Home  Bharatanatyam Dancers
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Glossary - Classical Music |
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| Terms used in Indian classical music |
Karnatic Music/Carnatic Music - the classical music of South India.
Hindustani Music - North Indian classical music.
Rag/Raga/Ragam: A melodic concept within certain strict rules. Ragas are groups of notes that organise melody.Common in Indian classical music.
Tal/Tala/Talam :A time cycle, a rhythm structure and a measure applied in the act of keeping time.Common in Indian classical music.
Laya: Rhythm or Tempo. The tempo is regulated. The duration of rest between two strokes of 'matra' Is laya.Common in Indian classical music
Gharana : A school Of music representing a specific musical lineage or tradition.Term used in North Indian classical music.
Bol - This is the mnemonic system where each stroke of the drum has a syllable attached to it. These syllables are known as bol. Term found in Northy Indian classical music.
Bhajan — a hindu devotional song. Bhajans are sometimes used as light classical repetoire
Mridangam: A percussion instrument which is a common accompaniment in south Indian classical music and dance.
Tabla: A percussion instrument which is a common accompaniment in north Indian classical music and dance.
Guru-Shishya Parampara -The traditional teacher-disciple method of learning all forms of Indian classical music. |
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Written by Administrator
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Tuesday, 22 March 2005 |
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Bharatanatyam
 Nataraja
 Alarmel Valli Bharatanatyam is the most popular of the classical dance forms in India. The general interpretation of the name Bharatanatyam is BHAva(expression) + RAga(music) + TAla(rhythm) + NATYAM(dance) = Bharatanatyam. The very distinctive musical form and Expression (both facial and through the body) or “Abhinaya” along with excellence in Nrithya or Dance and Tala or Rhythm give Bharatanatyam its unique character. The music is traditional Carnatic music and is mostly Geetha or Vocal music. Usually the singer is accompanied by musicians playing on a variety of instruments like the Violin, Mridangam and so on. The conductor of the recital or the Nattuvanar plays a very important role by performing the Nattuvangam with the cymbals called “Talam.” The nattuvanar who is very often the teacher also recites the sollukattus or rhythmic syllables which are interspersed between musical phrases.
 Chitra Vishweswaran As far the dance is concerned, the main posture is called “Araimandi” or “Mandala Sthana.” This is a position in which the knees are bent and turned to their sides. In this position, the thighs should be four spans from the ground and the maximum distance between the feet should be a span. The basic dance movements are called “Adavus” and are performed in Araimandi. The body should maintain a very upright posture with a good “Saushtava” or a straight back without hunch. The elbows when raised are always expected to be in line with the shoulders, which should neither be raised nor drooped. The hands should be always kept a span away from the chest. “Anga Shuddam” or perfection in symmetry of the body is very important in this dance form.  Alarmel Valli Bharatanatyam is usually performed in medium tempo. Though many Hastas or “Hand Gestures” are used to bring out the meaning of the words sung or the story, facial expression is very important in bringing out very realistic expressions. Colorful costumes and gold or golden ornaments with precious stones are very typical of this style.  Padma Subramaniam There are many schools of Bharatanatyam - Pandanalloor, Vazuvoor, Thanjavoor, Mysore, Kalakshetra etc. Present day . teachers have been exposed, more often than not, to more than their own parent school and hence the current teaching styles often incorporate more than one school.
Nataraja -Shiva and cosmic dance
 Chidambaram Temple The temple town of Chidambaram,  Chidambaram Temple 58 km south of Pondicherry greets the visitors, with a beautiful temple, dedicated to Lord Nataraja - Lord Shiva in the enthralling form of a Cosmic Dancer. This is one of the few temples, where Shiva and Vishnu are enshrined under one roof. Chidambaram is also called Thillai, since the place was originally a forest of Thillai shrubs. It is one of the five Shaivite mukti sthalams, the other four being Kalahasti, Kanchipuram, Tiruvannamalai and Tiruvanaikaval. A unique feature of Chidambaram is that a person of any race or religion can visit the shrine and pray.  Shiva-Nataraja One of the most enduring symbols associated with bharatanatyam is that of NATARAJA - Shiva (The King of Dancers). Shiva's cosmic dance is believed to encompass creation, preservation, and destruction and this idea has been embedded in Hindu thought and ritual since the dawn of civilization. He holds a small drum (DAMARU) in his rear right hand which is indicative of creation. His lower right hand shows the fear-negating gesture (ABHAYA), his upper left hand is in half-moon pose (ARDHACHANDRAMUDRA) which holds a tongue of flame which is the fire (AGNI) that finally destroys the world and is then quenched in cosmic waters. Thus the hand holding the drum and the one holding fire balance the forces of creation and destruction. The second left arm is held gracefully across the chest (GAJAHASTAMUDRA) with the hand pointing to the uplifted left leg , denoting favor or grace for the devotee.  Nataraja One foot rests on APASMARA or MAUYALKA, the embodiment of human cruelty and ignorance. Surrounding Shiva's figure and emanating from him is an immense aureole of flames (PRABHAMANDALA) representing the vital processes of nature, sustained by the tremendous energy of the dancing God within.  Nataraja-SriLanka The flames represent the transcendental power of wisdom and truth, as well as the mantra 'OM' which signifies the totality of creation. Also known as the ANANDA TANDAVA, this dance is a metaphor for the belief that life is essentially a dynamic balancing of good and bad, where opposites are interdependent. The dance of Shiva is the dance of life. It is a fantastic sysnthesis of science, religion and art. APASMARA or MAUYALKA, the embodiment of human cruelty and ignorance. Surrounding Shiva's figure and emanating from him is an immense aureole of flames (PRABHAMANDALA) representing the vital processes of nature, sustained by the tremendous energy of the dancing God within. The flames represent the transcendental power of wisdom and truth, as well as the mantra 'OM' which signifies the totality of creation. Also known as the ANANDA TANDAVA, this dance is a metaphor for the belief that life is essentially a dynamic balancing of good and bad, where opposites are interdependent. The dance of Shiva is the dance of life. It is a fantastic sysnthesis of science, religion and art. |
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Last Updated ( Monday, 09 October 2006 )
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