Bharatanatyam: Present and future at the hands of cunning NRIs

While Kathak dancer Prathiba raises many valid questions and highlights very valid points, there are a few that put a smile on my face. 

What she meant to say is this:

I hardly ever bother to watch any outstanding classical dancers who never make it to the USA as I may start questioning myself where I truly belong and what the hell I have been doing in Texas, and, more importantly, why I learnt the Persian classical dance Kathak instead of the classical American dance of Salsa.  In recent times, I have witnessed several jaw-dropping, pants-wetting modern performances in Dallas and Houston by visiting Indian dancers who, being old enough, still aspire to look like some teenage American ballet dancers. Their academic presentations made me feel like the classical (shastriya) Indian dance has now been made to sound scientific enough to be taught at the Faculty of Statistics and Measurement at the University of North Texas. The problem for Kathak still remains: to call it classical, we are yet to write a shastra (or “discover” some fake antique book) based on which it would be called “shastriya”.

I have left the auditoriums giggling, jumping and throwing pieces of potato chips around like a teenager who smoked pot on a first visit to Disney Land. Today’s PR specialists, even those who promote themselves as dancing under the traditional labels, incorporate interesting, simple and entertaining MTV-style movements  in their dances to add dynamism – an excellent example of devolution, inborn inability to learn anything from Natya Shastra or to perform even a few stretches a day to accomplish what most American teenage ballet dancers or gymnasts achieve with ease and little pride. At the same time, there also seems to be something, such as use of those pretty useless and meaningless hand gestures, that is stagnant in its practice and even an evolution in the wrong direction, if I may be so bold. I feel I am entitled to be bold and question everything because I have an American passport.

While artistes like Uttara Coorlawala, Anita Ratnam and Michael Jackson seem to have taken evolution to a new level far away from the place they started from, questioning the concept of evolution  itself, why are we still defining women based on the Ashtanayikas and not on their church affiliations or sex preferences? Based on the relationship with the hero, the Natya Shastra classifies women as the one who dresses for union with her hero (my daughter always goes to a date in the same torn jeans she wears in her bedroom), the one distressed by separation (everybody knows that once you become separated you are relieved as the costly divorce litigation is near its completion), the one having her husband in subjection (only perverts put their husbands in handcuffs in Texas), the one separated by quarrel (quarrels are needed to show that we have the right to have different opinions), the one enraged with her lover, the one deceived by her lover (cheating on one’s boyfriend is absolutely the norm here), the one with a sojourning husband (who came back from Iraq), or the one going to meet her lover (on a blind date).

What about the NRI woman who thinks she is an intellectual or equal of Sigmund Freud? What about the woman who brings home the bacon, sushi, electricity bills, sanitary napkins, the Tea Party leaflets, and condoms? What about the woman who decides that she is better off as a single parent, a single woman or a lesbian in a same-sex marriage? May I remind that many women in Texas marry 4, 5 or 6 times and many don’t even remember who are the actual fathers of all their children?

May I remind that although the Natya Shastra has provided us a wealth of information and is THE book every NRI dancer should avoid reading, it is religiously believed by all Texan rednecks to be written between 2nd century BC and 2nd century CE? Its views on women and statistics are as outdated as some of our old American texts that classify humans based on their US visa status or propagate the theory of creationism that contradicts the Bible or the beliefs of the Faculty of Physics at the University of North Texas. Why are we, the modern women driving expensive cars and wearing Victoria’s Secret lingerie, clinging to it for dear life if some of us are in danger of being classified by the 14th Chapter not as Goddesses, Gandharvas, Humans but as belonging to other types, such as Pigs, Horses, Buffalos, Goats or even Dogs? How can our democratic society classify people as noble, mediocre or lowly?

I wish Bharatanatyam was truly evolving on all fronts and conformed to the MTV standards. As an atheist and a member of the Republican party who thinks that everyone, not just Spiderman, must wear one’s underwear over one’s pants, I wish we overcame the limits of beauty and religion in its practice. I wish we overcame the male chauvinistic ideas portrayed in a Bharatanatyam performance, and promoted the same-sex marriages in India. I am writing this as a woman who is tired of seeing nayikas who long, pine, and suffer for someone who resembles one of my ex-husbands. For the Muslim purists who will retort that the “lord” represents “truth” and the pining is the search for the impersonal and vague truth, my response is: Is this the only metaphor you can think of for years of imagination since the Prophet consummated his marriage with the 9-year-old Aisha?

Recently, I heard someone call the ardhanareeswara concept not as a reference to some unscientifically genderless godhead, Ida and Pingala, or to American women who are indistinguishable from the American men, but as the oldest example of gender equality and the only instance where Shiva carelessly wears unmanageable matted locks for hair while Parvati has beautiful flowing hair.

Shiva shows rage while Parvati is demure, which is absolutely unrealistic considering how much every American woman has to yell, scream and shout every day. Shiva can lift his leg over his head but Parvati (may be able to but) should not. Considering that most American women ballet dancers are excited about lifting their legs as high as possible in order to demonstrate the stylishness of their underwear, what about this really shows gender equality?

Showing that the male is all male and the female is all female is outrageous. Showing that the female does not exist without male enhances the wrong and irrational concept that the Universe that manifests in time and space comes from some unscientific Brahman that exists beyond time and space and is independent of the US Government.

Despite all the good values of Indian culture and its cuisine in particular, a major rule of our society that creates a stumbling block is “do not question your mom.” We stop evolving when we stop asking questions, and the more foolish questions come into our heads, the more we evolve in the eyes of the US Government. Perhaps that is why we label anything that does not conform to these values as ‘fusion’ or ‘modern.’

You’d think that living in a western society as NRIs would help people push the boundaries of Bharatanatyam even beyond the limits of salsa. You couldn’t be more wrong! As an NRI, I have no choice but to witness painful arangetrams performed like weddings with splendor and showmanship but lacking in content and standard that we find in the old school of the American ballet. As a dancer who dances at home every week, I am tired of NRI parents badmouthing their children’s gurus’ practices (Question: If you hate them so much, why do you continue sending your kids to their classes instead of sending them to Madras?).

As an economic migrant who came to the US to earn money, I see all NRI and the visiting gurus treat the art simply as the business of teaching (read moneymaking) and graduating more mediocre and substandard students year after year. I do not believe in religion or investing in real estate but I believe in Statistics and Citibank where I have my savings account. Neither am I traditional to the point of being able to appreciate anything other than rock-n-roll. Yet I cannot bear to watch kids wearing their salangais along with their sandals and iPods in auditoriums that are not built according to Natya Shastra. I am tired of the standing ovation given to every kid finishing his/her arangetram, irrespective of the standard as if we were at a GOP meeting. I am even tired of the almost ritualistic applause I hear at the completion of every plain jathi, theermanam, and swaram that so takes the focus away from the the glaring evidence of absence of any dance described in 4th Chapter of Natya Shastra.

Living in the western society frees our barriers and opens new horizons. Once our barriers start feeling free, we stop reading books and begin investigating the crucial issues: which of the current US party does Nataraja belong to, and why he is not depicted as the top American bodybuilders?

Sadly, most NRI parents today seem to be focused on how many quasi-traditional or semi-traditional or newly-traditional items they can get their children to believe they learn, how many costume changes one can manage in a given arangetram, how many costumes and jewelry they can acquire on their next trip to India, etc. Lata Pada, in a recent lecture said beautifully, “Do not expect me to be a cultural babysitter for your children just because I teach them Bharatanatyam. I am here to do business with you, and not to establish some Gurukula.”  It seems that this is exactly what several NRIs are hoping. Instead of encouraging their children to believe they already became dancers in the true sense by sending them to Madras, they want to create replicas of Priyadarsini Govind or Rama Vaidyanathan so they can be happy that their children are, after all, Indian who can do lecture but not demonstration.

Challenging someone intellectually is, after all, easier than doing it physically. PG and RV became expert lecturers not by following status quo or by practising stretches, but by learning Business Administration, Marketing, PR and carving their own niche in the American market. Of course, there are exceptions among NRIs such as Mythili Prakash and Bhavajan Kumar, to name a few who became proficient in their business promotion.

Why am I now taking it out on the NRIs as if they come here just to earn money and invest it in Chennai properties? Three reasons exist. I live abroad and got burnt in the US sub-prime mortgage scam. I cannot comment about the current practices in India for fear of being thrown into an open manhole in T.Nagar in the rainy season. While many of them hate to read books, NRIs have the financial resources to take the risk and push the boundaries beyond the limits of the ancient Indian aesthetics and sensibility. Living in a western society, witnessing art forms such as strip dance, ballet, jazz, hip-hop, opera, etc, and receiving constant encouragement to explore and experiment should foster these experiences (or rather experiments?) even more until we start frying our dosas on Shevron engine oil instead of ghee. Sadly, I am yet to see examples of such, although the popularity of McDonalds in Chennai seems promising. And the question, “Will the NRIs who have the money and the cunning to push the boundaries and experiment help Bharatanatyam reach new heights in the eyes of Michael Jackson fans?” remains unanswered to me still.

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Gradual death of Bharatanatyam competitions in Chennai

It is not a big secret that Bharatanatyam competitions, however faulty they may have been, are very beneficial. Regardless of who wins and who loses, these competitions help the dancers assess their skills on a more objective level. They establish the standards and create the fabric of the dance community.

Few may have noticed that the Indian Fine Arts Society cancelled their Bharatanatyam contest this year, following Natyarangam’s, Music Connoiseurs’s Club’s, Gana Mukindhapriya’s, and others (e.g. ISKCON’s). We know no reasons for their decisions, no explanations or comments are given by these organizations. Perhaps it is a top secret.

What is not a big secret is, for example, the reason for the 2009 abortive straight-jacketed ABHAI competition where the dancers were severely restricted in what and how they can perform, obviously to suit the ABHAI’s president’s own agenda, as if it was some third-grade contest on Rukmini Ramani’s compositions which nobody attends.

Apart from the Music Academy (Spirit of Youth, very closely resembling Indian Fine Arts Society’s style of handpicking just 10 contestants) or National Bal Bhavan, among the other people who keep conducting Bharatanatyam contests it in Chennai are the TTD. These never announce it (perhaps for fear of their tiny space being overcrowded).

Unfortunately, the Bharatanatyam competitions they conduct are hugely inferior to the Kuchipudi competitions featured on their own SVBC TV channel where the judges are required to substantiate in detail their marks and provide comments on each item performed by the contestant.

See for yourself:



The reason the judges there are more or less honest and try to do their best is simple: they are well aware that their very reputation is at stake since tens of thousands of TV viewers watch the programme.

There is no comparison between the professionalism of the SVBC contest (where we can actually watch the entire classical Kuchipudi items performed by the dancers) and such TV contests as Jaya TV’s Thaka Dhimi Tha or Podhigai’s Konjum Salangai where we can at best see some bits of folk or fusion dances. The only thing we have worth watching on TV is Jodi No.1.

A Telugu friend of mine teases me from time to time, saying that excellence in classical dance or life in general quit Tamil Nadu long ago. Even in Kerala they have very well organized (where the dancers have the option of an appeal in case they are not satisfied with the judges) Kalotsav (www.schoolkalolsavam.in) featuring all classical dance styles, while there is nothing like that in Tamil Nadu.

Now, with so many sabha’s in Chennai claiming that they somehow are not responsible for the decline in the standards in Bharatanatyam, why is it that they they cannot organize regular Bharatanatyam contests and broadcast it easily on the biggest TV channel in the world, YouTube, allowing the viewers to discuss it and post their comments there? Of course, then the sabha’s hidden political agendas may suffer.

Perhaps they may be awakened to a new reality when Anita Ratnam decides to do it on Narthaki one day.

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“.

Swarnamukhi’s illusory rise and painful downfall: a would-be devadasi that failed her God. Swarnamukhi: the pitfalls of Bharathanatyam/ Bharatnatyam / Bharatanatyam career

Swarnamukhi

In this post you will find answers to the following questions that you may have after watching her video  interviews (the transcripts are inserted in red):

  • the difference between a true Bharatanatyam dancer and a clown
  • what happens when karanas are attempted to be mimicked by shallow-minded acrobats
  • the destructive influence of the vulgar audiences and the consequences of mingling with politicians (supported by quotes from Manu Sutras)
  • superficiality of the  fake “Hindu gurus” from America
  • how Swarnamukhi’s imagination produced an image of Jesus who asked her to be a celibate devadasi, and how she rebelled against God
  • the curse: immediate genetic effects of this rebellion (deformation and degradation of the body)
  • celibate vs married life: beware!

Ironically, Swarnamukhi is still listed on Narthaki.com among “Performing Bharatanatyam Artistes in Chennai”:
Swarnamukhi

113, Santhome High Road
R A Puram, Chennai 600028
Ph: (044) – 24942243

Malaysian police have arrested nine Christians accused of trying to convert Muslim university students – a serious crime punishable by prison in this Muslim-majority country, a lawyer said today.


There was a longing for something in me… I didn’t know what it was… but no matter how much I danced, howmuchever fame and popularity I got, that didn’t give me the ultimate satisfaction
“.

Here Swarnamukhi Veronica Kona explains why so many film actresses suffer from chronic depression and some commit suicides: the more you try to please the vulgar audience, the further away you move from your soul’s goal : the inner peace and bliss. Devadasis were supposed to dance for the gods, unwatched by human audience. Entertaining VIP’s and politicians, drunk western spectators smoking cigars, you are running the risk of moving in the opposite direction, filling your heart with emptiness and restlessness.

There are exceptions, of course. When Sukshma Swaraj was asked what she remembers most from a visit to one town, she said, “It was the Bharatantyam performance by little children that touched me most“. Some remnants of human soul have a chance of survival even under the crocodile skin of a veteran politician. Manu Sutras confirm it:
A king is declared to be equal (in wickedness) to a butcher who keeps a hundred thousand slaughter-houses; to accept presents from him is a terrible (crime). He who accepts presents from an avaricious king who acts contrary to Dharma, will go in succession to the twenty-one hells. Learned Brahmanas, who know that, who study the Veda and desire bliss after death, do not accept presents from a king.

In contrast to Swarnamukhi, Alarmel Valli, who married former Director-General of Doordarshan (just as Rukmini Devi married a much older man…)  put it this way, “Despite all the progress, a single woman’s status is still not a happy one...“. She says,  “I tend to be rather skittish about being politically correct for the sake of being politically correct. I choose my themes because they move me, or touch a chord in me – themes that are universal

So, what is “politically correct”? Something that the influential people around you want you to do! The pressure from the outside. “Performing a dance before the Pope at the beginning of your dance career will surely land you up in Lok Sabha”, said Vijayantimala, remembering Rukmini Devi.

Swarnamukhi was such an imaginative dancer – who never even thought of getting married! – that she had a dream of Jesus Christ being so impressed with her acrobatics and folk dances that he was trying – in vain – to persuade her to become a devadasi and a sanyasini:  “In my dream He revealed Himself so beautifully through Isaah 54, 5 and 6: “Your Creator is your Husband“, he said. “The Lord of Hosts is His name, he said. “The god of the whole earth shall he be called”. Well, do real gods need to quote any old texts, or are they no better than your local professional preacher whose salary is paid by a US-based church?

Anyway, Swarnamukhi cursed Jesus, the dead quotes from the lifeless Bible, and swore that she would rather marry an idiotic karate master than become God’s wife. “I can make my husband do any stupid things, but how can I push God around?”, she wondered? Naturally, Jesus, seeing such recalcitrance, swore and cursed the stupid Swarnamukhi as she tried to call him “father god” instead of “my beloved Husband”.

Padma Subrahmanyam suggested, “She didn’t have the brains to divorce as quickly as she married!”. Swarnamalya adds, “If you divorce too late, you will acquire the same shape as I have”. Leela Samson (still single and available), Kalakshetra’s Director,  seeing Rukmini Devi’s “marriage”, puts it non-denominationally in an innovative way: “You don’t need to be a Hindu to be a modern devadasi”.

Alarmel Valli would probably suggest, “Swarna and her husband could live in different cities, and she could visit him once a month”. Shobana, or rather THE Shobana, a well-known expert in men, said, “There is no point marrying. All men want only one thing from a woman, and they are all the same in this thing, and they soon lose interest in you after they get it. Believe me, I have a vast experience. If you need money, just get engaged to a rich suitor, get a few crores worth of gifts, and – for decency’s sake – part your ways with at least a few tears in your eyes. Keep the gifts, of course. If you want a child, just adopt a beautiful girl like I have done.”  Malavika Sarukkai adds a contemporary theme: “You could marry a tree, for example, and be happy. At least pretend to be so. Otherwise buy yourself a dog”. Narthaki Nataraj has another idea which is too outrageous to be published here.

Swarnamukhi’s failure was triggered by empty awards from politicians and the typical American NRI superficiality:

..the sage (Satguru Sivaya Subramuniyaswami) from America, was given awards from all the major spiritual centers in South India, which he visited in person. He also arranged for India’s greatest Bharata Natyam dancer, Kumari Swarnamukhi, to dance in the 1,000-pillared hall at Chidambaram Temple in Tamil Nadu. Her performance was the first in hundreds of years and marked the return of the sacred dancers to the temples from which they had been banned for so long.

Remember, the awards, titles and attentions from the VIPs and politicians, especially the American “Hindus” and the European Christians – who have no idea of what Bharatanatyam is about and don’t give a hoot about the fifth Veda! – is the poison for a Bharata natyam dancer.

One thing, however, may disturb Swarnamukhi’s mind. What if the recession will reduce the opulent flow of the green American dollars from IIBT in New York that have been lavishly financing her and her husbands preaching careers at the institution that offers Doctorate of Divinity? 🙂 Ironically, on http://wordoflifeindia.org/swarnamukhi.htm they seem nevertheless very fascinated with her acrobatic photos. Every Christian will be proud of divine Bharatanatyam dancers.

The illustration how deep the Christian ideas – where all “dancing” is associated solely with the desi (folk) dance – penetrated into Hinduism is here:

Back in the 1800’s a lady approached a revival minister and asked him, “Minister, if I receive Jesus do I have to give up dancing? All of the other ministers I have asked this question have told me that dancing is a sin and I must give it up to be saved”

This wise old minister responded,”They were wrong! You don’t have to give up anything when you are saved. Just repent of the things that you feel are sinful and ask the Lord Jesus to come into your heart and save you and don’t worry about dancing.”

She replied, “Oh that’s so wonderful. I love to dance and I don’t see anything wrong with it. Would you lead me to the Lord in prayer right now sir?” He did this rejoicing with her and about 6 months later when he was back in town again he encountered her again. She came up to him and said, “You know sir, it’s a funny thing but I don’t enjoy dancing anymore so I don’t want to do it anymore. Did you know that this would happen to me?”

“Yes,” he replied, “I wasn’t lying to you when I said that you did not HAVE TO quit dancing to be saved. But I suspected that once the Holy Spirit had His way within you, you probably would not want to do it anymore.

[Youtube=http://www.youtube.com/watch?v=eGxsCJ8vaYU&#t=0m06s&w=320]
This video explains how Bharatanatyam dancers are affected by humanoids bustling around them

Sringara Rasa: the most intimate secret of the classical Indian dance, in Bharatanatyam in particular. Mysteries of Srungara in the South Asian dance theatre. Shringara and Tantra. Shrungara…

Sringara…

“one of the reviews of my Rangapooja read ‘not fit to be a dancer’”, says the politically shrewd recipient of the Sangeet Natak Akademi Award for dance for 2009very attractive: senior dancera gopi whose half-moon forehead is glorious with glistening red sindura dots, a gopi whose blossoming lotus face is graceful with black-bee locks of curly hair, a gopi whose glorious vine eyebrows mock the great powers of Kamadeva’s bow, a gopi whose passionate, languid, amorous glances enchant and bewilder her beloved

How we get attracted to people, things and ideas? What makes us beautiful and fascinating? In this article you will read about the following:

This article is not intended to please those contemporary Bharatnatyam, Kuchipudi or Odissi dancers who view Natya as merely a “dance form”, an “Art for art’s sake”, a pastime, a hobby, a career, etc. Such individuals may find the statements made by Bharata Muni to be offensive, inappropriate, inapplicable, undemocratic, threatening their professional dance career, pride, social status, ethical values, personal contacts, business transactions, sex life, etc. Such individuals, especially those suffering from an acute lack of any sense of humour, are advised not to read this article to prevent any accidental heart attacks.

(Special thanks to Smitha Menon for her contributions)

Sringara: Hindu gods vs Mexican film stars

“There are three expressions of Sringara: in words, in dress and in action”. The light green paste on the face of a Kathakali dancer is a common sight, but few know why Sringara’s colour is light green. Colours are not mere symbolisms: Krishna is dark blue because such is his aura, which is the kind of explanations given to the spiritual seeker for a practical purpose. A figure called Aroopa (lit.”bodiless”) Laxmi is in the north circuit facing north. Puranas declare that she got this “ugly” form (formless, rather) as she mocked the dark colour of Vishnu. Vishnu thus having rendered his wife unseemly in a moment of hasty indiscretion showered the red kumkumam of Kamakshi on Laxmi resulting in restoration of her beauty. Vishnu is also seen here enjoying this transformation. This place is called ‘Kalvan Sannadi’. So, why is Laxmi, Vishnu’s wife, seated on a pink lotus and wears red clothes? Of course, we can imagine Vishnu as a light green center of a pink lotus. I always wondered why the flowers’ centre is always of different colour than the petals. The “male” (unmanifested) single principle is in the centre, the multiple petals are the manifested Shakthis. Actually, kAmeshvara or nirguNa brahman is like a sheet of canvas which is completely without any colors. Family relationships can be confusing at times: “Pleased with the devotion of Brahma and Narayana, Sri Kamakshi looked at them respectively with her left and right eyes. From her right eye appeared Sri Saraswati (kA) and Sri Lakshmi (mA) appeared from her left eye.” Ka-Ma… Kama???

So, what about the dancer’s costume? What costumes are best for expressing Sringara? If you look at Kamakshi’s costume in the picture below, you will understand what colour is evocative of Sringara. If the dancer appears in some dirty gray costume, there is no chance…. What about the fashion? Few of the dancers know that the currently popular Bharatanatyam costumes were designed 60 years ago by Rukmini Devi’s… Italian seamstress. (Below we explain in detail why Rukmini Devi wanted to eliminate Sringara from the dance – and from the costume too). Prior to that, the devadasis danced in heavy sarees. The next logical step would be to dance in burkas, which would please Osama bin Laden, for sure. However, after the suppression by the Arabs and the British, the soul of India is emerging victorious: the success of the Indian movies is largely due to the emergence of the Sringara-accentuated costumes where, for example, the dancers stomach and shoulders are not covered. Do you know the reason the senior “dancers” (except, perhaps, for Alarmel Valli and Urmila Sathyanarayanan) would hate appearing in costumes like that?

“Sringara appears in the interaction between men and women, and is connected with the fullness of youth”, the latter being an attribute of the devas and the immortal rishis. No temple scupltor so far dared to portray Nataraja in the shape of an ugly crippled old man on a pair of crutches. Well, Osama bin Laden was wiser than Aurangzeb: he sponsored His holiness Shri Syed Sallauddin Pasha to choreograph Bhagawad Gita On Wheels, where Krishna is presented as a neurotic psychopath. Why haven’t the “specially abled” students of Ambika Kameshwar and George Bush bothered to choreograph a Koran-in-used-Sanitary-Napkins, a Bharatanatyam item portraying Mohammed as merely a cruel pedophile or a schizophrenic victim of an African gang rape?

However hard Aurangzeb and King George tried, Hinduism is still somewhat alive. The naked or scantily clad statues of beautiful devas and fascinating apsaras were meant to attract people. Contemporary classical Indian dancers routinely complain of poor attendance at their performances, yet the same dancers are much more daring than the temple sculptors, though in other ways. When the pregnant-looking Sudharani Raghupathi dressed like a clown in a recent ballet was acting as a wretched “Mammudha” (Cupid), didn’t it look far more grotesque and idiotic than the elderly Veronica Castro from “The Rich Also Cry attempting the role of a 18-year-old girl? Well, “when it comes to the veterans, still forces to reckon with in their seventies and even eighties, minor lapses in tone or movement are often forgiven as natural concomitants of age, by an audience drunk on nostalgia

Ugly old clown struggling - before rushing to the toilet?

Guess this ugly old clown’s “feeling”: or is he struggling – before rushing to the toilet?

“It costs about Rs.10 lakhs (to “produce” Mammudha”). Thankfully, we have got some nice sponsors”, proudly announced Sudharani’s son. The rich old dancers don’t cry: they know where to milk some nice idiots to get the funding to fool around and publicly insult the religious feelings of the Hindus. A French poet noted that Manmadan (or Mammudha) himself probably ran away from most places in India on an extended holiday, leaving the country at the mercy of prudent parents and arranged marriages that don’t require any love or – god forbid! – anything from Kama Sutra.

Kama, of course, should not be erroneously interpreted as merely an erotic urge. “Almost all Rasas proceed from the Desire (kama). Kama is of different types. There are for example dharma-kama (passion for virtue), artha-kama (desire for wealth) and moksha-kama (desire for liberation)”. Those who have desire for liberation are a peculiar sort of audience who are attracted to the margi dance, the one Padma Subrahmaniam wanted to resurrect. Desire is the core engine of the universe. Without desires, we cannot do anything unless we apply the karma yogic approach to actions. Mother has three eyes and rules the world as Raja Rajeshwari as Lalitha, beauty of beauties and as a destroyer of all ‘Kamas’ love and thus as Kameswari

Natya, the classical Indian dance is do be done as an offering to the Divine. Fame-seeking, self-promotion and stardom-hunting are not part of Karma Yoga, yet the classical Indian dance instructors are somehow called “gurus”.

Kama is the son of Vishnu, the governing spirit of Sringara, says Natya Shastra. The lesser gods are the inferior manifestations of their “parents” and inhabit the lower worlds (lokas). In Svarga, the lower heaven, Kama is the master of Manas, the sensational mind. While animals and more primitive people have well-developed manas, they lack buddhi, the intuitive intelligence of Chandraloka (Moon world). Just as the light from the Sun is reflected by the Moon (Chandra), so is Kama’s wife Rati a dim and distorted reflection of Lakshmi. Rati, is the name of the sthayi bhava of Love. Lakshmi is called the daughter of the sea; since the moon also appeared from the ocean during the churning, the moon is called her “brother”. By the by, you know who is the owner of the divine cow Kamadhenu?

Kamakshi

Kamakshi

In Tantra, goddess Kamakshi is a form of Tripura Sundari (also called Shodashi or Lalita or by other names). “She is the one whose eyes awaken desire, “She who has beautiful eyes”. (Below we will speak about glances)

The attraction of divine beauty generates the most sublime desire of union with the Divine. Tripura Sundari as Shodasi is represented by a 16-year-old girl (actually, a 16-angle yantra, each angle of different colour, of course), and embodies 16 types of desire. The Shodasi Tantra describes Tripura Sundari as “the radiant light in the eyes of Shiva“. She is described as of dusky color, and is depicted in an intimate pose with Shiva.

To see the reason that the people of high sex appeal are called “hot” , look at Kamakshi. Red. The reason Bharatanatyam dancers are asked to sit in proper araimandi is because this position stimulates the Muladhara chakra (guess what color it is!), so the subjective (and even objective) temperature rises. Want to see? Bring your infrared camera. Scientifically speaking, red is the colour that we subconsciously notice most, therefore it is used as the most important colour in the traffic lights. Red attracts attention. Full stop. If you want to persuade Bharatanatyam dancers to paint their fingers and feet in blue, think twice.

“The radiance of a thousand raising suns, three eyes, resplendent in red clothes, wearing a crown with the crescent moon, holding in her hands a bow of sugarcane, goad, arrows of flowers and a noose.” Oh, the flower-arrows of desire? And the goad of displeasure? Here we see the reference to the twin egocentric reactions of attraction and aversion (râga and dvesha)

Intimacy is a necessary circumstance of every spiritual practice, this is the reason the temple dancers, devadasis, originally danced unwatched in the sanctum sanctorums. But how many of us would be able to pour our innermost feelings in front of a 300-strong crowd made up of drunk foreign tourists chewing chips, and of the sex-starved local cheri boys? Let’s be realistic: 99% of us try to avoid even thinking of any relationship with God. It is much safer not to focus too much on our soul.

Shringara: The clash of civilizations: the Devadasis and the Kalakshetra times

Rukmini Devi Arundale

Rukmini Devi Arundale

Catholic ideals of divinity

Don’t I look sexy, darling?

The young wife of the bishop of the Liberal Catholic Church, Rukmini Devi Arundale, had to please the pious Christian conquerors who were used to the western ballet and cabaret dances, and also the degraded Brahmin caste who had lost Natya Veda, an appendix to Sama Veda. She had no choice but to remove any traces of Sringara in Bharatanatyam.. Unfortunately, this kind of a “refinement” cut off the most essential expressions, the movements of the neck, lips, eyes and many more gestures and body movements, the very soul of Sringara, the life of Natya.

Most hip and the chest movements became a taboo. Karanas and angaharas were replaced by “clean” ballet-like moves. After all, Rukmini Devi originally wanted to learn the Russian ballet from Anna Pavlova. Ironically, it is Anna Pavlova who persuaded Rukmini to destroy Bharatanatyam.

E .Krishna Iyer said about Rukmini Devi, “There is no necessity to say that before she entered the field, the art was dead and gone or that it saw a renaissance only when she started to dance or that she created anything new which was not before”

In Chapter 26 we read, “Women’s moves should be in delicate angaharas. The hands, feet and other limbs should be graceful (lalita). But men’s movements of these should be restrained (dhira) or excessive (uddhata)”. “T</em><em>he Kaisiki dance with the Sringara is related to the interaction between a man and woman when they are in love”, yet hardly any classical dancer of today is able to – or would – portray Urvasi’s attempt to seduce Arjuna.

K.J.Sarasa portraying seductive Urvasi

K.J.Sarasa portraying seductive Urvasi

To please the materialistic Indian elite and the “civilized” British colonialists, the spiritual layer was discarded almost totally, and the new notion of “secular” Bharatanatyam started to be marketed for those who had no moksha-kama whatsoever. “One who will perform well the dance created by Mahesvara (Tandava dance), will go free from all sins to the abode of Siva”, unequivocally states Bharata Muni. He did not bother to specify where the folk, ballet or modern dancers will end up. “The Tandava dance is mostly to accompany the worshipping of gods, but its gentler form (sukumara-prayoga) relates to Sringara”. Interestingly, the two correspond to the 2 spiritual methods: the tapasya and the path of surrender to the Divine.

Tandava dance consists of the 108 Karanas, which were wisely banned by Rukmini Devi. The young beautiful Indian girl certainly did not fall in love with the elderly, out-of-shape British gentleman, so no topics of Sringara were allowed for fear of making George Arundale too horny and committing a marital rape. Love and intimacy were simply out of place. “Kama is the attraction between a man and a woman. For all people, this attraction, may end in joy or sorrow. It leads to happiness even in unhappy situations. The union of man and woman is Sringara. It brings them happiness”.

When Balasaraswati asked, “If you remove sringara from dance, what will people like us do?” Rukmini Devi replied, “I have no problem with sex or love (has Rukmini herself experienced ANY?), nor with portraying sringara, but the dance should not be sexy. Sexiness has no place in our arts.” Balasaraswati lashed out at this cleaned up brahminised dance, calling it in her turn ‘vulgar’. So, what exactly appear as “vulgar” to an individual? Every humanoid creature belongs to a certain type or race (check out what type you belong to), and will consider as vulgar everything characteristic of the lower types/races. That’s why you probably don’t feel particularly attracted to monkeys.

Balasaraswati’s clash with Rukmini resemble the clash between the Left Path and the Right Path of Tantra. The yogic point of view contradicts the western science’s. Yogis say that normal women are naturally brahmacharini’s in the sense that they cannot experience any physical “lust” because there is a golden belt of concentrated prana around their lower stomach. Without a physical contact, a lustful desire has to be extraordinarily powerful to pierce this belt. Practically speaking, until she has actually had a physical intercourse, a woman’s body cannot experience any lustful urge, which applies also to the teenage gopis of Vrindavan who certainly had not been exposed to porn movies. After all, the men of Satya Yuga did not even have sex with their wives: the only thought of conceiving a child was enough for the wife to actually conceive a child. In the next Yuga, in case of most men, it was enough for a man to touch a woman’s stomach to make her conceive.

Balasaraswaty obviously did not read the old Natya Shastra (written lo-o-o-o-o-ng before Tamil appeared), otherwise she would not have said, In the 11 early dance forms (performed by Mathavi), valour and wrath are the predominant emotions. Yet, Sringara – which was later to become the ruling mood of abhinaya – was pre-eminent in the Tamil dance tradition right from the beginning“.

Balasaraswaty, a rajadasi who always dreamed of becoming a devadasi, wrote nonsense like this: In the two important dance forms, the court dance and the common dance, which relate respectively to the inner and the outer life of man. Sringara belongs to the court and to the inner life. This explains the eminence of sringara as a mood.”

Balasaraswaty further exposes her shallow-mindedness: The composer of a Sabdam or a Varnam might have dedicated it to a prince or a noble man. But as far as the dancer is concerned, the hero can only be the King of Kings, the Lord of the wide world. It is impossible for her to dedicate her art, which has sanctified her body and has made her heart sacred, to a mere mortal. She can experience and communicate the sacred in what appears to be secular”.

“Microsoft Corporation and the US dollar are the sacred things to me”, says Bill Gates. In fact, most Americans worship the divinely green buck. The sacred is what is the most important in our life (our career, of course!) Did Balasaraswathy mean that the dancers can communicate the sacred even while dancing to a Pepsi-Cola hymn, and fall in love with a Hero Honda motorbike????? And when the dancers from Andhra developed those condom songs for the live demonstrations on the stage, did they actually imagine lingams and Shiva himself by looking at the condoms? I have a big big doubt. Of course, one can write that a saint-poetcan compare the Lord with a rotten egg, but there is a limit in the metaphor, isn’t there? Interestingly, Mangudi Dorairaja Iyer specifically barred his students from performing items dedicated to the non-divine beings. He probably understood that there was a difference between a Disney Land and the Chidambaram Temple. Balasaraswathy didn’t.

Bala continued, “After all, our composers have been steeped in the tradition of bhakti. While singing the praise of secular heroes, they begin to dwell on his devotion to Brihadeeshwara of Tanjavur or to Tyagesa of Tiruvarur or to Padmanabha of Tiruvanandapuram. The dancer, taking the cue, enters the realms of bhakti, enjoys the play and pranks of the deity concerned, and displays them in her abhinaya. The divine, so far mixed with the secular, now becomes explicit in the dance and impresses itself deep in the heart.

The contemporary “secular heroes” are atheists who have no devotion to Brihadeeshwara or Tyagesa or any god except the god of greed, falsehood and deceit.</em></span><span style=”font-family: Times New Roman;”>The very music and the lyrics determine the state of mind of the dancer and the audience, so when the love-songs dedicated to some mean medieval kinglets are recited by a Bharatanatyam dancer, all this play and pranks will look like a horseplay rather than bhakti. Mixing the divine with the secular… is possible only for those like Balasaraswathy who have never had any real spiritual experiences, and who watched Diisney’s Mickey Mouse instead of reading the Mahabharata!. The idea of mixing the divine with the secular is in vogue at the end of Kali Yuga: in the temples they now play… Bollywood and Mollywood pop songs. Soon Michael Jackson’s divine compositions will replace Thyagaraja’s in the temple’s ceremonies..

Balasaraswathy added, “Various rhythmic movements are intertwined with her abhinaya; this saves her from degenerating into the human, and keeps her fresh and pure in the yoga of the dance”.

What is “degenerating into the human“? Silly, this is what Bala was a master of! Have you heard of the Pepsi-Cola yoga and McDonalds yoga? Everything is now yoga in the USA. Even British prostitutes proudly call themselves… devadasis! Oh, how divine are the hamburgers and beer consumed by 300 000 000 self-styled “Tantric yogis of the Vama Marga” of America! How divine are their SUV cars! Oh, how romantic! No wonder Pamela Anderson is considered a saint, and George Bush an Avatar!

There is indeed no limit to the human imagination and the human talent for self-deception. There is no chance for a contemporary Bharatanatyam dancer to enter into a true Samadhi by focussing on praises to some medieval employers of mediocre poets/composers. If you are such a great yogini, you can concentrate on a piece of garbage and see the Brahman there, but Balasaraswathy was certainly not capable of doing so. Actually, I don’t know any dancer who could. Ok, if you want a challenge, take a commercial song praising inflated mattresses, choreograph to it, and see how divinely inspired will your audience be when they watch you dance and listen to the song. Try, idiot, try. Imagine that the Mattress is Sri Krishna, and try to fall in love with Him. Work hard to convince the audience.

Today’s elderly dancers conveniently ignore how the early devadasis, who were celibate all their life, understood and portrayed Sringara. “Only a woman who gets up in a morning to find her lover gone knows what viraha is,” stubbornly repeated Balasaraswati, a wannabe devadasi. Understanding the symbol does not, however, automatically bring the understanding of what this symbol stands for. Symbolism is lost when metaphors start being taken literally. It is not necessary to become and American astronaut and taste the moon sand in one’s mouth in order to know what kind of life is there in Chandraloka. The modern dance gurus like to complain that even the children in their early teens somehow can’t understand the adults’ relationships and cannot “adequately” portray them. What is “adequate”? There are two warring schools of abhinaya. The “realistic” or even grotesque abhinaya is portrayed by the basest of actors in the Indian movies. Should classical dancers try to be as vulgar and primitive as Bollywood?

Gowry Ramnarayan, like many elderly dancers, was mistaken to believe that Sringara’s expression is somehow limited to a sensual longing: “Abhinaya posed problems peculiar to the times. Earlier, the devadasis had other performers in the family, street and village as role models to serve as the basis of a personal style. But the new upper class entrants had no such visual examples. How could they pick up the techniques of abhinaya from their male te achers to evoke the essentially feminine experiences detailed in the songs they danced to? Especially as the nattuvanars were hampered by the need to curtail the sringara quotient for the new class of trainees. “This art is just emerging out of decadence. Let us keep it dignified,” was the refrain of Chockalingam Pillai. An old student recalls, “Edo oru vahaiyil varugudu” was taught to me as a bland and literal “Something is happening to me”. It was much later that I realised it referred to a woman’s sensual longing!”

Well, what did she understand by “sensual“? And by “longing“? Natya Shastra says that longing (abhilasa) is the first stage of love. The next stages are Anxiety, Recollection, Emuneration of Merits, Distress, Lamentation, Insanity, Sickness, Stupor. If the union has not been achieved, the last stage of such love ends in death. For some reasons Bharata Muni advises that this stage should not be presented on stage. Unlike in Bollywood, in Natya “There should be on the stage no ascending of the bed-stead, no bath, no use of unguents and collyrium, no decoration of the body and no doing of the hair…The prohibited mode of dress will suit only the women of inferior type because of their low nature. But they too are not to be represented as doing what is improper”.

Sringara: Expression of love and the connections with other moods

Natya Shastra puts it plainly that the young audience are only attracted to the scenes of love. The youth happily abandoned the bland classical Indian dance performances for the spicey movies’ abundant love scenes, even though these were normally rendered in the most vulgar and crude manner. The current ever-growing popularity of porn videos among the Indian youth proves that no cinema can compete with something that appeals to the lowest (and strongest?) of the animal instincts. Not all people are just two-legged dogs. We are all different. “A woman of high family is to awaken her beloved by the sound of her ornaments; the courtesan by the sweet scents; the handmaid by fanning the beloved with her clothes”.

Alarmel Valli said, “Though Chokkalingam Pillai often told us not to dance like a jadam (zombie), I suspect that the masters had to shed much of the full blooded quality of the repertoire to be accepted by the `respectable’ Mylapore matrons. I sensed that when they described Pandanallur Jayalakshmi’s abhinaya, for padams like `Velavare.”‘

A courtesan overcome with love should be represented by making her express the feelings by casting side-long glances, touching the ornaments, itching the ears, scratching the ground with her toes, showing the breasts and the navel, cleansing the nails and gathering (adjusting) her hair”. On treating a lover at fault, “When taken by her hair, hand or dress the woman should enjoy the touch of the beloved in such a way that he may not perceive it. The woman should slowly release her hair from the hands of her beloved one by standing first on her toes with limbs bent and then taking to the Asvakranta posture”. The contemporary classical Indian dancers forgot how use their eyes, even though there are 36 glances in Natya Shastra.. “The glance where the eyelids are not fully opened, the look is sweet, and eyeballs are still, and there are tears of joy, is called Snigdha (loving). It grows out of love”. “The glance in which the eyes are playful, tearful, half-closed, upper lid is drooping and eyelashes are throbbing, is called Kamya”. But… will the spectators in the last rows in a huge auditorium see your eyes at all???

Natya Shastra states that “Sringara is of 2 kinds: in union and in separation… Sringara in separation should be represented by indifference, languour, fear, jealousy, fatigue, anxiety, yearning, drowsiness, sleep, dreaming, awakening, illness, insanity, epilepsy, inactivity, fainting, death and other conditions…. Sringara in separation relates to a state of maintaining optimism arising out of yearning and anxiety”. Indeed, any mood – except for the happy Hasya – proceeds from Sringara in separation. The white-coloured Hasya is there in the playful joyfulness of love.

Sringara originates from the sthayi bhava of Rati. Its soul is the bright attire, for whatever in this world is bright, pure and beautiful is associated with Rati. For example, one who is elegantly dressed is called a lovely person, sringarin”. Sringara Rasa arises in connection with favourable seasons, garlands, ornaments, enjoyment of the company of beloved ones, music and poetry, and going to the garden and roaming there. It should be represented on the stage by means of composure of the eyes and the face, sweet and smiling words, satisfaction and delight, and graceful movements of limbs”. In Priyadarshini Govind’s recent workshop on Manmadan in Narada Gana Sabha, did we see any of such expressions and movements? No, we didn’t!

Srungara: age, innocence and little kittens

Gods have 3 stages of life. People have one more: the old age. Why don’t the Divine Beings grow old, and always stay youthful? Krishna is imaged as a little boy or a teenage girl, Manjari, and when we see a clumsy ugly old dancer trying to portray such roles, how disgusting it comes out, even if the this old dancer’s students say, “Wonderful! Fantastic!”.”Dance students learn how to be professional liars, not professional dancers“, aptly noted one person.

The King is Naked, and that’s what we see. Bharata Muni bluntly puts it that gods must be portrayed by young girls only as“the nature of gods is delicate”. Gods are not just delicate but playful and care-free too. These qualities neither.the adult cats nor humans manage to preserve. The little kittens are lovely, but old grumpy cats?

It looks so flirtatious but childish and innocent at the same time“, commented one person on YouTube. The children will look fascinating without sexually arousing the viewers. Innocence is the quality of the ambience we create. Few can clean the atmosphere of all thoughts and desires of the sexual intercourse. In a traditional Bharatanatyam recital, the first items are to purify the ambience. For young children, it is easy. As we know, the Ayappan temples admit only the girls before they attain puberty.

The most disastrous consequences of losing touch with our inner worlds after reaching puberty and establishing “an adult, down-to-earth relationship” are explained by… Oscar Wilde: “

“before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came–oh, my beautiful love!–and you freed my soul from prison. You taught me what reality really is. Tonight, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played”.

Adi Shankara has Kanchi Kamakshi in his mental vision. Manmatha also has sugarcane bow and flower arrows. Devi also holds them. The meaning is Manmatha has surrendered his weapons to the Devi. Subtle meaning is for a Devi upaasakar, Manmatha will not come near! Devi carries in her lower left arm, the sugarcane bow with a string of bees and in her lower right arm the five arrows of five flowers. In her upper right arm the goad and in her upper left arm the PasA, the noose. Shining like coral is the devi’s waist which is slightly bent by the weight of her breasts, resembling the frontal ear lobes of a young elephant. Such a form of Devi is favourite of Lord Shiva who is the Tripura Samhara.

Well, there are some10-year-old children’s faces that look as if they were 60. The drug addicts grow older very fast. One of very few things 50-year-old women may manage to preserve well may be their faces. Alarmel Valli’s and Urmila Sathyanarayanan’s faces look very youthful. These are exceptions. Most 50-year-old womens faces look like men’s. Not just the facial features, but the voice’s timbre can either change a lot or change very little, depending on our feelings, thoughts, actions. “You know why I came to look so ugly and boring?”, asks K.J.Sarasa,”It’s because I have been teaching all those clumsy rich students whom I hate!”

Sringara: grace and beauty

Most of the classical Indian dance performances nowadays take place in the evening, yet few know that 27<sup>th Chapter reads: “In the evening, the items portraying Sringara in the Kaisiki style, full of vocal and instrumental music, should be performed”. Soft grace and tender beauty are the expressions of Lakshmi. “Everyone’s ordinary feeling, when based on Sringara and when it reveals itself through graceful movements (lalitabhinaya), is called the graceful expression of feeling (hela)”. What is grace? Easier to say what is not: the funeral procession’s dances resemble a heavy metal rock disco, when people move their limbs mechanically, robot-like. Being able to contract only large groups of muscles will not make you a dancer. “Graceful movement of hands, feet, brows, eyes, lips, etc made by women is known as lalita” . Graceful movements are the free movements of the pranas in our body. With age and with a lack of regular practice, there comes a degradation and loss of the nerve cells as the dancers lose control of more and more muscles.

very senior bharatanatyam dancer

Shri Shri Radha-Krishna who are glorious with the splendor of youth, who are filled with the beauty and handsomeness of youth, who are two monsoon clouds of the nectar of handsomeness and beauty, Shri Shri Radha-Krishna who taste the nectar of joyful pastimes, Shri Shri Radha-Krishna who, gazing at each other’s limbs, give a festival of bliss to each other’s eyes, . . .

She had laughed at him and answered that wicked people were always very old and very ugly”. The ugly things are soon forgotten, but Nefertiti’s and all things beautiful stay for long, very long. If this girl can give a soul to those who have lived without one, if she can create the sense of beauty in people whose lives have been sordid and ugly, if she can strip them of their selfishness and lend them tears for sorrows that are not their own, she is worthy of all your adoration..When she acts, you will forget everything. These common rough people, with their coarse faces and brutal gestures, become quite different when she is on the stage..

“Classical Indian dance” is supposedly “classical” because of something in it that has survived millenniums. In dreams, even the 100-year-olds see themselves as… 18-year-olds. After we die, we look as young as 18- in our subtle body. There are no wrinkles, no bellies, no sinewy hands, no deformed noses and no slouched backs. All that differs is how dark our pranas have become here and there. No need to spend your money on skin fairness creams! ...the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought

There is a man the size of a thumb seated in our heart”, mention the Upanishads. “God created man after His Own image”, says the Bible. If you saw your soul (the one in the heart is called Chaitya Purusha), you probably don’t remember seeing any nails or hair on your arms or any teeth. That’s the kind of the body a Bharatanatyam dancer with his makeup and his costume are to look like. We try to make people forget our body’s animality and try to imagine what the next human race – after Homo Sapiens – will look like.

Like madhurya (sweetness) in the vocal music arises out of the effortlessness of the singing, so does grace arises if there is a relaxed and joyful state of the limbs. “The change of limbs (angaja) is of 3 kinds, next the natural (sahaja) change of 10 kinds, and involuntary (a-yatnaja) change is of 7 kinds”. Here is what modern Bharatanatyam or Odissi dancers are scared to admit: they cannot move! “The involuntary (natural) graces of women are Beauty (sobha), Charm (kanti), Delicacy (madhurya), Radiance (dipti), Self-Control (dhairya), Courage (pragalbhya) and Dignity (audarya)”. The success of the Indian movies, not the classical Indian dance, is due to the film directors’ success in selecting the actresses that posess the necessary qualities for a particular role. Anita Ratnam writes, “At least with Shobana, one is not confused with her blatant sexuality and commercial eyelash fluttering, hip swaying style. She is over 35, a movie star and only mother roles being offered to her in films”. About Anita herself, The New Indian Express’ article’s title was “MAKING ‘FACES’ AT BHARATANATYAM“, mocking her attempt to present the clumsy American gimmicks as “classical Indian dance”.

Identifying Sringara as “Beauty” has been the latest trend in the dance community, especially in the US, where the physical perfection has become a national religion so much the gyms with cosmetic surgeons replaced churches and priests.“Decoration of limbs on account of good physical form, youth and loveliness being rendered manifest after enjoyment is called Beauty (shobha)”. Shobha is elsewhere translated as Brilliance. Brilliance is literally the irratiation of the prana. A healthy and happy person irradiates joy.

What are the things the adult dancers have lost? “The 10 natural graces (alamkara) of women are: sportive mimicry (lila), amorous gesture (vilasa), dishabile (vicchitti), confusion (vibhrama), hysterical mood (kilakincita), affection (mottayita), pretended anger (kuttimita), affected coldness (bibboka), lolling (lalita) and indifference (vihrita)”. Most of these things are nowhere to be found in the contemporary classical dance performance, especially this particular element: “Dishabille (viccitti) is the great beauty that results from the slightly careless placing of garlands, clothes, ornaments and unguents”. Well, a few schools occasionally allow the dancers to have lovelocks. LOVE-LOCKS?

If you want to see how the modern (western, to be precise) dance is different from true classical dance, look at the range of movements. “Moderation in the movement of limbs in all conditions, especially in Radiance (dipti) and in Lolling (lalita), is called Delicacy (madhurya)”. After the dancers grow beyond their early teens, their performances lose many of the involuntary changes, and all the delicacy, brilliance, charm and grace is gone, often thanks to the gurus’ over-corrections. Compare this girl and her again 4 years later:

The sahaja kind of changes is often replaced by some artificial (“clean”) robotic moves. “Erotic movements and changes of features which are not deliberate and which grow out of a tender nature, constitute Playfulness (lalita)”.

After 16, such spontaneous and uninhibited movements disappear gradually. “you realized the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away” Even if someone tried to restore these lost capacities, such attemps are as good as trying to attach a prosthesis to a semi-paralized body.

In America, like many people observe, they normally lose everything not by the age of 16 but much earlier: by the age of… 2.

when my mother last week corrected my abhinaya (expression) in a piece I’m preparing for a November performance, I’ll admit I was somewhat diffident about performing the piece at all. This was because I wondered whether there was even a possibility to capture such an emotion: the shyness exhibited by a young bride when her to-be husband touches her hand for the first time. I made several attempts at this expression as my mother repeatedly told me that my expression was far too bold and needed to look more coy. It made me wonder, however, if girls growing up in America are even capable of expressing the emotion at all.

No, the superficial NRI’s normally can’t: they are devoid of lasya. After getting used to the artificial strawberry flavor, they can’t distinguish it from the REAL strawberry. After watching too many Hollywood cartoons, they can’t distinguish hava from bhava. “Bhavas which are full of Sattva appear in the relation to the people of the opposite sex”, explains Bharata Muni in Chapter 24. “And the ordinary expression, hava, should be marked as relating to its various conditions. There emotion (hava) should be known as arising from the mind (citta) and manifesting itself in changes of eye-brows and the Recaka of the neck, indicative of Sringara”. Many Kalakshetra style teachers, such as Urmila Sathyanarayanan, condemn any recakas of the neck as…. “childish”! The reason we like children’s performances more is simple: they move their necks in a far more interesting way than the stiff-necked senior dancers. Children’s faces produce 1000 more expressions too.

Shrungara, bhakti, moral restrictions and religious prejudice

Madhurya-kadambini’s 7th Chapter says, “The devotees relishing different moods are of five types: santa (neutral), dasya (servants), sakhya (friends) vatsalya (parents), and madhurya (amorous lovers). The names of the ratis thus differ in them: santa-bhaktas have santi-rati (neutral mood), dasya-bhaktas have priti-rati (affectionately serving mood), sakhya-bhaktas have sakhya-rati (fraternal love), fathers and mothers have vatsalya-rati (parental love) and preyasi-bhava-bhaktas have priyata-rati (amorous love).”

Priyata-rati (amorous love) may be the highest form of Bhakti, but is also the most difficult to portray in dance, especially if the dancers know only 10% of the Natya Shastra’s arsenal. S Kalidas, former art critic with India Today observed, “When Devadasis were edged out of their traditional arenas by girls from urban middle class families, the art of abhinaya suffered. Middle class mores demanded that exciting sringara be replaced by boring bhakti.” Boring Bhakti??? Even the common uneducated audience of the pit and gallery lost their interest in the play. They got restless, and began to talk loudly and to whistle. The Jew manager, who was standing at the back of the dress-circle, stamped and swore with rage.

Shri Shri Radha-Krishna whose waists are graceful and playfully curved, whose broad hips are decorated with tinkling belts, whose delightful thighs are two graceful boats in an ocean of passionate amorous pastimes, whose lotus feet are decorated with tinkling anklets, the glorious moonlight of whose toenails makes millions of Kamadevas bow their heads in shame . . .

Caitanya-caritamrta mentions that Mahaprabhu came to distribute the four spiritual sentiments of Vraja loka: dasya, sakhya, vatsalya, and sringara. How come the dancers forgot Sringara and were content with expressions of piousness and devotion withing the boundaries permitted in the Middle East? The “morals” (Semitic customs) of the Arab and the British replaced the traditional Indian, Vedic values. Despite being prescribed by Agama Shastras as an intrinsic element of the Sodasa Upacharas, Natya was conveniently substituted by rice offerings. The Arabs invader in Egypt even cut off the falluses (that symbolised the creative power) of the statues of various Egyptian gods.

In the good old tradition of Inquisition when all beautiful women in Western Europe were burnt alive for “witchcraft”, the Pope himself stated that the Hindu gods and especially the seductive apsaras, such as Menaka and Urvasi, are highly immoral nymphs and evil spirits. For Chandralekha, Bharatanatyam itself has become a diabolical art! The pious Christians shrug on imagining Brahma chasing his own daughter. Is Kama Sutra still considered by the Christian clergy as the most dangerous work of Devil? How did the Indians abandon their ancient beliefs – and clothes? GenX believes Draupadi is merely an immoral woman who had too many husbands. But drinking imported brandy and dancing salsa in bars is now a high social status symbol.

Varieties of attraction , sex appeal, role of the imagination and “A Midsummer Night’s Dream

We have to distinguish between the attraction on the spiritual, intellectual, emotional and pranic levels. Someone with a spiritual inclination may be fascinated by a little flower. An idea may appear captivating to a philosopher. A voice may be entrancing to our aesthetic and vital mind. There is also the attraction that can turn on the animal instincts in a horny creature. Dogs are exited to sniff the fragrance of meat. A male spider is exited to discover a female spider ready to mate. What neither dogs nor spiders understand is how on earth (or rather, in the Middle East) the excessive sexual activity came to be looked down upon as a major sin while gluttony and alcoholism and other vices are still considered as “minor” weaknesses!

Prana, or vital energy, reflects the inherent duality of the manifest existence. Prana circulates very much like electricity: its intensity depends on the difference between the 2 extremes. Therefore the strongest pranic magnetism is between an extremely feminine woman and an extremely masculine man. On a full moon day too. Besides, you can experience the attraction on all levels only when that person is of your human type or of a higher type (see more detail below).

Perhaps, you would be curious to see Narthaki Nataraj’s comments on this score, wouldn’t you? As well as on the following, “The third gender of people will be hermaphrodites in whose case women’s gait, with the exclusion of their (partial) male character, should be applied”. At Bharata Muni’s times the third gender people did not have any problems identifying themselves as neutral gender. Today, due to the social stigmas imported from the Middle East, they try to identify themselves as either men or women. Narthaki Nataraj, despite being ineligible by Bharata Muni for performing Sringara items, still claims that he/she somehow “does” it. Pure fraud.

The Arab women wear burkas. Why? Many Sheikhs get sexually aroused whenever they see a woman’s hand or feet, and become totally insane whenever they see a beautiful woman’s face or, Allah forbid, her loose hair. At the same time, you may find on a nudist beach in Holland the demonstration that men there don’t at all get sexually aroused with all those naked beautiful women around. We may remember that the Indian women did not cover their breasts before the Arab invaders started to change our customs. Gradually, the customs of the barbaric invaders came to be accepted as “Indian” moral standards. Cricket became India’s national game.The violin became a “traditional Carnatic instrument”. The nude statues of deities started being covered in “proper” garments.

A visit to San Francisco, the world’s capital of the homosexuals, shows that some men or even women get to feel utterly horny at the sight of a piece of underwear or the sight of a pig. Even a car or a motorbike is presented to us as “sexy” in TV commercials. Will some try to rape their innocent vehicles or refrigerators one day?

Contrary to what you may imagine, it is not people that invented homosexuality, even if the western “culture” is now actively propagating it. Deprived of a female company for a long while, a sex-starved male dog will try to rape even male dogs without bothering first to check out their sex. If no other dogs are to be found, this dog will try to rape even an old rag (here is the origin of sexual fetishism), which probably appears to its imagination as a lovely bitch. Imagination is an essential ingredient in masturbation and homosexuality. With a good dose of imagination (or brandy), one can be attracted even to Kalanidhi Narayanan, Prince Charles or a pig.

lovely senior dancer

lovely senior dancer

When some rasikas enjoy the performances of Swapna Sundari, I get an impression they are eagerly masturbating. Not surprisingly, most of them don’t actually watch Swapna’s dancing but close their eyes and imagine some other dancers.

This type of imagination is rooted in idleness, a state unfamiliar to those seeking spiritual enlightment. These are not interested in any entertainment just to kill the time. In Shakespeare‘s “A Midsummer Night’s Dream”, Oberon punishes Titania’s disobedience by asking the mischievous Puck (who did Kama’s role) to apply the magical juice from a flower called “love-in-idleness”. (Note that Kamakshi’s arrows are made of flowers like kamalam, raktakairavam,kahLaram, indIvaram, sahakAram). Titania magically falls in love with an ass-headed crude laborman Nick Bottom the Weaver. The BBC reports’ (http://news.bbc.co.uk/2/hi/africa/4748292.stm ) headlines are: “A Sudanese man has been forced to take a goat as his “wife”, after he was caught having sex with the animal“.

Sringara: not all cultures and sub-races are created equal

Natya Shastra mentions 3 types of human beings, the noble, the average and the low. From the most subtle and refined to the most gross there may be but 6 steps. In the expression of Hasya rasa, a slight smile (smita), smile (hasita), gentle laughter (vihasita), laughter of ridicule (upahasita), crude laughter (apahasita) and excessive laughter (atihasita). Atihasita happens to be Kali’s attribute because Kali does not care to be attractive, she is the opposite of Lakshmi. Kali sports a garland of sculls. Not many women are like her. Every normal woman (except for those whose soul is a unadulterated vibhuti of Kali!) harbours a hidden desire to be considered as attractive.

The blossiming flower of youth

Sringara is associated with the blossoming of youth, says Bharata Muni

not Alarmel Valli

“Priya had left no stone unturned in her quest to be convincing as a beautiful Amba wronged by Bhishma, who is subsequently reborn as man-woman Shikhandi”

Priya Murle put it this way, “I often have quarrels with people who call me “fat”. I really feel bad about it. At times, I feel that I should do something about it and start working out”. Priya Murle said: “Why go after performances? I broke all the mirrors in my home after people started asking me why Sudharani allowed me a quota to try to pretend that I can still “dance” in her DVDs instead of Sri Devi”. The secret of remaining young is never to have an emotion that is unbecoming.

Natya Shastra’s 24<sup>th Chapter classifies women of various nature into different categories – and the sexual habits are one of the most important parameters. It would be a political blunder to publish a classification of the well-known dancers of today according to Bharata Muni’s categories: Devi, Asura, Gandharva, Raksasa, Naga, Bird, Pisaca, Yaksha, Tiger, Human, Monkey, Elephant, Deer, Fish, Camel, Makara, Ass, Pig, Horse, Buffalo, Goat, Dog and Cow. What if Chitra Visweswaran will be classified as… Yes, we are all different

The classification of human beings is further clarified by the following: “Prajapati manifests as Vishnu Upendra incarnate in the animal or Pashu in whom the four Manus have already manifested themselves, and the first human creature who appears is, in this Kalpa, the Vanara, not the animal Ape, but man with the Ape nature. His satya yuga is the first Paradise, for man begins with the Satya Yuga, begins with a perfected type, not a rudimentary type. The animal forms a perfect type for the human Pashu and then only a Manuputra or Manu, a human, a true mental soul, enters into existence upon earth, with the full blaze of a perfect animal-human mentality in the animal form. These are man’s beginnings. He rises by the descent of ever higher types of Manu from the Bhuvaloka—first he is Pashu then Pishacha, then Pramatha, then Rakshasa, then Asura, then Deva, then Siddha”. It means, genetically we are different. The lower you are on this scale, the greater foodie you are (which affects your waist line!), and the more addicted you can become to drugs.

Mylapore brahmin at the end of kali yuga

Mylapore brahmin at the end of kali yuga

Naturally, the more refined human beings will portray any relationship between a Man and God in a very different way from how the Pishacha actors would render it. Moreover, the rendering of a Pashu who has actually had no spiritual experience will be very different from the Asura who may have had some. “Women of the superior and the middling types should not use any lipstick” may sound like a heresy to the contemporary dancer’s ear – only if the owner of these ears believes herself to be wiser than Bharata Muni.

The abolition of the caste system may be a politically progressive step and it is very fashionably democratic to proclaim all people in Kali Yuga as equally shudras. But I cannot take it seriously even if a well-known modern dance Pashu writers like Sunil Kothari wants us to believe that “There is much scope for inter-changeability of the marga and the desi. This only indicates that in aesthetics we need not consider hierarchy – that one is superior to the other”. Well, in what kind of “aesthetics”? The westernized “modern aesthetics” now puts all art on the level of such “compositions” made out of garbage dump items. The true Indian aesthetics has always been founded on the Hindu spirituality which is by nature very hierarchical. In spirituality, we have to find out where the source of a particular inspiration lies, as there are many hierarchical levels.


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Alarmel Valli’s Bharatanatyam… or Odissi? The forgotten heritage of Chokkalingam Pillai, Subbaraya Pillai, the “functions” and the VIP’s.

(this post is based on the report by G.K.)

If you thought that Padams and Javalis are reserved for the elderly, out of shape grandma’s whose only body parts that can still somehow move is their face (well, even this is problematic if there is half a kilo of fat under your face’s skin!), you should watch Alarmel Valli.

The evening of 28th was officially dedicated to the memory of Subbaraya Pillai, and the Shivagami Petachi AUditorium was fully packed despite the fact that the only announcement of this event was a small note in last week’s Friday review. As Mrs. Parthasarathy declared, all the city’s elite gathered that evening to watch Alarmel dance, and no parking space left in the school’s compound. How elite were the VIP’s could be seen by how brutally some rasikas were forced out of their seats in the first row, followed by even more embarrassing evictions of the lesser VIP’s by the more “senior” VIP’s. The fight for the first row seats reminds me of Subbaraya Pillai, who refused to sit in the first rows and was resentful of all these cheri VIP’s. Doesn’t Alarmel Valli gets annoyed while communicating with them? She probably does. On the other hand, just like Subbaraya Pillai, Nandini Ramani was seated in some 20th row on the 28th August.

Alarmel was indeed dancing well, as usual her dance was marked by midukku with liberal use of ottam adavus, light jumps, incredible coverage of stage space, a kulukku in her walk, talukku, an alakshyam as she flicks her wrist in the ullaasa nadai. Every slightest move was fully controlled and chiseled, lending it the artistic, and sometimes artsy, finish. Why Alarmel keeps doing mostly the same padams and javalis every time she does a performance in Chennai is bewildering. Anyway, she has changed her vocalist this time, and Savita Narasimhan was indeed singing with a delicate and powerful voice. Valli can afford to hire the best musicians, that’s for sure.

Alarmel Valli’s “style”, if we can call it so, involves the elements that few other dancers can emulate. The soft and delicate movements are alternated with the sharp, accentuated moves that are probably aimed at not letting the rasikas fall asleep. Every hand movements are supported by the foot movements. And every step is done to the talam. (Something that I very rarely see!). Every “simple” movement is meticulously elaborated into a super-complex set. I noticed that the number of bhedas (and the range of their speeds and amplitudes) that she uses is considerable greater than any other dancer’s. Priyadarshini Govind or Urmila Sathyanarayanan are nobodies compared with Alarmel.

Alarmel’s background in Odissi could be seen in very rich and complex torso movements (some borrowed from Mohiniattam!) that “normal” Bharatanatyam dancers forgot about thanks to the founder of Kalakshetra’s efforts. (Is this why so many professional Bharatanatyam dancers in Chennai take Odissi or Mohiniattam classes , I wonder?) Another thing they could learn is how to control their eye lashes. Alarmel has mastered these to a great extent. Usually, people are not even aware of how they open and close their eyes. But it does produce a very powerful effect.

Mrs. Parthasarathy rightly observed that Alarmel Valli’s expressions do not cross that border after which they would turn into grimaces. I wonder how most of our other “senior” bharatanatyam exponents manage to produce so many ugly faces!

In the Yugame padam Alarmel Valli was portraying a miserable woman who was left by her lover. It was an attempt to depict a devotee’s anguish at the separation from the Lord. It appeared that Valli has had no actual spiritual experience that alone would lend this padam more depth.

In another padam Valli was attempting to depicting a mother who was coaxing her child to come and eat something. The child was supposed to symbolize the devotee’s soul who is turned away from the lures of the world. For anybody who has had this spiritual experience (if you had it, you can very easily recognize the other people who had the same experiences), it was obvious that Alarmel Valli has never had this direct spiritual experience, which rendered her padam rather weak.

Another padam that Alarmel did was about a woman who had an intimate encounter with her lover the previous night. This man embarrasses her in public by behaving in a rather rude manner. The spiritual symbolism here is quite obvious for anybody whose social life has been deranged by the direct spiritual experiences (if you watched Jim Carrey’s “The Liar”, you would realize how much a “successful” bharatanatyam dancer has to lie to reach the “top”). In fact, tears filled in my eyes, as the theme of this padam brought out the memories of certain realizations. The tears came before Valli started dancing.

There were no tears while I was watching Valli dance. The impression I had was like… While visiting some friends, I saw some nice fruits on the table, thinking that these fruits are so nice. On coming closer, I realized that the attractive looks were misleading: the fruits were made of plastic. Alarmel Valli’s padams and javalis are sometimes like the perfectly-shaped and perfectly-colored apples, grapes and bananas which, nevertheless, are of little value since you cannot eat them. These will not provide the sustenance for your soul’s spiritual hunger…. The artsy Bharatanatyam items have no real flavour, no taste, and are hollow inside.

If Amarmel Valli was a bit more open-minded and less proud of her achievements, should take abhinaya lessons from some 9-year girls. After all, Lalitha Sahasra Namam describes Devi as “Dhurga who is a nine year old girl” (not an old grandma). At this age, our abhinaya is not yet disconnected from our soul.

I always wonder why the “functions” are held before the end – not after – the performance. Had it been after the performance, the VIP speakers would surely face a very embarrassing situation with 99% of the spectators leaving before the speeches start. Mrs. Parthasarathy was again trying to promote her PSBB, stressing that many PSBB students are learning at Alarmel Valli’s Dipasikha. She did not want to embarrass Alarmel Valli by asking why in the past 4 years there have been just one or two solo performances in Chennai by Dipasikha’s students. Alarmel Valli brought one to dance in Chennai from… the USA, where Alarmel spends a lot of her time. Does she follow Subbaraya Pillai’s tradition and teach very talented students there regardless of how much they pay? She teaches only one-to-one, right? Business skills are not the only thing that Alarmel Valli learnt in America: about 5% of her movements (aimed at impressing the average American cowboy) clearly appear to be borrowed from artsy ballet and modern dance. That’s the application of lokadharmi, isn’t it???

Another speaker who was boring the rasikas was Dr.R.Nagaswamy. In his senile imbecility he referred to Chokkalingam Pillai’s relation with the 108 karanas. (There is no way Alarmel can do the more difficult karanas – unlike this young dancer). Why neither Chokkalingam Pillai nor Alarmel Valli wanted to talk about karanas is very simple: neither of them has ever known how to perform these. And the aging Alarmel is a bit too lazy to spend much time on getting fitter. Another idiocy that Dr.R.Nagaswamy was dwelling on was his idea of making a memorial in Vazhuvoor. Why this village has long forgotten anything related to Bharatanatyam is up to Chokkalingam Pillai to answer. Indeed, why did most of these village dance teachers left their villages and settled in Indian cities? Or American cities?

In a Sruti magazine’s article of February 2002, we find many revelations.

To the question, “I read somewhere that, according to a treatise on abhinaya, one of the chief qualities of a dancer is that she be beautiful…”, Alarmel replies, “I would like to think that for a dancer it is her inner beauty that counts. Take the example of the late T. Balasaraswati, one of India’s greatest exponents of abhinaya. I have been transported, watching her perform at 60.She could make you see her exactly as she wanted you to see her. If you looked at her, you would see a beautiful, young, charming girl of 16″.

The inner beauty…. well, even the ugliest K.J.Sarasa are very beautiful inside if they are famous, rich or powerful. Alarmel is quick to dismiss the ancient scriptures as nonsense, and believes that both Bharata Muni and Nandikeshwara are idiots as they believed that natya in its material expression is to be the expression of the physical body too. But when Alarmel has to choose between a politically correct answer (“when we describe beauty, it is inner beauty and aesthetics we are talking about”) and an honest answer.

Alarmel Valli still is quite sober: “Let me tell you something. Never take too seriously what dancers write! Even scholars are prone to make mistakes – not only factual mistakes but ones relating to interpretation as well.”

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! 🙂