Movements of Head - Part - 4

Once, I read an interview of the Great music director, A.R. Rehman. He had mentioned one thing which all of us should think about. In Western countries, Musicians want their children also to take up music in life. It is not so in India. When proper ‘Varnaasrama Dharma’ prevailed, music was profession for many families, for many generations. Even today, you can see the same in the field of cinema. In music and dance, it is comparatively very less. But one consolation is that many still have the art forms as passion if not profession.

Classical Music and Dance forms survived so long, is not just because of people who performed extensively, getting lots of awards and drowning in fame. Lots of music teachers, music lovers, connoisseurs, composers and organizers have contributed immensely to the music world. If you can, someway or the other, contribute at least a little towards the field of music and dance.

HEAD MOVEMENTS - CONTD

11. PARAAVRTTA

Usages – 1. Anger, 2. Shyness, 3. Avoid the sight of anything, 4. Turning the head and looking back.

Definition – Head turned and looking back.

12. UTHKSHIPTHA

Usages – 1. Looking at objects far above, like the sun, the moon and the sky.

Definition – Head and the face raised up.

13. ADHOMUKHA

Usages – 1. Shyness, 2. Sorrow, 3. Obeisance.

Definition – Face looking down.

14. LOLITA

Usages – 1. Sleep, 2. Illness, 3. when possessed by spirits, 4. Drunkenness and 5. Fainting.

Definition – When the head is turned in several directions without control with languid eyes.

Head movements will be continued in the next post.

‘Bagavad Gita’ says, “Do your duty. Do not worry about results”. Learn the art forms. What we are  going to do about it, can be decided later. You can keep it as your profession, passion, hobby or just time pass. It doesn’t matter. The art form will be with you till the end, as your friend. 

Head Movements - Part - 3

A dancer or musician should develop all round talent to become complete in her or his own field. ‘Swara gnana’, the capability to notate, ‘Laya Gnana’, the capability to keep perfect rhythm are most important for musicians and dancers respectively. This will help them Compose, Choreograph and Conduct their own shows. These 3 Cs make them the all rounder of the field.

Dance cannot survive without music. So, every dancer should have good knowledge in music. If not, the dancer at all times will be dependent on someone for every detail, needed to conduct her or his own shows. Next comes language. Develop language skills at least to a particular extent. Lyrics and meanings are extremely important in the area of expression in all Indian Classical Dance forms.

Head Movements

9. ANCHITHA

Usages – 1. Indicate pain, 2. Anxious thought, 3. Loss of conciousness.

Definition – Head bent slightly towards one side.

10. NIHANCHITHA

Usages – 1. Embrace, 2. Attractive Delicacy, 3. Indifference due to pride and self-satisfaction in having secured the desired object, 4. Laughter and weeping in excessive joy, 5. Emotion shown at the mere sight of the lover, 6. Pretence of pain while experiencing joy, 7. Wounded pride during a quarrel, 8. Shy-stillness of a newly-wed maiden.

Definition – Shoulder tops are raised and the neck sinks down.

In this particular Head movement, the usages are given specific names. I am going to mention the respective names for the above mentioned usages. 1.  Vilasa, 2. Lalita, 3. Bimvoka, 4. Kilakinchita, 5. Mottaayita, 6. Kuttamida, 7. Maana, 8. Sthambha.

We will continue this in my next post.

The most evolved Dance and Music forms are Indian classical Dance and Music forms only. They are unparalleled any time any where. But it needs lots of good effort to learn and understand them. Things too easy are not good for the mind. Things too tasty are not good for the body. Indian Dance and Music are extremely good for both mind and body.

Head movements - Part-2

Dance and Music are part of everyone’s life. Festivals become festive and complete only with music and dance. They are also considered as forms of worship. While doing Pooja for Gods and Goddesses, there will be verses, ‘Geetham sravayaami’, meaning, ‘offer music’. ‘Nrttam Darsayaami’, meaning, ‘offer or perform dance’. As I said, music and dance are part of worship. Most songs performed in classical music and dance are related to God and religion. There are some which are patriotic, which have the same sanctity as God and religion.

Today (15^th of August) is India’s Independence Day. This is celebrated not only with flag hoisting but also with music and dance, all patriotic. Patriotic songs of Subramanya Bharathi are my favorite. His ‘Aaduvome Pallu Paduvome’ says that we should sing and dance in happiness that we have got Independence. He left this world long before we got Independence. But, his songs live on as we sing them every Independence Day.

We will continue with the head movements.

5. KAMPITHA

Usages – 1. Express comprehension, 2. consent, 3. Anger, 4. Reasoning, 5. Questioning in haste.

Definition – Shaking of the head up and down in quick succession.

6. AKAMPITHA

Usages – 1. Introducing somebody, 2. Giving instructions 3. Offering a seat to someone.

Definition – Shaking the head twice, leisurely.

7 .UDVAAHITHA

Usage – 1. Denoting one’s confidence in his or her own abilities.

Definition – Raising of the head once.

8. PARIVAAHITHA

Usages – 1. Express wonder, 2. In laughter, 3. Jocular pranks with a lover, 4. Approval.

Definition – Revolving of the head on all sides in a circle.

We will continue ‘Head movements’ next week.

Quiz on music and dance should be conducted very frequently for students, to get more knowledge in the field. Once, I had the opportunity to do so. But it needs to be done frequently by many people in many places to make it a success. They should be conducted more in smaller places, for the students with less exposure to the field.

Movements of Head - Part - 1.

Looking at someone, we can find out, whether they are angry, sad, happy, indifferent, proud, afraid etc, etc. How? By looking at their body language. This body language is handled beautifully by Bharatha in Natya Shastra. Movements of the body parts and their usages are based only on this. You will be amazed to find out, that even the minutest of detail is never left out. Nothing, absolutely nothing is forgotten.

There are nineteen head movements mentioned in Natya Shastra. I am going to mention the names, few usages and definitions side by side. I am going to explain the usages and then give the definition. This will give a better understanding than giving the definition first.

1. DHUTA

Usages – 1. Looking from side to side. 2. Restlessness. 3. Sorrow. 4. Saying no.

Definition – Head slowly moving from side to side.

2. VIDHUTA

Usages – 1. Shivering with cold, 2. Having fever, 3. Fear or terror striken state.

Definition – Swiftly moving the head from side to side.

3. AADHOOTA

Usages – 1. Self-confident state, 2. Feeling proud about one’s own looks.

Definition – Head raised upwards one side.

4. AVADHOOTA

Usages – 1. Conversation with someone, 2. To ask somebody to sit.

Definition – Head lowered once (Nodding).

We will continue next week.

When teachers try to explain something to their students, it should always be done with an example. First give the examples and then give the definition. That is exactly what I have followed here. First, I have given the usages and then the definitions. This will definitely create a better understanding of what is being taught. See you all next week. 

Learning and Mastering Basics.

How important is it to learn the basics? In school we start with the alphabets. In music, with the seven notes, ‘SA, RI, GA, MA, PA, DA, NI’. In dance, with the Adavus or Steps. Learning is not just memorizing. Learning is mastering every detail, so that you become ready for application, for creating quality outputs. Everything has to be done step by step to achieve what you want.

Why did I talk about step by step learning? Let me explain. In my last post I said I will be talking about the 108 Karanas one by one. But then I realized, for that we need to first deal with the movements of each part of the body separately. Not just the movements, but also the usages of every movement of different parts of the body are clearly given in our Natya Shastra.

Parts of the body are divided into ‘The Principal limbs (Angas) and The Subsidiary limbs (Prathyangas). The principal limbs are 6 in number. 1. The head, 2. The hands, 3. The chest, 4. The sides, 5. The hip and 6. The feet. The subsidiary limbs are also 6 in number. 1. The neck, 2. The arms, 3. The back, 4. The belly, 5. The thighs and 6. The knees.

The limbs are again divided into ‘Parts of the limbs’. The head is divided into 12 parts.  They are 1. Sight, 2. Eye-brows, 3. Eye-lashes, 4. The pupils, 5. The cheeks, 6. The nose, 7. The breadth, 8, The lips, 9. The teeth, 10. The tongue, 11. The chin and 12. The face. The other ‘Parts of limbs’ mentioned are, 1. The heels, 2. ankles, 3. The toes, 4. The fingers, 5. The palms and 6. The soles. We will start the details in our next post.

How do we measure success or achievements? Is it the money or the fame or self satisfaction?  I think, each one measures it in a different way. All the above three are very important. I think it is more than the above three. Thirst to learn more! Michael Angelo, the greatest Italian Artist (Painter and Sculptor), at his age of 90 said that he never attained the perfection he wanted! Also we should remember, everything else is success except quitting. Every time you fail, make sure you fail better. Then, you are on the right path towards success.

4th chapter - Tandavam

Both the Devas and Asuras wanted to get the ‘Amrta’ or the divine nectar which gave immortality who drank it. With mount Meru as the churner, snake Vasuki as the rope Devas and Asuras churned the ‘Par Kadal’ or the ocean of milk. Mount Meru started sinking. Vishnu took the form of tortoise (Kurma Avtar), and lifted mount meru to the surface of the ocean for the churning to continue.

Lot of Divine objects came out of the ocean. Goddess Lakshmi also came out during the churning. She married Lord Vishnu. At the end ‘Danvantri’, came with the pot of Nectar. Lord Vishnu dressed as ‘Mohini’ (beautiful woman), shared the nectar only to the Devas who became immortal. The Asuras didn’t get any. A war followed between the Devas and Asuras which obviously the Devas won.

The above story is the one which Brahma asked Bharatha to choreograph and later on performed before the almighty Lord Siva. The 4th chapter of Natya Shastra starts with this. Real details of grammar of Natya begin in this chapter. Simultaneous movements of hands and legs are named ‘Karanas’. They are 108 in number. Collection of few Karanas is called ‘Angaharas’. The Angaharas are taught to Bharatha by ‘Tandu’ on the instruction of Lord Siva.

The ‘Samvakara’ (Dance drama), mentioned in the 1^st paragraph is named ‘Amrthamanthana’. We will see all the 108 Karanas and all the Angaharas in detail one by one. Since Tandu taught the details to Bharatha the dance with masculine nature came to be known as ‘Tandavam’.

The first performance presented, according to Natya Shastra is a dance drama, not a solo. But today, lot of individual performances are performed compared to group presentations. This trend is becoming dragging and boring. Also, good music and dance teachers are needed in smaller towns, now available only in big cities. This will create a better opportunity, not only for the music and dance students living in smaller towns but also for the art form to have a better reach all over the country. 

The elephant God

Before beginning anything important, Lord Ganesha is invoked. He is the remover of all hurdles or obstacles. This reminds me of the story of Siva, ‘Tripura Samhara’. In this story, Siva burns down 3 demons to ashes with a single smile. While starting on a chariot, with Brahma as the charioteer, Siva forgets to invoke Ganapathy. The chariot refuses to move. Siva realizes His mistake, and prays to the elephant God. Vishnu, taking the form of a bull, pushes the chariot from behind. The chariot starts. Siva finishes His job.

Why did I start with the above story today? In the third chapter of Natya Shastra, all other Gods are mentioned. Lord Ganesha is never mentioned. This is a surprise for me. After prayer to all Gods, the teacher performs the Havana or Homam. He breaks a pot, which signifies the destruction of all obstacles. Then a fight is caused in which small wounds and lacerations occur and blood spills around. The spilling of blood is a good omen for the success of the performance. Also, intellect, mind and memory are conceived as deities and prayed. Also it is mentioned, ‘Any devotional rite is bound to increase spiritual power if there is adequate faith’.

This chapter speaks in detail about prayer, Gods of Hindu religion, how to pray to each God, what to offer etc. Madhuparka (mixture of honey, curd, ghee, water and sugar) and Payasa (milk pudding), are mentioned, which are used as offerings even today for most festivals. This brings us to the end of the third chapter of Natya Shastra.

‘Carnatic music’ is the most adaptive music as much as I know. Madurai Mani Iyer’s ‘English note’, popular until today is a good example. Also, violin, Guitar, Saxophone, Clarinet, mandolin, Key board etc are western instruments very popular in Carnatic music. Indian instruments are comparatively less in number. Even though they are western instruments, music is ours! No westernization. Indianization of western instruments!