Karanas in dance
Subashini Pathmanathan
Karana in brief
* Key transitions described in Natya Shastra
* It is a verbal noun, which means ‘doing’
* Meant to spiritually enlighten the spectators
* It is believed that one who performs will go free from all sins
According to Hindu mythology dance was created and originated from
Lord Siva, who is believed to have taught his method of pure dance
technique to Thandu Muni. Bharatha Muni learnt the technique-based pure
Nirtha dance form Thandu Muni. Later Bharatha Muni wrote the thesis,
which was known to the world as Natya sastra, which consists of
altogether 36 chapters. All the chapters deal with various important
aspects and technique of dance and drama. Among all the chapters the
fourth chapter is called thandava Lakshana.
Sculptures are the main source for the research in Bharatha Natyam.
Many sculptures are available all over the world at the Hindu temple
sites and ancient archeological sites. According to sage Bharatha Karana
means one body position, coordinating with one hand and one leg position
is called Chari.
Each Thandava Karana of 108 Thandava Karanas has their own meaning.
In dance, 108 Thandava Karanas are fundamental and basic dance poses to
depict Lord Siva. Generally, a combination of Karanas is called
Angaharana. According to sage Bharatha there are altogether 32 Angaharas
mentioned in Natya Sastra. In Karana, the body position is in fixed
stance, but in Angakarana, the body position is continuously changing.
Two Karanas are called Matrika, three together are called kalapaka, four
together is called Mandaka and five together is called Sanghataka and
six, seven, eight or nine Karanas together called Angahara. Another
important position in Karanas is Rechakas meaning raised or moving or
whirling movements of the body. The Rechakas are associated with neck,
hand, waist and body.
In some Karanas the hand positions are crossed the against one
another, in some the legs are crossed against one another, in some the
legs are crossed against one another. Some Karanas are depicted in full
sitting positions, some are depicted in half sitting positions, and some
Karanas are in flying positions. Some Karanas have leg positions and
unique stances like raising the leg up to the head level. For instance
in the Karana Lala Thiathilaka the leg level is raised up to the head
level most of the Karanas resemble the aerobatic positions, which one
cannot expect to intermingle the teal dance.
Another important aspect in Karanas is called Pindis. These pindis
are related to sequence of Angaharas of different gods. According to
Natya Sastra, Lord Nataraja performed 48 Karanas by himself, 36 Karanas
with goddess paravathi, nine with Lord Vishnu and three with Lord Muruga
and twelve with various Ganas. Three various writers had written many
aspects of Karanas. After sage Bharatha, various writers have given
different descriptions and interpretations about the same Karanas and
some wanted to increase the number of Karanas.
Among the writers Manasollasa of Someswaradeva and Sarangadeva of
Sangeetha Ratnakara are deserved to mention. However, Sarangadeva
faithfully sticks to the illustrations of saga Bharatha.
All the Karanas are well preserved in the stone carvings and temple
pillars in South India. In the Chithambaram temple all the 108 Thandava
Karanas are well depicted. The Chithamparam temple has four Gopuras or
four temple towers. Four Gopuras are facing four different directions.
Each Gopura was built by different periods. In these tower pillars 108,
Thandava Karanas of Lord Siva are well depicted.
These Karanas were arranged one below another. Each Karana figure is
depicted with musicians mainly men singers and men drum players playing
drums and men striking the cymbals on side. Female dancers are depicted
in the Karana poses. In the entire temple tower wall pillars the Karanas
are depicted but these do not seem to follow any sequence or order.
As compared to Northern and Southern towers, Western and Eastern
towers, the builders paid special attention to arrange the Karanas
according to Bharaha’s order. Under each karana, Sanskrit verses of
Natya Sastra related to such Karanas were embossed.
In the Bragatheeswarar temple of Tanjavur, one can see 81 Thandava
Karanas in the Garpa Giaha. Here in these Karanas depicting as Lord Siva
performing. These sculptural Karanas have four arms at least two hands
with weapons. Even the size of the figure is bigger than that of the
Chithamparam temple. Fortunately, Chithamparam Temple is the only temple
where the 108 Thandava Karanas with appropriate slokams from Natya
Sastra are seen.
Even now, we can see the Karanas in various temples such as
Kumbakonam, kanchipuram, Maduri, perur and Virdachalam. |