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Are gifts given for a Bharata natyam?
After a performance, gifts can be given to the artiste, just like you to would to any performer, as youdoafter a ballet or any other dance recital. Flowers are the best option. It makes the dancer feel appreciated & proud of their accomplishment.
Bharatanatyam styles - what's the difference in technique?
Styles of BharatanatyamBharata-natyam styles that are over 150 years old are not many. The best-known among these are:MelatturPandanallurVazhuvoor (or Vizhuvur)Thanjavoor (or Tanjore)MysoreKanchipooramThe distinctive characteristics of the Melattur style of Bharatnatyam are:the feet are not stamped hard against the floora complex variety of sounds are produced by ankletsthe items that were dedicated to medieval kings or patrons are not performedpredominantly Vaakyartha abhinayanatural (spontaneous) and highly expressive abhinayawide amplitude of movementsemphasis on sringara bhaktiemphasis on crisp adavus, accuracy of jathis / gathis,fluid variations of patterned korvaisdramatic elements (characterisation) Bharata natyambharatanatyamoriginal methods of application of principles of "loka dharmi" and "natya dharmi"The Pandanallur style of Bharata-natyam stresses:its deep sitting positionspredominantly Padartha abhinayaits lasya (feminine dance style) of padams is rather slow and difficult to performit is performed on three levels: in deep sitting positions, on the ground, in standing positions and while moving or jumping.The Vazhuvoor style of Bharata natyam includes:wide range of dancing pacestatic postures are inserted, most often in the tillana, to break the monotony and to add the variety of rhythmssofter facial abhinayaabhinaya is subtle with more natyadharmi (spontaneous expressions), so the presentation is not "overdone"the adavu's flow smoothly, with rare abrupt movementsextremely elaborate movementsdeep sitting positionsvariety of positions on the floorrich sringar elementslasya dominates tandavathe dancer's body from the waist up is stlightly bent forwardleaps are introduced into every jatithe jati's have more korvais (intervals), which creates a suspense effectperformance begins with a Thodaya mangalam in honour of Lord Gnana Sabesar of Vazhuvoorthe dancer starts the performance while entering the stage from the wingsThe modern Kalakshetra style is a simplified form based on Pandanallur and, to some extent, Thanjavoor bani, as well as the European ballet. It is specifically suited for group performances, unlike other styles that are focussed on the solo. Kalakshetra's salient features are:minimal lasya and a virtual absence of recaka-savoidance of the sringara-specific movements of the neck, torso, hips, etc.movements are angular, linear, clear-cut and sharp, with a larger amplitude than in the Pandanallur stylepredominantly Padartha abhinayaminimal nritya (e.g. as in the Pandanallur style, the dancer mostly walks around the stage and gesticulates rather than dances)stiff and controlled movements without akshepa (graceful throw of limbs)the themes are dedicated to modern social, economic and political issueseasier to learn for western ballet dancersThe Balasaraswati style, although derived from the authentic devadasi traditions, was still a relatively recent introduction. Note that, most recently, Dr.Padma Subramaniam's school, claiming to be the one which is the most faithfully reflects the techniques described in Natya Shastra, is called Bharatanrityam .----------Source: http://bharatanatyam.co.uk/bharatanatyam.html
Bharatnatyam is the dance of which state?
bharatanatyam dancers are all about many different things. sometimes, we are trying to get a story across to the audience - could be mythological, or personal. bharatanatyam is also composed of rigorous footwork, which are made to match the rhythms of the mridangam and tabla players/musicians. mainly bharatanatyam is a very old dance form done by both genders to convey feeling, storytelling, and rhythm. Bharatanatyam, in its highest moment, is the embodiment of music in a visual form", said Balasaraswathi. The sastra's stipulated that a dedicated dancer must be equally dedicated to music. In her demonstrations of Bharata natyam abroad, Balasaraswathi emphasised the connection between dance movement and raga (tune) expression in abhinaya (mime), with the subtle expressions of gamakas (voice modulations), intonations of sruti, and the development of improvisation in niraval" Most of the contemporary choreographers and dancers may use some of the formal Bharatanatyam technique or its elements to stage group performances presenting various themes such as nationalism, unity of religions, the sanctity of the environment, the animal rights activism, the greatness of a king or a political party, or even the delightfulness of Coca-Cola. In Vande Mataram, a dance festival organised under the auspices of Natyarangam, a project of Narada Gana Sabha in 1997 in Chennai, there was a host of topics: the caste and reservation systems, threat of nuclear weapons, evils of the current education system, bribery, religious fanaticism,AIDS, the population explosion, corruption in politics, secularism, the Dandi March, literacy, agriculture,the greed for riches, the Chinese aggression, mechanisation, industrialisation. Most recently, some dancers of Nrityanjali Academy (Andhra Pradesh) managed to draw their divine inspiration even from Condom Songs. The true Bharatanatyam is not a vulgar form of entertainment but a sacred ritual that is supposed to bring the rasanubhava (catharsis, or spiritual upliftment) to the rasika (audience) and the dancer.
What are mudras?
Simple answer: they are symbolic or ritual gestures usually made with the hands or fingers, but can involve the whole body. The following (first) answer provides much detail (perhaps too much). ***** One of the striking features of the classical Indian dances is the use of the hand gestures. Strictly speaking they form a part of the angikabhinaya, expression through body to convey meaning and expressions. However, hand gestures known as nirtta hastas are employed for the sake of beauty and decorative purpose while performing nritta, pure dance. Therefore nirtta hastas do not convey any meaning. In Natyashastra, the hastas are classified into three categories: asamyuta(single), samyuta ( double) and nritta (pure danced) hastas. Another text, the Abhinayadarpana, describes the hand gestures and also lists the usages. The usages are called viniyogas The Natyashastra enumerate twenty-four asamyata, thirteen samyuta and twenty-seven nritta hastas. Similarly, there are differences in the number of the usages in these texts. The Natyashastra lists 35 viniyogas of the pataka hasta, whereas the Abhinayadarpana lists forty. After the revival of the Bharata Natyam, most of the dancers mainly follow the Abinayadarpana. The usages are taught by the gurus along with the placement of the hands. The relative expression is registered on the face by the dancer to suggest or convey the meaning and the import of the song or sahitya. The Abhinayadarpana mentions that a dancer should sing the song by the throat, express the meaning of the song through the hand gestures, show the state of her being by her eyes and keep the time with her feet. It further states that where go the hands, there the glance follows; where go the glances, the mind follows; where goes the mind, the mood follows; and where the mood is, there is a rasa or flavour. So vast is the art of hand gestures that it covers almost all the aspects of human life and the universe. The asamyuta and samyuta hastas are capable of expressing a number of things, including abstract concepts like beauty and truth. They express, interpret, describe and narrate several things, objects , actions and concepts. This process forms the language of the hastas. The hand gestures also describe the time element. They compress an interval of a period, say from the eighth of the waxing moon to the full moon. The dancer turns ardhachandra hasta into alapadma hasta and suggests the passage of time. Hastas scale distance between the lotus and the moon. The flowers open up from the fingers of the dancer and the brids fly off their tips. The hands can command, request, reject, admonish and make love. They establish a relationship between two objects in the manner a poet does through a simile and metaphor. For example, pataka, one of the asamyuta hastas where the thumb is bent and the fingers are stretched and held closed together, has several usages which cover a variety of things and actions. The Abhinayadarpana mentions that it is used in the beginning of natya, to denote the clouds, a forest, forbidding things, the bosom, night, a river, the region of the gods etc. When the two pataka hastas join the palm it is called anjali hasta. It is one of the samyuta hasta. It is used for salutations. The Abhinayadarpana mentions that the anjali hasta is to be held on the head, face and bosom respectively in the salutation of a deity, a preceptor and a brahmana. The Abhinayadarpana further lists the hastas for castes like the brahmanas, kshatriyas, vaishyas and shudras; relationships such as husband and wife, mother, father, mother-in-law, father-in-law, husband's brother, husband's sister, elder and younger brothers,sons, daughter-in-law and co-wife. There are hand gestures for the Gods Brahma, Vishnu, Shiva, Ganesha, Kartikeya, Indra, Manmatha, Yama, Nirutti, Varuna, Vayu and Kubera; goddesses like Lakshmi, Saraswati and Parvati; hand gestures for ten incarnation ofVishna such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Balarama, Krishna and Kalki; hand gestures for representing the nine planetary dieties the Sun, Moon, Mars, Mercury, Jupiter, Venus, Saturn, Rahu and Ketu. The language of hand gestures enables the dancer to express practically anything. It augments the communication, enhances the impact of the abhinayas and endows it with poetry. The hands have life, hastapranah and invest the classical dance-form with an enchanting quality. Certain selected Hastas are employed along with the footwork while dancing the Nritta sequences or items and these Hastas are therefore referred to as Nritta-Hastas. Pataka, Tripataka, Ardhapataka, Katakamukha, Alapadma, Shikhara, Kapittha, Dola, Mrigasheersha, Chatura, Tamrachooda, Anjali, Swasthika, Katakavardhana etc are such decorative Hastas which while displayed alongwith Adavus do not signify any meaning but help the execution of Adavus. Abhinaya Darpana, lays down this famous Sloka: " Yatho Hasta Thatho Drishti, YathoDrishti Thatho Manah Yatho Manah Thatho Bhaava, Yatho Bhaava Thatho Rasa " This can be roughly translated as follows… Where the hands(hasta) are, go the eyes (drishti); where the eyes are, goes the mind(mana); where the mind goes, there is an expression of inner feeling (Bhava) and where there is bhava, mood or sentiment(rasa) is evoked. Hand gestures of Bharatanatyam are classified as ASAMYUTHA HASTHA - Single hand gestures SAMYUTHA HASTHA - Double hand gestures There are 28 Asamyutha Hasthas and 24 Samyutha Hasthas. Each Hastha has a defined usage called Viniyoga. ASAMYUTHA HASTHA (SINGLE HAND GESTURES) Pataka Tripatakordhapataka Kartareemukhaha Mayurakyordhachandrashcha Arala Shukatundakaha Mushtishta Shikarakyashcha Kapitha Katakamukhaha Suchee Chandrakala Padmakosham Sarpashirastata Mrugasheersha Simhamukho Langulasolapadmakaha Chaturo Bramarashchiva Hamsasyo Hamsapakshakaha Samdamsho Mukulashchiva Tamrachooda Trishoolakaha Ashtavimshatihastha Naam Evam Naamaanivikramat. SAMYUTHA HASTHA (DOUBLE HAND GESTURES) Anjalishcha Kapotashcha Karkata Swastikastatha Dolahastha Pushpaputaha Utsanga Shivalingakaha Katakavardhanashchiva Kartaree Swatikastata Shakata Shankha Chakrecha Samputa Pasha Keelakau Matsya Koorma Varahashcha Garudonagabandakaha Khatwa Bherundakakhyashcha Avahitastathivacha Chaturvimshatisankhyakaha Samyuta Katithakaraha Different schools and styles of dance use different hand gestures and different terms for the same hand gestures. Most have a fairly similar set of terms that largely overlap with this list, but many may be different in the details. It is largely a case of individual style, and the important thing is to communicate the ideas clearly.
What has the author Micky Verma written?
Micky Verma has written: 'Bharata natyam' -- subject(s): Dance, Bharata natyam
What has the author Janet O'Shea written?
Janet O'Shea has written: 'At home in the world' -- subject(s): Bharata natyam, History, Political aspects, Political aspects of Bharata natyam, Social aspects, Social aspects of Bharata natyam
What are the musical intruments used for dance accompanient in Bharata Natyam?
pakhawaj, violin, and flute these are the most popular instruments that a dancer performs to in bharatanatyam.
What has the author Mohan Khokar written?
Mohan Khokar has written: 'Dancing Bharata Natyam' -- subject(s): Bharata natyam 'His dance, his life' -- subject(s): Dancers, Biography
Is Bharata Natyam a classical or modern form of dance?
classical
What is the symbol of the bells in bharata natyam?
The symbol of the bells is to make a bigger sound when the dancer stomps his/her foot. The bells jingle when the foot is stomped, making a beautiful sound.
Name the lady who popularised bharata natyam?
rukmini devi arundale
Which classical Indian dance is traditionally performed by men?
Bharata Natyam
Who is kollywood playback singer Ranjith's wife?
Play back singer Renjith's wife is Reshmi Menon. She is a trained Bharata Natyam dancer and performs lots of shows in Chennai.
What has the author Anne-Marie Gaston written?
Anne-Marie Gaston has written: 'Krishna's musicians' -- subject(s): Vaishnava music, History and criticism 'Bharata natyam' -- subject(s): Bharata natyam, Dance, History
Which dance form is Leela Sampson associated with?
definitely not the traditional form of bharata natyam!
Are gifts given for a Bharata natyam?
After a performance, gifts can be given to the artiste, just like you to would to any performer, as youdoafter a ballet or any other dance recital. Flowers are the best option. It makes the dancer feel appreciated & proud of their accomplishment.
