Abinaya: an integral part in Indian classical dances

Subashini PATHMANATHAN 

Abinaya plays a major role in certain Indian classical dance forms. Abinaya means interpretation of the songs through hand gestures and facial expression. The dancer expresses and expounds the manotharma of the songs through bavas and rasas.

The essence of abinayas is called Bavas and the substance of Bava is called Rasas. The concept of Bava can be seen not only in dance but also one can feel it is in the way of singing in the vocal music. In olden days the hereditary members of the Isai Vellala families who were involved with music and dance well preserved the Bavas and Rasas together in dance and music.

Through Abinaya in dance the dancer reaches the hearts of the audience. In music through raga the tone and by way of singing the musician reaches the hearts of the people. The ability in expressing abinayas (bava and rasas) differs from individual to individual.

The abinayas were referred to by Adiyarku Nallar the commentator of Sillapathikaram as ‘Molliya Moli’ which means language without language only through expressions.

Through abinayas the people all over the world are linked together. Handling abinayas is totally depended on the dedication experience and involvements of the individuals with the art. As compared to Nirthya the way of performing pure Nirtha is more technical and mechanical mainly in the execution of adavus and poses.

In nirthiya personal ability imaginative creativity and experience play a major role. Sathir (the earlier form of Bharatha Natyam) danced by 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 bava.

The devadasis never used much Sanchari bavas. Each Indian classical dance has its own unique style and standard. Most 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.

Body movement is part and parcel of Bharatha Natyam

Many present day Bharatha Natya dancers study abinayas from the Kuchupidi Kathakali and Bhgavatha Mela artistes. During the pre-Indian independence period all the above said dance forms were only male dance forms.

Abinayas of Kuchupidi and Kathakali are very rich. Still Kuchupidi has more affinity with Bharatha Natyam. Originally Kuchupidi and Kathakali were performed by males with exclusively expressions. There was evidence that many devadasis and non devadasi dancers learnt, abinayas nuances and mastered their abinayas skill under Kuchupidi teachers.

There is a reference that the famed abinaya queen Balasaraswathi learnt abinayas under Kuchupidi teacher. Even it was said that many devoted non-traditional and outstanding dancers learnt abinayas under Kathakali exponents. Even the creative dancer Udaya Shanker learnt the nuances of abinayas under Kathakali exponents.

Later his creative dance form gained international recognition. Odissi another Indian classical dance form has beautiful graceful abinayas. All these traditional dance forms are deeply influenced by religious themes and use variety of hand gestures to interpret the meaning of the song. The hand gestures are used in all these dance forms to expound the meaning of the songs through abinayas.

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