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| Wednesday, 1 September 2004 |
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Changing trends in classical Bharatha Natyam by Subashini Pathmanathan The classical Bharatha Natyam evolved out of temple dance Sathir. With the passage of time this art form moved from temple to stage. It was performed by a particular clan attached to the temples.
The traditional classical Bharatha Natyam did not include or accommodate the drama based dance forms under the name of dance drama or Nirthiya Nadakam. But with the passage of time Kuravanchi dance dramas entered into the classical dance and developed as a new branch of classical dance form. Later not only Kuravanchis but various puranic and epics were also adopted for dance dramas. These puranic based dance dramas borrowed the same categories of adavus, muthras, abinaya, bhavas and rasas from the classical dance. Due to these similarities often the dance dramas were considered and confused as a part of Bharatha Natyam. Dance dramas are used to different variety of Akariya abinaya. Akariya abinaya means different types of dresses. In dance dramas different variety of dresses are adopted to the needs and necessity of the characters but in classical Bharatha Natyam standard dresses are used. Hence the dance dramas developed out of classical Bharatha Natyam, yet it cannot be considered as classical Bharatha Natyam. Kuravanchi dance dramas and classical Bharatha Natyam used simple stage decor as compared to other puranic based dance dramas. The modern technology as lighting, sound and outside impact (smokes) play a limited role in classical and Kuravanchi dance dramas as compared to the puranic based dance dramas. The puranic based dance dramas, elaborate stage decor are adopted, but Kuravanchi dance dramas and classical dance forms the stage decor are simple. In classical Bharatha Natyam selected traditional instruments are used. But for the dance dramas which developed out of classical dance variety of instruments including western instruments are used. The younger generation and growing up artistes adopt various social themes and day-to-day occurrence, under the name of creativity. This destroys the divine spirituality of the great art. This turns the art more to dramatic form rather than that of the classical dance. In the olden days the artistes were supposed to sing by themselves (Vasika Abinaya). But now the vocal support is provided by the out side vocalist and the dancer is supposed to pretend to show that she sings, while she dances. But now this trend is disappearing. Many of the present generation artistes hardly move their lips. Slightly moving the lips make the programme more lively. But such tendency is not found today. Present generation of artistes try to express their expression mainly through manotharmam. But only experienced and efficient artistes can express their feeling through manotharmam accurately. Even the Akariya abinaya is entirely different from earlier days. Earlier the saree was the only dress used for the classical Bharatha Natyam for instance the Bharatha Natya queen Balasaraswathi used the saree for Bharatha Natyam but today this type of costume has vanished from the dance scene only designed and stitched dance costumes and short saree costumes are used. More Jewellery and sculptural based designed costumes are used for the present classical Bharatha Natya recitals. Often silver screen traditions are introduced and adopted for classical Bharatha Natyam. **** Back **** |
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Produced by Lake House |
It was responsible for the protection and promotion of this art form.
Later with the passage of time due to the effort of the art lovers and
social reformers, the art was rescued from oblivion. In the middle of 20th
century this art form once again regained social recognition under the
name of Bharatha Natyam. As a live art it also faced various changes and
challenges.
