Choreography in classical Bharatha Natyam
Subashini PATHMANATHAN
Choreography is a unique art. Not all performing artistes are good
choreographers, nor are all good performers. To be a successful
choreographer, one has to have a long association with the art, an
intense involvement in the development and wide practical experience;
total dedication and devotion to the art.
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Elegance of a dancer |
The choreographer must be able to gauge the moods of the audience and
try to reflect the moods.
They must know the nuances of Thala, Kala (degree of speed or tempo)
and Laya. They must interweave the adavus, with appropriate abinayas,
and must possess an intimate knowledge of the technical aspects of the
adavus. And the successful choreographer has to have the ability to
weave the different poses together with appropriate dances and should be
able to synthesize the Thala, Kala (degree of speed or tempo) and Laya
with the accompanying accompaniments. The choreographer must have wide
experience and deep knowledge in this traditional art form. Besides, the
choreographer must have the full ability to handle all the nirthiya
elements with skill and dexterity and combined with various nirtha
aspects. The main nirthiya elements are Abinaya, Bhava and Rasa. The
meaning of the song should be expounded through bhava, rasa and
appropriate abinaya through hand gestures.
The choreographer must maintain certain traditional standards in this
art. But unfortunately many present day so called choreographers are
adopting techniques of their own, which has little relevance to the
theme, intended to be expounded. These innovations are bound to hamper
the development of choreography of this art in future.
The choreographer must be one capable of explaining the newly adopted
techniques and its relevance to their classical basis. Classical music
is the soul of the classical dance, and thala is the soul of classical
music. Therefore the choreographer must have a thorough knowledge of
music and thala. In classical Bharatha Natyam generally nattuvangam
coordinates the dance by thala cymbals with vocal music and other
accompaniments. And the oral nattuvangam the nattuvanga jathis (nattuvanga
sollukadus or oral nattuvanga words) are combined with pure nirtha
adavus, with thala cymbals. The nattuvanga sollukadus must coordinate
with thala, in which the music is compiled.
The choreographer must be one capable of explaining the newly adopted
techniques and its relevance to their classical basis. Classical music
is the soul of the classical dance, and thala is the soul of classical
music. Therefore the choreographer must have a thorough knowledge of
music and thala.
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In choreography attention should be paid to thala and kala |
In classical Bharatha Natyam generally nattuvangam coordinates the
dance by thala cymbals with vocal music and other accompaniments. And
the oral nattuvangam the nattuvanga jathis (nattuvanga sollukadus or
oral nattuvanga words) are combined with pure nirtha adavus, with thala
cymbals. The nattuvanga sollukadus must coordinate with thala, in which
the music is compiled.
Oral jathi nattuvangam are delightful and vibrant combination of
sollukadus (words). According to puranic stories, these nattuvanga
jathis had their origin from Lord Siva's five faces when he performs
five important functions in five thandavas. Such functions are namely
creation, protection, (in two thandavas) bestow happiness and protection
from sorrow, destruction, dispelling egoism, sin, illusion, and bestow
of blessings. The five functions of lord Shiva's five faces when he
performs five important functions in five thandavas. Such functions are
namely creation, protection, (in two thandavas) bestow happiness and
protection from sorrow, destruction, dispelling egoism, sin, illusion,
and bestow of blessings. The five functions of lord Shiva are
collectively called 'Pancha Kirthiya Tholil'. These five nattuvanga
jathis are 'Thath', 'Thee', 'Thom', 'Namm', 'Jamm'. Hence the oral
nattuvanga jathis are generally based on these five above said sounds.
In choreography attention should be paid to thala and kala (degree of
speed, or tempo). The relationship between thala and kala must be evenly
balanced, and this is called laya. Laya vinniyasam is often used in the
nattuvangam or in the oral nattuvanga jathis or in the swara jathis or
in the thirmana adavus (sequence of adavus at the end of each
paragraph), or in the sakithiya verses.
Laya vinniyasam is closely linked to Thala and Kala (degree of speed
or tempo). The excellence of a production depends upon the ability of
the choreographer, as well as the excellence of the artistes. |
