Bava and Rasa essence

Subashini PATHMANATHAN

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

The essence of Abinayas is called Bavas and the substance of Bava is called Rasas. In other words essence of Bava is called Rasas. The concept of Bava can be seen not only in dance, drama and silver screen but one can feel it in the way of singing of the vocal music also. In other words, level of emotional involvement could be said as Bava and Rasas.

Dance and 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.

The hand gestures are used to portray complex emotions

In music through raga the tone and by the 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. In dance Nirthiya section Abinaya, Bava and Rasas occupy pre dominant and pre-eminent positions. As compared to Nirthiya the way of performing dance for pure Nirtha (steps) 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. Such trace could be still found among the students who are trained by the tradition Natuwannar clan.

Invariably through

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. Sanchari Bava means for the repetition of same line by the vocalist the dancers dance by interpreting the meaning invariably through their own creativity.

Each Indian classical dance has its own unique style and standard. Most of these 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. Earlier most of the disciples were trained directly by the mentors directly and individually.

Absence of Bava and Rasas is the common feature often found in the present day Bharatha Natyam in Sri Lanka. Most dancers keep their faces pleasant and dance. In Bharatha Natyam altogether there are nine rasas referred to as Navarasas. Absence of Navarasa is a main draw back in the Sri Lankan Bharatha Natya stages. Most of the Sri Lankan Bharatha Natyam dance teachers are engaged in the group dance classes and they don’t pay much attention to instil or induce the creativity ability among the students. Individual talents of the students differ from one another. Some are good in Nirtha. And meanwhile some are good in Nirthiya.

They pay more attention to the step based Nirtha aspect of dance rather than the attention Nirthiya. Imparting Nirthiya is harder than the Nirtha. Nirtha is much more mechanical than Nirthiya.

The choreographers of present era Bharatha Natyam pay more attention to attract the audience by borrowing ideas from other classical dance forms. Many of times even they do not hesitate to borrow ideas from South East Asian dances and Far East Asian dances. They pay much more attention for forming lines and rows in classical Bharatha Natyam recitals.

Straight line

Covering up the whole stage is their main intention and aim of the choreographers of the present era Bharatha Natyam. Many of times the whole stage is covered by running around the stage. Even forming straight line by stretching the hands out, one after another in one single row is the common feature in the Sri Lankan Bharatha Natyam scene.

Hence the attention is diverted into to numerous outside factors to cherish the dance rather than to improve the quality of the art. Many present day Bharatha Natyam dancers study Nirthiya 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 the Abinaya 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 Abinaya, Bava and Rasa under Kathakali exponents. Even the creative dancer Udaya Shanker; learnt the nuances of Abinaya related factors under Kathakali exponents.

Later his creative dance form gained international recognition.

Odissi another Indian classical dance form has beautiful graceful Abinayas, Bava and Rasa. 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 Bava and Rasas.