Declining scope of Bharatha Natyam

Subashini Pathmanathan

Nava rasas are the important essence of Bharatha Natyam. It is not only found in Bharatha Natyam but also it is the most important and dominating factor in almost all Indian classical forms and many Indian folk dances. Most Indian dance forms interpret the meaning through beautiful hand gestures. They are beautiful bhavas and rasas too.

An impressive dance position

In normal sense, bhava means inner emotional feelings in the nirthya aspect of dance. Classical Bharatha Natyam contains three varieties of three different factors of dance. One is Nirutham, Niruthyam and Natyam. Nirutham means the pure dance. Pure dance contains adavus, stands (Mandala positions), body positions, footwork, combined hand positions with hand gestures. Nitrutham simply reveals pure dance. Niruthyam consists expressions and bhava (emotional involvement). Essence or substances of bhava are often referred to as rasas. Natyam in dance means the story-oriented dance.

Unfortunately today’s Bharatha Natyam lacks the essence of dance because of the absence of rasas in these stage performances. If we analyze reasons for the absence of rasas in this classical dance form, we can see the present mentality of the students and teachers are responsible for the present condition. Institutional impractical methodology, syllabus-based curriculum structure, craziness for certificates are ruling factors for declining rasas in today’s Bharatha Natyam.

Earlier in the gurukula, methods of imparting techniques and approach adopted by the traditional Nattuwanar Gurus were totally different. The traditional Nattuwanars were outstanding gurus and mentors of dance. Those days the traditional dancers took classes with full dedication and devotion; they worked with the students without considering the time limits. They spent and dedicated the maximum time with students according to their ability, talents, interest and involvement. Even when it was so, number of students was limited and restricted. Individual attention was paid to each and every student; they tried to uplift the interest and involvement of individual students.

Each aspect of dance was taken in account and taught perfectly. Until the student mastered the selective aspect or piece the teacher won’t move further. Hence almost each and every nuance of dance was well trained; especially more attention was given to bring out facial expressions. The teachers induced and cultivated to bring out different inner feelings of students.

The interest, involvement and the approach of Bharatha Natyam students and teachers are totally changed. Most individual teachers do not understand the level of students, their interest, their understanding power, their IQ level and their psychology. It is the responsibility of the teachers to induce the Navarasas in their performances. The present Bharatha Natyam performances are verxpressions (Navarasas) are totally blank. Around 25 years back, the attraction of Bharatha Natyam was not only by the glittering costumes, jewellery, but very much attracted by the interpretation of songs through appropriate meaningful facial expressions. Yesteryear dancers like abinaya queen Balasarswathi and Mylapore Gowriamal gained fame in classical Bharatha Natyam because of their exceptional talents in the way of expressive facial expressions (Bhava Rasas).

Now more attention is given to the pure Nirtha factor such as steps or adavus than that of Nrithya (Bhava and rasas). In the present generation dance field, those who are using facial expressions are labeled as cinema type of dancers. It is misinterpretation and misconception about the facial expression.

Due to long absence of facial rasas in the stage performances most people feel using facial expressions are cinema type of dance. This type of understanding among the present society is also one cause for the declining factor of Nava rasas (nine emotional rasas of facial expressions) in the dance field. Bharatha Natyam is totally based on Hindu philosophy.

In Hinduism the world ‘Nava’ plays an important role. Nava means nine in number too. Navagraha means nine planets, Nava Sakthi means nine Sakthi of Goddess Durka, Navathaniya, means nine different variety of grains use for poojas, Navarathiri means nine nights devoted to three different Sakthis. Navaratnam means nine precious stones in Tamil language and Hinduism.

Navamy in the Hindu calendar means, the ninth day after the full moon day and the ninth day after the dark full moon day. Similarly in Bharatha Natyam Nava Rasas means nine different feelings. Nava Rasas are srinagara Rasas erotic sentiment, Hasya Rasas-laughter, Veera Rasas-herotic sentiment, Karuna Rasas - benevolence, Ruthra Rasas anger, Bibacha Rasas Odious sentiment, Bhayanaka Rasa fearful sentiment, Atputha Rasa-astonishment sentiment, Santha Rasa peaceful sentiment.

Applications of Navarasas in the performances are very much needed, and such practices should not be discarded in any case. Mostly to show or illustrate the Navarasas in Bharatha Natyam in this present era the Bharatha Natyam artistes only reveal nine expressions through still photos, not much in the practical stage performances.

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