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| Wednesday, 10 March 2004 |
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Choreography in classical Bharatha Natyam by Subashini Pathmanathan
Choreography is a unique art. Not all performing artistes are good choreographers, nor are all good performers good choreographers. To be a successful choreographer, one has to have a long association with the art with an intense involvement in the development and wide practical experience, and total dedication and devotion to the art. The choreographer must be bale to gauge the moods of the audience and try to reflect the moods. They must know the nuances of Thala, Kala (degree of speed or tempo) and Laya. They must interweave the adavus, with appropriate abinayas and must possess an intimate knowledge of the technical aspects of the adavus. And the successful choreographer has to have the ability to weave the different poses together with appropriate dances and should be able to synthesize the Thala, Kala and Laya with the accompaniments. The choreographer must have wide experience and deep knowledge in this traditional art form. Beside these, the choreographer must have the full ability to handle all the nirthiya elements with skill and dexterity and combined with various nirtha aspects. The main nirthiya elements are Abinaya, Bhava and Rasa. The meaning of the song should be expounded through Bhava, Rasa, and appropriate abinaya through hand gestures. Standards The choreographer must maintain certain traditional standards in this art. But unfortunately many present day so-called choreographers are adopting techniques of their own which has little relevance to the theme intended to be expounded. These innovations are bound to hamper the development of choreography of this art in future. The choreographer must be one capable of explaining the newly adopted techniques and its relevance to their classical basis. Classical music is the soul of the classical dance and thala is the soul of classical music. Therefore the choreographer must have a thorough knowledge of music and thala. In classical Bharatha Natyam generally nattuvangam coordinates the dance by thala cymbals with vocal music and other accompaniments. And the oral nattuvangam the nattuvanga jathis (nattuvanga sollukadus or oral nattuvanga words) are combined with pure nirtha adavus with thala cymbals. The nattuvanga sollukadus must coordinate with thala, in which the music is compiled. Oral jathi nattuvangam are delightful and vibrant combination of sollukadus (words). According to puranic stories, these nattuvanga jathis had their origin from Lord Siva's five faces when he performs five important functions in five thandavas. Vibrant Such functions are namely creation, protection, (in two thandavas) bestow happiness, and protection from sorrow, destruction, dispelling egoism, sin, illusion, and bestow of blessings. The five functions of Lord Siva are collectively called 'Pancha Kiruthiya Thollil'. These five nattuvanga jathis are 'Thath', 'Thee', 'Thom', 'Namm', 'Jamm'. Hence the oral nattuvanga jathis are generally based on these five above said sounds. In choreography attention should be paid to thala and kala (degree of speed or tempo). The relationship between thala and kala must be evenly balanced, and this is called laya. Laya vinniyasam is often used in the nattuvangam or in the oral nattuvanga jathis or in the swara jathis or in the thirmana adavus (sequence of adavus at the end of each paragraph), or in the sakithiya verses. Laya vinnitasam is closely linked to Thala and Kala (degree of speed or tempo). The excellence of a production depends upon the ability of the choreographer, as well as the excellence of the artistes. **** Back **** |
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