a funny incident that happened between my Guru and me. I was supposed to perform one evening, and while tying my hair, I made the plait too long. Now, Auntie, my Guru usually inspected us from head to toe before we went on stage and would make us change if she felt something was not as it should be. Now, once I realized that my plait was too long, I was already fully ready and not inclined to correct it, as it would mean starting all over. So, when Auntie, amidst all her activities, came to look me over, I carefully did not turn around. Auntie realized vaguely that something was amiss and began to circle me. Quickly, I moved with her and did not let her see my back. Some sudden distraction saved me from discovery and a sure scolding, and I managed to fold the plait a little, tying it with my dance belt so that it did not look too long and odd. Afterwards, the memory often made me smile, of Auntie looking a little puzzled trying to pinpoint exactly what was wrong with my appearance and myself, circling along with her to keep the extra long plait hidden.

Once the costume and hair are done, the next step is to don the jewelry. Bharata Natyam uses a special form of jewelry known as “Temple Jewelry” – golden in color with red and green stones, as well as white ones with pearls. You can wear a headset, which is a horizontal and vertical piece covering your parting and hairline. Or, you can opt for a tikli which covers your parting only. On either side, you wear two discs, the sun and the moon. The ears have jhumkas with bands. Around the neck, there is a short necklace and a long one. The waist is cinched with a golden belt of many links and you wear bangles on each hand.

A very important aspect is the anklet bells that you wear while dancing, which can be two strands tied around your leg or a belted ghungroo. I have always worn the belted one, as I used to fear that the string would come undone with the other type, but many dancers wear them. You also wear three nosepins to complete the ensemble. This is the basic costume and jewelry, and you can also add more like armbands, and ornaments on your bun. For the makeup, you have the base, and then carefully draw the eyebrows and eyes to make them look bigger, redden the lips and wear a red bindi with a white line underneath. The final touch is to line your palms and feet with red (alta) dye, but make sure you do this last and take care that your costume is not stained.

The whole process of getting ready can take anything from two to five hours depending on how much you want to wear and how perfect you want to look. My recommendation is always to go for the basic look and hone that to perfection instead of adding too many bells and jingles. 

Some tips for buying the costume and jewelry in Kolkata (the best thing is to shop in Chennai but in case you cannot do that):

• Buy a Dharmabalam saree and then get  the costume made by a special tailor. Your dance teacher should be able to point you to one.

• Jewelry, flowers etc are all available in Lake Market as well as a shop in Treasure Island called Sasaram. Depending on your taste and budget you can opt for either.

•  If you want to buy stage makeup, the place to go is G C Laha in Dharma Tala and some items are also available in New Market.

Once you have everything, get ready and go on stage, as the perfect Bharata Natyam dancer.

Decoding Bharata Natyam - A Short History

This was my first blog a couple of years back – one that I had decided I would use to write about Bharata Natyam – my first love. However, I sadly neglected it, while I wrote about other more generic topics. Now that I am standing on the brink of starting my own dance classes soon, I find that I want to tell people a story – a story about the history of Bharata Natyam as I studied it when I was learning dance. My endeavor here is not to bore you with dry facts or too much of verbosity, but to give you a clear background of how Bharata Natyam gained its current form. Oh, and for those who tell me that it is difficult to follow because of the language of the music, let me tell the discerning listener that a lot of the songs are in Sanksrit – our mother language, and if you listen closely and watch the hand gestures, movements, and expressions, there is no reason why you should not be able to follow the story the dancer is depicting.

But to go back to history, in the temples of South India, there lived women who were known as “Devdasis” – those who served God mainly through dance and music. A lot of households gave one of their daughters to the temples to be brought up by the priests as Devdasis, and these girls would be tutored in dance and music from an early age, which they would then perform on the temple premises at any great occasion. This was their vocation for life.

Now, there is always a relation between religion and state, and so, the kings who ruled in ancient South India, would come to the temples, from time to time, to visit, pray, and also to see the dance of the Devdasis. Often a king would be so enamored of the dancing damsel, that he would take her back to his palace, for his own private entertainment. These ladies were then called the “Rajdasis” – those who served kings. This is how Bharata Natyam left the temple premises and entered the royal palace.  From there, over the years, other people also started to learn the dance and slowly it spread to a number of places.

In present day, Bharata Natyam has six main items: Alarippu, Jatiswaram, Sabdam, Varnam, Padam, and Tillana. This form was given many years ago in Tanjore by four brothers, Chinnaiya, Punnaiya, Shibananda, and Vadivelu. They gave structure to the Bharata Natyam recital through these six main items, and were part of a Dravidian king’s court, where their students performed the dance. Of course, other items like kavithwam and geetham and vandanas were added to the repertoire over the years.

In the recent past, the great danseuses who have contributed immeasurably to this form of dance are Bala Sarswati – whose simple appearance belied her immense talent, Rukimini Devi Arundale – who established the world-famous Kalakshetra school of dance, Yamini Krishnamurthy – whose performances awed the world over,  and Mrinalini Sarabhai – who was dancer, choreographer, and teacher par excellence and founded the Darpana Academy of dance.

When I talk about great dancers, I must talk about great teachers of the dance as well, because without those teachers, the dancers wouldn’t exist. And when I talk about teachers, my Guru Dr. Thankamani Kutty immediately comes to mind. Hailing from Kerala, she and her husband late Guru Dr. Govindan Kutty left their home to come to Kolkata where they established the most famous school of Bharata Natyam, Mohiniattam, and Kathakali in eastern India – Kolkata Kalamandalam. A branch of Kerela Kalamandalam, Kolkata Kalamandalam has been producing  talented dancers for years now, including yours truly. Most of the famous Bharata Natyam dancers have trained in this school at some time or the other. Dr.  Thankmani Kutty can be credited with bringing Bharata Natyam to Bengalis, who before that, had mainly concentrated on learning Rabindrik dance or Kathak.

Of course, the history of Bharata Natyam cannot be covered in a single blog post, as reams can be written about each topic in detail. I have just given you an overview here, to kindle your interest in learning more and maybe learning the dance itself.

Watch out for my next blog post on describing the costume and jewelry of Bharata Natyam!

Decoding Bharata Natyam - Part I

When I started my blog on dance, I began with writing a review of a performance I had seen. Today, I thought it would be interesting for my readers to get the South Indian classical dance, Bharata Natyam, explained. I have often heard the complaint that people who watch Bharata Natyam dancers do not understand the meaning of what they see. There is the language problem (most Bharata Natyam music is in Sanskrit or Tamil or Telegu) and for people who are not dance lovers, the gestures and compositions seem meaningless. So my aim is to explain Bharata Natyam step by step for you. It is a huge subject and I will need a series of blogs to explain it even a little. This particular installment will discuss what happens when you or your child starts learning the dance form.

The Posture

The classic posture for Bharata Natyam is the "ayata" position where you stand with your knees half bent and feet facing outwards. This posture is a little difficult to maintain but the more you practice it and the more you bend your knees, the better it looks.

The Steps

The first step towards learning Bharata Natyam is learning the basic steps, called Adavus. Adavus are grouped into, some categories, like Tatta Adavus or Natta Adavus according to the similarity of the position and steps. Each of these adavus teaches you the various small formations that you will ultimately use in dance items, when you learn them.

The Gestures

Dancers express a lot of things with their hands – you can call these gestures or “Mudras” the language of dance. You hold your fingers of your hand in a particular way and it means something. For example, if you just hold all the fingers straight together, pointed upward, it is the “Pataka” mudra” which can show a flag, undulating waves, be used to point to someone or something, or denote a sword. Mudras are divided into two categories – “Asamyukta Hastas” – the ones that use only one hand and “Samyukta Hastas” – the ones that use both hands. Pataka is an asamyukta hasta while Anjali, when you join your palms together in a Namaste, is a Samyukta Hasta.

The classical dance forms follow either the Natya Shastra or the Abhinaya Darpan.  There are 29 asamyukta hastas and 24 samyukta hastas.

The Head Movements

Dance utilizes your whole body and this begins with the head or the “Shirobhedas”.

The Neck Movements

In Bharata Natyam, the neck is used a lot, especially in the side to side movements and the neck movements are known as “Grivabhedas”.

The Eye Movements

Eyes express much more than what the other parts of the body can and “Drishtibhedas” are the eye movements that are used.

The Feet Positions

Along with the "Ayata" position, the feet are also used in various other positions and these are known as the “Padabhedas”.

If you master these various basics, you are quite ready to start learning a dance item. Dance items, that form the basic curriculum, however will be part of my next installment. I hope that I have been able to explain the basics in a way that you understand and like and your interest is piqued. I will be back with more. Have a good one!

Ashesha's Bharata Natyam Recital

After a long long time, I went to see a Bharata Natyam recital last Friday. Being a Kalamandalam Kolkata alumni ensures that I get invites to many dance programs and I was determined not to miss this one. I was eager to see this recital by a Kalamandalam student, Ashesha.

Ashesha started off with a Ganesha Vandana, Padi Padi Nee Padame, a tribute to Lord Ganesha. Having danced Padi Padi myself many a year back I sat forward eagerly to watch it being performed. Ashesha's technique coudn't be faulted. It was evident that she had put in many hours of practice and that she is dedicated to her art. The Ganesha Vandana was followed by Ramayana Sabdam, then a Varnam. Ashesha also performed Akasha Lingam, a dance filled with acrobatic postures and one that requires boundless energy. She proved to be up to the task and rounded off the recital with a Thillana.

Ashesha's performance was clean and sharp. However, it seemed to lack a little bit of life. A little less attention to technique and a little more attention to feeling would have raised her performance to the next level. Maybe it was because she performed the items I knew very well and had performed myself, I found something lacking in her performance. When a dancer is on stage, she needs to look happy and totally involved in her art.  It could have been nervousness. After all, this was her first solo recital. That is what brings joy to the audience as well.

She is a young artist and has a good many years of performing ahead of her. I sincerely wish her all the best and hope that she learns to enjoy the art more.