Differences between classical Indian dance styles in terms of Natya Shastra, Tantra, calligraphy, mechanical engineering and psychiatry. Bharatanatyam styles & Bharatnatyam schools & Bharathanatyam dancers

Can you tell if these flowers are live or… latex?

This is the uncensored draft (still being updated) of the article posted on Narthaki.com.

The topics touched in this article will be:

  • Padma Subrahmanyam’s elucidation of Natya Shastra’s Recakas
  • Role of Recakas in producing Rasas
  • What makes the dance attractive, beautiful and interesting
  • Kaisikivs. robotic movements in terms of mechanical engineering
  • Why classical Indian dance proper is a solo dance
  • Laya and 22 Sruthis
  • Why Bharata Muni didn’t allow men to sing (and the proof that most dancers and rasikas are actually deaf)
  • Lines of power, and why Anita Ratnam is fond of her Tai Chi classes
  • Anga Suddham, modes of movements and calligraphy
  • The Tantric explanations of everything in terms of 3 gunas, 5 elements, the vrittis and more
  • Difference between true art, factory-produced merchandize, and garbage

In her book on the Karanas, Padma Subrahmanyam boldly attempted to pinpoint what is dance and what is not. She builds much of her explanation around the term Recaka. To give you an idea of what the mind-boggling variety of, for example, the Pada (feet) Recakas alone include, these “may utilize the space on the sides, move forward, slip or glide, waver, quiver, shake, proceed, turn away, swerve, sway, get pushed, jerk, slide, raise, lower, draw, release or whirl“.

Padma Subrahmanyam says, though, that Recakas “cannot be enlisted or enumerated“. She also uses the terms Prthagbhava (clearly/sharply outlined) and Valana (smooth/blurred) components of movement saying that a performance that makes use of both masterfully “can never be boring even for the uninitiated“. All this makes sense, while I am yet to understand her identification of Anga Suddham with Prthagbhava alone.

Alathur Vijayakumar, the founder of Kalavardhanis, thought he discovered America when he said that he arrived at a formula that detects the “presence of grace” (or rather, the presence of life) in a particular dance sequence. Any robotic movement (which the break dance or army soldiers marching seeks to emulate) can very accurately be described in terms of velocity (V)  and acceleration (V²) and jerk (V³).

Padma Subrahmanyam says, “…if the intensity [of movement] is constant, the actions suffer a lack of variety.The lines may be defined, lucid and distinct in every action with clarity even in the divergence of the movements. In such a convoy of actions, every movement follows disconnectedly, without getting dissolved into one another. Hence there is a danger of killing grace” . She says that the word Valana signifies that “each movement glides into another in a graceful manner“.

The famous guru Muthukumaran Pillai had “no patience for stiff, angular, sharp-edged or what he called “violent” movement: he wanted the movements to be firm, yet appear to be effortless. Then, in nritta sequences he insisted that the termination of one adavu pattern and beginning of the next should be marked, not by a blunt break, but by a gentle overlapping which should accentuate the continuity of the rendering”. Ironically, Rukmini Devi Arundale was one of his students.

 

Any psychiatrist or graphologist will tell you that if the letters in your handwriting are not connected, it means you think incoherently, and you have a good chance of becoming a schizophrenic in the future. Exposure to the schizophrenic dance performances is tantamount to eating food full of chemical pesticides.

Super-compex task for advanced dancers:

match each of these 3 words with a video below



The organic movements full of life, especially the kaisiki (graceful feminine) type movements (dominant in Odissi, Mohiniattam and  Kuchipudi), are extremely complex and each is unique (just like every live flower is unique) as the expression of the dancer’s manodharma. Their presence in dance can only be approximately described in terms of infinite number of components: V, V², V³,…, V∞ , and the speed graph will be way too complex.

The slight deviations from the impeccably “perfect” computer-generated standard are inherent in classical Indian dance. The deviations that create beauty are predominantly Sattvic, though, depending on the character, they may contain a good dose of Rajas. The ugly deviations are the results of the dancer’s laziness or inability to follow the proper trajectory (Anga Suddham). These are the Tamasic deviations (look at the 3 words “Dance” again).

Now, there are some politically incorrect and undemocratic conclusions that the senior dancers who hate Bharata Muni will abhor. Even if you are born with the Sattva as the dominant component of your (“Brahmin”) nature, your body, emotions and mind will be more Rajasic in the teenage years, and will be gradually more and more Tamasic as you grow older. (Yoga is the only method of changing this tendency). Our ability to understand, to remember, and to learn something new depends on the amount of Sattva in us.

I find it very amusing when the “senior” dancers dare to say that they somehow “explore the Sringara rasa” even though their recitals are devoid of many of the 10 kinds grace of the Sahaja type and of most of the 7 of A-yantaja type, all of which are part of the Valana-rich Kaisiki and all of which, according to Bharata Muni, can be found in the movements of the young women only. A very interesting element of beauty is among the 10 Sahaja graces: Vicchitti (dishabille) is “the great beauty that results from the slightly careless placing of garlands, clothes, ornaments and unguents“.

Why is the classical Indian dance proper a solo dance? Factory-produced latex flowers can be compared with the dance styles that are suitable for group performances where the dancers perform identical movements at the same time. To achieve the perfect “synchronization”, the movements have to be as plain (“perfect-shaped”) as the latex orchids (or one of the 3 words “Dance” on the right). Live flowers are never perfect-shaped and never have “geometric” appearance. If you are half-blind, the easiest method of detecting latex flowers is to smell them. No fragrance, no rasa. (Make sure the smell is not coming from your own hair where you had poured half a bottle of expensive perfume). “Recakas impearl the Nritta, make it shine and cause a complete aesthetic satisfaction”, says Padma Subrahmanyam. Recakas are like spices in food. Well, the food has to be bland enough to please the western palate.

In Tantra, the square represents the angular, robust and firm element of earth and Muladhara chakra. The rounded silver Moon crescent represents the element of water: cohesion, smoothness and life and… sexual energies of the Swadhisthana chakra. Swadhisthana is associated with emotion, which means that the dance without Valana is devoid of emotion. And because one of the 6 vritti petals of Swadhisthana represents affection, it means that the dancer who does not develop the Swadhisthana will have a big problem attracting the rasikas, especially the young rasikas of the opposite sex. As Swadhisthana is positioned higher than Muladhara, it means that the movements, before being expressed in the physical body, have to follow the movements of the subtle body (this is why Anita Ratnam is fond of her Tai Chi classes and will explain to us how body movements are supposed to spring from Tan Tien). Essentially, the Tai Chi movements are based on the principle of the least resistance, as the prana (Chi) “flows” throw various nadis like water flows around the stones in the river. The western (earthly) materialistic culture considers only the physical (sharply defined) body (sthula sharira), so their reliance on the muladhara techniques is obvious. Performing the Kalakshetra-style adavus will make you tired, while performing the adavus (at the same amplitude and speed) in the styles that follow the “lines of power” will energize you.

Padma Subrahmanyam compares the Recakas with Gamakas of

Karnatic music, and says that the “Gamakas are the very life of the Raga”. Referring to Bharata Muni’s 22 Sruthi (microtone) system, she says that the “Gamakas are caused through a webbed state of the microtones, built on the semi-tones and tones of the musical notes”. Have you seen many dancers whose laya is so good that their Recakas follow the microtones too?

If body movement can be described by a speed graph, the music is represented by its sound wave graph. Before you read on, you should define the distinction between music and noise, and between singing and shouting. (hint: analyse the sound wave graph).  The graph for the violin will be much more plain than the graph for veena, the instrument essential for learning gamakas in the vocal music . If Saraswathi holds a veena (not a violin, electric guitar or sax) in her hands, it’s because it is the veena that is most suitable for accompanying the Recakas. The arrival of the budget electric amplification greatly reduced the popularity of the veena, as the sound coming from even the best loudspeakers in the Chennai sabhas blurred the music beyond recognition. After the age of 40, normal people become so Tamasic that they can’t hear anything above 14 kHz. The aging rasikas (except the ones who daily try to exercise their ears!) grew hard of hearing and came to prefer the Italian violin.

While there is software that can impeccably mimic any male voice, there is no software that can analyze and generate a female voice. If the male voices relate to the consonants, and the drums, the women’s relate to the vowels, are far more complex, loaded with far more subtle nuances and shades of feelings. After all, isn’t the world of emotion the woman’s world? Bharata Muni explains that “Though men know the rules of singing in their traditional characteristics, their songs being devoid of sweetness, do not create beauty.  (XXXV, 35-36). “Generally, songs are suited to women, and recitatives are suited for men… The good quality in women’s recitation and sweetness in men’s songs should be considered as an acquired skill, and not part of their in-born nature. If men lead [in songs] and the songs possess good characteristics, but have no sweetness, then these impart no beauty… There may be [allowed] a loss of proper note in women’s songs and playing of musical instruments. But this will not be sweet to the ear in case of men” (XXXII, 503-511). Sounds quite discriminatory, doesn’t it? Note, Bharata Muni keeps saying that “The singer should be of a young age“.

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Secrets of success of a solo Bharatanatyam recital. Learn how a Bharata natyam dancer can get a lot of fans who had no idea that Bharatnatyam can be fascinating. :)

Warning: this article is not meant for those who are doing Bharatanatyam just as a hobby. Only 1% of Bharatanatyam students have a chance to become real professionals.

While 2000 years ago people had very few options for entertainment, the age of TV, Internet and theme parks brought about the enormous competitive pressure. While they too are already successfully using the new media, the TV and the Internet, the Bharatanatyam dancers are facing a stark reality: their “art” (well, is Bharatanatyam just “art”?) cannot stand the competition as far as the entertaining aspect is concerned.

But Natya has two aspects: entertainment (desi) and enlightenment (margi). As far as enlightenment goes, Natya is beyond competition. The problem is, there is very little left out of margi in the contemporary Bharatanatyam…

Music

50% of your success will depend on your orchestra and music. That’s a lot!

If your vocalist can modulate his voice and produce intense and varied bhavas at least as well as Manasi Prasad or Unnikrishnan…If your mridangist can vary the strength of the beats every 2-3 seconds on a wide range and as fast as K.S.Sudhaman does… If you understand that violin cannot be a replacement for flute, and that veena alone is suitable for making many passages interesting…The reason that Saraswathy holds a veena (not a violin or saxophone) in her hands…

Can you afford additional instruments, such as morsing, kanjeera, tabla, ghatam, etc.?
If you prefer to blur your music in a jazz-like way Udupi Lakshminarayan does, add a keyboard player so that he would completely wash out everything else and destroy your recital. (Keyboard players do not have the same degree of control over their instruments as the non-keyboards, so the timing for each note cannot be as precise as in veena, for example).

The music arrangement is to be done in a professional way that would utilize the strength of each instrument in a suitable manner at the appropriate times. Even the traditional, often performed (stale) items, can be presented in a totally new fashion.

Do your items have only 3 fixed (flat) tempos? It would be boring! “Predictable” means “boring”. The professionals vary the tempos gradually and continuously (with lots of surprises) throughout each item, even introducing pauses here and there. And each item has to end in a distinct way.

If you want your music to be as good as Anita Sivaraman’s, Padma Subrahmaniam’s or Alarmel Valli’s, you may either go bankrupt or invest a lot of time searching for and training a good but affordable orchestra and the composer/music arranger. 😦

Topics & themes

The dancer has to be aware that the selection of the themes (mostly grouped by the rasas) and techniques (classified by the tattvas) for his/her items has to accommodate different types of spectators.

Natya Shastra tells us a lot. Here, we’ll give you some hints. :

The elderly like the tales of virtue and puranic legends.
The reason that 90% of the rasikas are elderly people (who bring their grandchildren along). Bhakti, Vatsalya & Karuna rasas…

Young people are pleased to see the scenes of love.
If your recital does not attract the youth, ask yourself what is the ratio of rati sringara in your items. Want to compete with the young film stars of Kollywood or Bollywood? Look in the mirror first. If your face looks like Meenakshi Chittarajan’s or Priya Murle’s, or if it’s as expressionless as A.Lakshmanan’s, don’t even try to do it. If your figure is Padma Subrahmaniams, people will laugh at your “sringara“. Know your limits. 🙂

The learned want to see a reference to some religious/philosophical teachings
If the dancer does not understand these, there is no way he/she will be able to present these things adequately. In other words, if you are dumb, don’t try to interpret the mystic doctrines!

The seekers of money love the topics of wealth and its acquisition.
If you want to get rich sponsors at a corporate, that’s what you have to start with! There is a wealth of ancient topics that deal with it. Read the Artha Shastra.

The passionless want to watch the topics of liberation.
Shanta rasa…. If you are going to present your recital in an ashram… But if you are not even close to understanding what liberation stands for, don’t make yourself a clown.

Heroic people want to see the scenes in Rudra- and Jugupsa-dominated rasas, with combat scenes.
Not just the army and police folks. Well, hard to compete with the Bruce Lee movies! Why is it that whenever the Dhananjayans produce anything of this kind, it makes me laugh??? 🙂
I have just imagined the 80-year-old Sudharani Raghupathi doing a combat scene…. Would put me to sleep… Snoring…

Common women, children and the uncultured men (murkha) are always delighted with the comic scenes and fascinating costumes and makeup.
Since this category is the most numerous, think of putting more Hasya scenes. Make sure you don’t look too ugly while laughing! Get a nice costume and learn good makeup. If you are a fat, clumsy and ugly dancer, that’s your audience.

Know your audience

Why nobody wants to watch us dance???? We are discriminated against!!!

Why nobody wants to watch us dance????

Do you know that most brahmins today are of the shudra type, but some (2-3%) contemporary SC’s and ST’s have the sattva-dominated nature of the true brahmin? 😦 Although Natya Shastra tells us that, for example, the cheri (inferior human type) spectators will not appreciate the finer art that is appreciated by the superior, uttama, spectators, this limitation can be overcome to some extent by mastering all the necessary techniques.

Techniques

We will classify them according to the main chakras:

Sahasrara
No faith (shraddha), no (spiritual) gain. If you have a divine inspiration and tejas, you may already be a saint. The problem is, saints are usually recognized and get popularity long after they are dead.

Soma
Here is the control over the Hasya.  The dancer has to be cheerful and even playful (the dancers with some Kuchipudi training understand what it is better). 🙂 It has some connection with Medha (it’s not related to Medha Hari! 🙂 ). Open this lotus and learn how to bring joy and humour even to the most depressive of the rasikas.

Ajna
If the rasikas are not paying attention to your dancing, think why one of the 64 vedic arts was “taking control of the crowd by mystic means”. It implies looking into the crowd of the rasikas in a certain way (they have to feel the “eye contact”). It is related to Drishti (something that most dancers are clueless about!). The more focussed you are, the easier you will engage the audience. Take some lessons from Barack Obama 🙂 Don’t complain if you can’t move your eyes at will! 😦 Want to test your mental concentration? Close your eyes, try to dance and see how good your balance is! 🙂 Oh, you still have the ambition to become a professional Bharatanatyam dancer, eh??? 😦

Vishudhi
Music and voice (already described in more detail above). Bring good music (and make sure the loudspeakers are good). It is related to Laya, Vacho and Geetam. Train your voice and introduce your items the way Alarmel Valli does, and the success is yours. Before each item she establishes rapport with the audience. Remember, she speaks from the heart or the throat registers, not from the head. You can’t speak? Hire a good compere.

Anahata
Make your bhavas profound and intense. Be sincere, understand your characters’ relations and minds. If the audience are the refined rasikas in a small auditorium, don’t overdo your expressions! 🙂 Remember: those miserable spectators came to seek for a spark of joy, so don’t overburden them with the tragic expressions!

Manipura
Do the brisk nrittas and difficult karanas. It’s about Javaha. 🙂 If you are doing it effortlessly and irradiate the energy, it will draw the attention. Stamina problems? 🙂 Sweating too much? The jaw drops every now and then? 🙂 Look miserable after dancing for 5 minutes? Need to do kapalabhati, eh? 🙂

Swadhisthana
If you are a woman, have you wondered why your recitals don’t attract men? Cannot do Lasya properly? People complain that you look and move like a eunuck? Ok, we have a hint for you. The people who are selected as “sex symbols” have the uncanny ability to attract the opposite sex. Hint: learn the sexy karanas and bhedas. Learn to move gracefully. And a lot more. See how sexy Alarmel Valli moves her shoulders and chest? Oh, look at the flutter of her eyelashes! Now, don’t you want to murder Rukmini Devi for popularizing her unisex bland Kalakshetra version of Bharatanatyam devoid of talukku, kulukku, alakshyam, midukku,or any graceful ottam adavus?

Muladhara
Purely physical things. How good is your angasudhi? Cannot sit in araimandi, eh? Cannot do atami? Cannot lift your leg? Do your fingers bend properly in all the mudras? How many hastas do you use, actually? (It seems there are 548 , but you need to do Alarmel Valli-style introductions for all these mudras, or else nobody will understand!)

You have to be beautiful, wear a beautiful costume, makeup and jewelry! 🙂 Ever wondered why the scriptures have… errrr… certain physical requirements for professional dancers? :)In other words, if you are a woman and excel by your beauty, youthfulness, brilliance and other qualities all other women standing by, you will not have to compete for attention! 🙂