Nirtha choreography in Indian classical dances

Subashini PATHMANATHAN

Bharatha Natyam is divided into three main divisions. Nirtha Nirthya and Natya. Nirtha consists of a variety of steps and sculptural poses. Meanwhile interpreting the meaning of the song with emotions through Bhava and Rasas would be considered as the Nirthya concept of dance.

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

The essence of Abinaya 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 also feel it in singing in the vocal music. In olden days the hereditary members of the Isai Vellala families preserved the Bavas and Rasas in dance and music. Through Abinaya the dancer reaches the hearts of the audience. In music this is done through Raga or the tone. The musician reaches the hearts of the people through singing.

The ability in expressing Abinayas (Bava and Rasas) differs from person to person. The abinayas were referred to by the Sillapathikaram commentator Adiyarku Nallar as Molliya Moli which means language without language only through expressions.

Interpreting the theme based dance through different characteristic roles is regarded as Natya in dance.

The present generation Bharatha Natya dance teachers pay more attention to training the Nirtha aspect of dance than Nirthya and Natya. The Nirtha portion is more or less technical and mechanical. It is easy for a teacher to train the Nirtha aspect of dance rather than Nirthya and Natya. Nirtha is more or less exercise based. Yet it has its own grace. Bharatha Natyam all over the world is adopting numerous mechanical methods and technical methods to learn and teach.

Earlier in Gurukula methods an equal attention was paid by the teachers to impart Nirtha, Nirthya and Natya together in dance. Imparting Nirthya

and Natya is time consuming. Therefore the teacher needs to spend more time with the students. However earlier Bharatha Natyam was more graceful than the present Bharatha Natyam styles. At present dance classes are conducted in big groups. Teachers do not pay much attention to impart the nuances of dance at such classes. The execution of Nirthiya in dance depends on personal ability and the imaginative creativity of the artiste. Experience too plays a major role. Sathir (the earlier form of Bharatha Natyam) danced by Nautch dancers used various subtle movements in dance. This engaged lip, eye and eye brow movements.

The Nautch dancers were called Devadasis. Their way of interpretation of songs was direct but today Bharatha Natyam dancers interpret songs invariably and indirectly through Sanchari Bava. Sanchari Bava means that one particular line is invariably interpreted by the dancer through different ways. The Devadasis never used much Sanchari Bavas.

Each Indian classical dance has its own unique style and standard. Most of the dances were solo performances but with the passage of time all the dances were performed in groups. Bharatha Natyam, Mohini Attam, Kuchupidi, Odissi and Kathakali are still performed as individual dances.

Many present day Bharatha Natya dancers study Abhinaya from Kuchupidi, Kathakali and Bhgavatha Mela artistes. During the pre- Indian independence period all the above dances are still performed by males.

There was evidence that many Devadasis and non Devadasi dancers learnt Abhinaya nuances and mastered their Abhinaya skill under Kuchupidi teachers.

It is recorded that the famed Abhinaya Queen Balasaraswathi learnt Abhinaya under a Kuchupidi teacher. It is said that many devoted non-traditional and outstanding dancers also learnt Abhinayas under Kathakali exponents. Even the creative dancer Udaya Shanker learnt the nuances of Abhinaya under Kathakali exponents.