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| Wednesday, 17 November 2004 |
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Are there styles in classical Bharatha Natyam? by Subashini Pathmanathan Classical dance forms have certain methodologies which were recognised as so-called styles in classical dance forms. In Bharatha Natyam execution of Nirtha and handling the adavus by the teachers has given rise to so-called styles in classical Bharatha Natyam. It was believed that there were four different styles in Bharatha Natyam. In Kathak also there are altogether four different styles. The styles do not make any difference to the basic aspect of the art. But one can see the style differences in the presentation of the programmes. Basic category of adavus, leg positions, hand muthras, neck movements, eye movements, the body positions, the basic puranic history and the theory remain the same. The methodology, approach and the execution of adavus are the main reasons for the emergence of styles. The four main styles were available in classical Bharatha Natyam earlier. These major styles were adopted by the gurus stationed in villages like Thanjavoor, Vazhuvoor, Pandanallur and Kanchipuram. But today all these four so-called styles are not available. Until very recently Thanjavoor style was quite popular but now even it has lost its pre-eminence. Today two popular major forms (styles) are existing and these forms are facing top level of competition among themselves in classical Bharatha Natya field. Among these two styles one style gives more importance to Nirtha and other style gives more importance to Nirthya. The Pandanallur style is popularly known as Kalashethra style today. This style has moved more to the institutional level. They pay more attention to Nirtha than Nirthya. Yet it must be appreciated that they stick to firm, steady, stiff, Nirtha position and adherence to thala and laya firmly. When they perform adavus Pure Nirtha they executive the advaus more mechanically without using pirathi anga movements in adavus. (Naturally in any style more time is needed to learn the basic adavus). Without getting the training in the use of Pirathianga movements from the very beginning, they use limited expressions to interpret the meaning of the songs smoothly and gracefully. This particular style today pays more attention to the dance dramas than classical Bharatha Natyam. In Pandanallur style among the four abinayas more attention is paid to Angika Abinaya and Akariya Abinaya rather than Sathvika and Vachika Abinaya. The Vazhuvoor style has not moved to the institutions. One has to learn it from traditional gurus and from those who learnt under them. This particular style does not pay much more attention to stiff, firm, jumping movement in Nirtha. While executing the Nirtha movements this particular style includes the Pirathi Anga movements along with Nirtha from the very beginning. This helps the students to executive the Nirthia with facial expressions Bhavas and rasas gracefully. Later in interpreting the songs this style provides more opportunity for the use of four abinayas, equally such as Angika, Akariya, Sathvika and Vachika abinayas together. And attention in this style is paid to conduct more classical dance recitals than dance dramas. These two styles are commonly adopted by the dance teachers today. Though their own ideas, their approach and their dedication differ from one another, yet they profess to follow the so-called same style, some teachers introduce various tactics of their own. Some teachers introduce new dance techniques borrowed from cinemas to attract the public. If a programme is choreographed and presented under the name of classical Bharatha Natyam, it is necessary that dance programmes should have to adhere to the form of traditional norms. **** Back **** |
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