Facial expressions in Indian classical dances
Subashini Pathmanathan
Abhinaya plays a major role in certain Indian classical dance forms.
It is the interpretation of songs with hand gestures and facial
expression. The dancer expresses and expounds the manotharma of the
songs through bhavas and rasas.
|
Handling abhinayas totally depends on the dedication,
experience,
and involvement of the dancer |
The abhinaya and facial expressions are unique factors of Indian
dance forms. The essence of abhinayas and facial expressions reveal the
substance of bhava. The birth of bhava induces the rasas. The concept of
bhava can be seen not only in dance but also in the way of singing, of
the vocal music.
The devotional music induces the devotion among the devotees.
Similarly the cinema songs are naturally based on numerous worldly
concepts.
Hence the cinema songs reveal a number of emotional feelings under
different needs and necessity of different circumstances. Therefore the
song is compiled only for such circumstances and the particular way of
singing brings out the bhavas and rasas in that song.
Ancient arts
In the olden days, the Isai Vellala families who were involved with
music and dance well preserved the bhavas and rasas together, in dance
and music. Through abhinaya in dance, the dancer reaches the hearts of
the audience.
In music through ragas, and by the tone, and the way of singing, the
musician reaches the hearts of the people. The ability in expressing
abhinayas (bhava and rasas) differs from individual to individual.
The abhinayas were referred to by Adiyarku Nallar the commentator of
Sillapathikaram as molliya moli which means ‘language without language’
only through expressions. Through abhinayas the people all over the
world are linked together.
Handling abhinayas totally depends on the dedication, experience, and
involvement of the individuals with the art. It is an exceptional and
extraordinary talent. As compared to Nirthiya (comprising bhava and
rasas), the way of performing Nirtha is mainly through execution of
adavus (steps) and poses. Nirtha is purely confined to mechanical and
technical factors.
Experience and creativity
In Nirthiya personal ability, imaginative creativity, and experience,
play a major role.
Sathir (the earlier form of Bharatha Natyam), danced by the Nautch
dancers, used various subtle movements, in dance by using lip movements,
eye movements, and eye brow movements.
These Nautch dancers were called devadasis. The devadasis’ way of
interpretation of songs was almost the direct interpretation of the
meanings. But today in Bharatha Natyam, the dancers mainly interpret the
songs invariably and indirectly through Sanchari bhava. The devadasis
never used that much of Sanchari bhavas.
Unique standard
Every Indian classical dance has its own unique style and standard.
Most of the dances were solo performances but with the passage of time
all these dances were performed as group dances. Bharatha Natyam, Mohini
Attam, Kuchupidi, Odissi and Kathakali, are still performed as
individual dances.
Many present Bharatha Natyam dancers study abhinayas from Kuchupidi,
Kathakali and Bhgavatha Mela artistes. During the pre-Indian
Independence period all the above dance forms were performed by the male
dancers.
abhinaya of Kuchupidi and Katakali are very rich. Kuchupidi still has
more affinity with Bharatha Natyam. Originally Kuchupidi and Katakali
were performed only by males, with exclusive expressions.
There was evidence that many devadasis and non-devadasi dancers
learnt abhinayas, nuances of facial expressions and mastered their
abhinayas, and facial expressions under Kuchupidi dance teachers,
Kuchupidi which is much more dramatic dance form, rather than pure
dance.
Outstanding dance
There is a reference that the famed abhinaya queen Balasaraswathi
studied abhinayas under a Kuchupidi teacher.
It is further said that many devoted non-traditional and outstanding
dancers studied abhinayas under Katakali exponents. Even the famed
Indian creative dancer Udaya Shanker; learnt the nuances of abhinayas,
and various other emotional facial expressions under Katakali exponents.
Later this creative dance form gained international recognition.
Odissi, another Indian classical dance form, has beautiful, gentle
and graceful abhinayas.
All these traditional dance forms are deeply influenced by religious
themes and use a variety of hand gestures to interpret, and expound the
meaning of the song.
The hand gestures are used in all these dance forms to expound the
meaning of the songs through the abhinayas.
abhinaya and exclusive facial expressions provide unique touch to
certain Indian classical dances. |
