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! 

Adoration of the Gods of the stage

Hi! Usually I update my blog with a new post on Friday nights or early Saturday mornings, so that it will be available for every one to read on Saturday. But today is Monday. ‘Better late than never’! Is it not? A true example for this saying is none other than ‘Rukmini Devi Arundel’. She was the founder of the great dance institution, Kalakshetra. She learnt Bharathanatyam at a later age in her life and did her Arangetram at the age of 36. Kalakshetra until now stands as one of the best dance institutions in the world.

As I mentioned in my earlier post, I want to give you the names of the commentators of Natya Shastra who lived in the early centuries A.D. They are Lollata, Udbhata, Sankuka and the most famous is Abhinavagupta. Natya Shastra is very voluminous as most other literature of early periods. This is the reason why such books did not become popular.

Now, let us enter the 3^rd chapter of Natya Shastra. The topic is ‘Adoration of the Gods of the stage’. The first mentioned is Cow. Cow has to be kept in the dramatic house during the worship. Brahmins will chant the Mantras. Natyacharya or the dance teacher should consecrate the play house. Lord Siva, Vishnu, Indra, Guha, Lakshmi and many other Gods were worshipped. The Gods are prayed for protection during the performance. Then, ’Jarjara’, Indra’s missile is prayed for the destruction of evils and protection of the play house.

Writer ‘Kalki’ had a great sense of humour. His earlier writings are being published every week in the weekly magazine Kalki. Once he was watching a dancer performing the song, ‘Krishna nee Begane Baaro’. A young man and woman were seated next to him. They both were trying to find out the meaning for the song. The man came to a conclusion that Krishna wants to borrow (the song says baaro) something. Later Mr. Kalki explained that it means, 'Oh Krishna come here quickly'. Baaro means ‘come’ in Kannada language.

Time Period of Natya Shastra

In Hindu rituals 11, 101 are all auspicious numbers. Offerings are made to Gods in these numbers. So, I also took a break after my 11 weeks of blog writing! You don’t believe me? Ha-ha. The true reason is, my house got painted. Now, speaking about paints and also offerings, it reminds me of the colors used for the offerings for the various pillars constructed in the play houses. For the Brahmin stambha (pillar), white offerings symbolizing purity and knowledge were used, for Kshatriya stambha red offerings symbolizing strength and valorous exploits were offered and for vaisya stambha yellow offerings symbolizing gold were used. Vaisyas being tradesmen who dealt with gold, yellow color is justified.

Now, let us talk about the 3^rd type of play houses. The play house as well as the stage is triangular in shape. One door is at the corner of the play house and the other door is at the back of the stage. The rest of the rules are the same as the square play houses. This play house carries the name, ‘Trayasra’. This brings us to the end of the 2^nd chapter of Natya Shastra.   

In the introduction of the English translation of Natya Shastra by ‘Sathguru Publications’, the time period of Natya Shastra is discussed in detail. One thing which caught my attention is the interpretation of the name Bharatha Shastra. Bharatha is a term used for an artist or performer and Shastra means rules. So Bharatha Shastra can be expanded as Rules for performing artists. The commentaries for the book were written in early centuries A.D. Then, is it not written by Bharatha? The feasible explanation can be this. Just as our 4 Vedas Natya Shastra might have been given to generations verbally without any documentation. Later on in early centuries A.D. it was documented by scholars. We can see the names of these scholars and discuss this in detail next week.

A few years back during a dance lecture, there was a discussion on Tandavam and Lasyam. Tandavam is the masculine, strong and powerful dance of Siva. Lasyam is the feminine, soft and garaceful dance of Shakthi. Don’t take it as Tandava is the dance of males and lasya is the dance of females. Why? Let me give you the examples. When Siva dances it is Tandavam. When Parvati or Shakti dances it is Lasyam. When Kali dances….? It is Tandavam. When Krishna dances with Gopikas…? It is Lasyam. It is the masculine or feminine nature of the dance form. Not the male or female dancer.

Square Play Houses

Sometimes, greatest of thoughts may come from humblest of people. Once a court dancer, singer wanted Swami Vivekananda to watch her sing and dance. Swamiji being a sanyasi (saint) refused her request, saying that sanyasis should not indulge in such art forms as the person performing may lead their mind away from God towards worldly pleasures. But he decided to hear her sing from his room. In her song she questioned Swamiji how he can see her different from others, who always says all souls are same and potentially divine. The greatest practitioner of Advita was stunned at this question. He immediately left his room, went in person to the performance and even apologized to her.

The characteristics of the play house we spoke until last week were all characteristics of rectangular play houses. Let us see how the Chaturasra or square play houses were built. The plot should be an exact square, divided into the requisite parts by means of a measuring string. Strong bricks were used for the construction of the outer walls. Inside the stage ten pillars are to be raised in the relevant directions. These support the roof. Externally to the pillars seats are constructed in the form of galleries. Successive rows are little higher than the previous ones for the audience to watch the performance clearly. The seats should overlook the stage.

More pillars are raised in order to support the roof of the play house. Proper fasteners are to be used to fix the pillars to the roof. They are then decorated with sculptures. The green room is to be constructed scrupulously. One door leads to the stage. Another door faces the auditorium. In case of rectangular play houses the plinth in which the green rooms are built is higher than the stage. In square play houses, both the stage and green rooms are at the same level.

Concentration is very important while performing dance. Once, a friend of mine was performing ‘Parijatha Patalam’ of Krishna. In this, Rukmini is supposed to take a flower and smell it. My friend acted taking the flower in her hand and lost concentration at that point. Instead of smelling the flower, she nicely put it inside her mouth. We friends sitting with the audience looked at each other and tried not to laugh.

  

No lights and mikes! How was it then?

People usually ask me, what we actually achieve from learning art forms like classical music and dance. The achievement they are talking about is popularity and money. Money is very important for life. No argument there. But, what do we need money for? That is the question. For getting education to earn more money? For buying gold and silks? For extravagant life style? For status? Most of the people will answer these questions, yes. Remember, art forms will help you relax in the right way and make you concentrate more in your work, so that you can earn more money. Or they will help you have peace of mind when you are not able to earn the amount of money you wanted. Remember. Needs and wants are very different.

There are degrees of popularity. You may be popular inside your house, within your near and dear, within your town or city, in your state, country, or more. Learn art forms just like learning sports like cricket or shuttle cock. If you achieve, great! If you don’t, still your knowledge will remain your friend.

Natya Shastra.

After the construction of the plinth of the stage, comes the decorative part. Wooden decoration consisting of ornamental designs, animal figures like elephant, tiger etc, are done. Latticed windows are fixed in different parts of the floor. After this, a furnishing touch is given to the walls.

Air-conditioners were not available then, right? Mikes and lights were also not available! So, they have to plan perfectly so that there is enough light and air for all. There should not be too much of disturbance from outside for the viewers. Then only, the performance will have complete reach to all inside the playhouse. How did they achieve it? Let us see. The playhouse should resemble a mountain-cave and consist of two floors of different levels with small windows. Windows should be of right size and too much of wind should not blow in. It should enhance the acoustic or audio quality so that sound of musical instruments and the utterances of actors are perfectly audible.

After finishing the construction of walls the plaster work and white washing is done. Thereafter, painting work is under taken. Men, women, creepers etc are painted decoratively on the walls. All the details spoken about until now, is for the rectangular playhouse. What about square and triangular playhouses? We will see next week.

Kalki’s ‘Ponniyin Selvan’ (drama), is coming alive on stage. Historical dramas have become very rare. I had the opportunity of watching a few dramas of the great historical drama artist and movie villain ‘Manohar”. Details like fish in water, rain, mountains etc used to come alive on stage with lighting, screen drops and sound. No animation! Three hours of visual feast!

Construction of pillars

One day I met a lady doctor in a shop. She saw my children carrying a violin (we were on our way back from their music class) and started talking to us. She herself had learnt good music under a great teacher during her school and college days. After conversing for a few minutes, she said, ‘I think, the music I learnt was a waste. I don’t sing any more’. I immediately said, ‘People who know good music can appreciate the art form better than just listeners’. She didn’t agree. She said, ‘All people speak about music today and what is great about appreciation?’ This shocked me. More people appreciating classical music is to be welcomed. Not complained about. She seemed to be disappointed about not being one of the few to be appreciating and knowing the great art form. Wrong thought.

Now, on to Natya Shastra.

Followed by the foundation stone, pillars are erected on an auspicious day with star either Rohini or Sravana. The preceptor or teacher fasts for 3 days and erects the pillars at dawn when the auspicious moment arrives. Four pillars are erected in four directions in relation with the four different varnas. After the pillars are erected, musical instruments are played, and the following prayer is chanted. "Just like the Meru mountain cannot be shaken and the Himalaya remains firm, the construction should also remain firm and unshakable. Victory be to King".

On either side of the stage, side rooms are built furnished with 4 pillars. These side rooms are given the name ‘Green rooms’ today where the artists put make-up and gets ready for the performance. Natya Shastra calls it ‘Mattavarani’. Each Green room is furnished with 2 doors.

Now comes the most important part, ‘construction of Rangapita or Stage’. Ground has to be ploughed and cleaned thoroughly. Earth or mud is to be carried in new baskets. All the workers engaged should be free from defects in their limbs. The entire stage head or surface of the stage is to be very carefully constructed. It should not resemble the convex backs of tortoise or fish. It should be as flat as the surface of the mirror. Enough for today? Fine.

Once the great ‘Madurai Mani Iyer’ was asked for a performance during the inauguration of a Sabha. Immediately he asked, ‘How much money’? The members of the sabha who had gone to meet him thought that he was talking about his fee for the concert and said, ‘How much ever you say’. Mani Iyer answered, ‘ I am not talking about my fee. I want to contribute something for your sabha. So let me know how much I should donate’. This, not only shocked them but should shock each one of us today, to think straight. Also, he recommended D.K. Pattammal for the first concert and gave his own later. Ethics, Values and Virtues should not be forgotten.

Foundation Stone for the Dramatic Hall

Just like Natya Shastra, one other important book of grammar on Natya is Abhinaya Dharpana. Most of the theory, taught in dance schools today is all based on Abhinaya Dharpana. The author is Nandikeswara. We will talk about this book or even compare it with Natya Shastra later. We will continue with the construction of dramatic hall today.

Plot will be divided after appropriate measurement. Foundation stone is laid with pomp and splendour with playing of musical instruments. Even today, playing of melam or Thavil and Nadaswara is considered auspicious in the beginning of any important event.

During the night, offerings are made to the guarding Gods. They are offered flowers, fruits, food stuffs etc. Details of what needs to be offered is also given very precisely. Offering made to the God of east should be white in colour. So, it is white cooked rice. Yellow in case of west, red in case of north, blue for south. Mantras are to be chanted in regard to the deity presiding over the different quarters.

Ghee and milk pudding should be given to scholars at the time of the foundation laying ceremony. Madhuparka, a mixture of honey, milk, ghee etc, will be given to royal personages. Rice will be given to action participants. Foundation stone should be laid during the auspicious lunar day with the constellation moola. We will see the erection of pillars in our next post.

Teachers who teach music or dance should have the ability to understand the capability level of each student and act accordingly. Some students may get it in one or two times of learning. Some may take twenty times. Teacher should have the patience to teach accordingly. Parents should understand one thing. Your child may be faster or slower than his or her friend learning from the same teacher. Do not blame the teacher if he or she  is little slow with your child. Remember, long term commitment is needed. Give your child ample time to learn and improve himself or herself. Any art form learnt will be a lifetime friend for anyone.

The Hindu's Friday review carried an article on the great S. Rajam, who was a great painter as well as a great Carnatic musician. The painting we see everywhere today of the Trinity of Carnatic music, Saint Thyagaraja, Muthuswamy Dikshidhar and Shyama Shastri is the painting created by Sri. S. Rajam. One thing which I would like to mention is, his attached importance to the concept of 'suddha swaras' or pure notes. Harmonium can be called a suddha swara instrument. Even though gamakas play the most important part in Carnatic music, too much of it makes the concert unpleasant. Little of pure or straight notes in the rendering makes it pleasing. Bye!

Play House Construction - Natya Shastra Chapter 2

I am amazed at the precision and details given in the second chapter of Natya Shastra. There are detailed specifications for building the play houses. The measurements in building these play houses are given very precisely. I am not going into too many details as it is practically difficult to follow everything today.

Three types of play houses are mentioned. Very big play houses are meant for Gods, medium ones for royal personages and the small ones for ordinary people. Very big ones are not preferred, as the dancers lose their individuality. Also, Abhinaya portrayed by dancers will not have the needed reach and effect with the viewers.

How to build a play house suited for human activity? Brahma describes in detail. First step is to examine and measure the site, where the play house needs to be constructed. Next, the soil on which the play house has to be erected should be plain, firm, hard and black or white. Then, the ground should be cleared neatly by ploughing and removing unwanted things from the soil. We will talk about details regarding measurements in my next post.

We were talking about student-teacher relationship in our previous post. The student , especially the parents should believe that the music or dance learnt is great. Long term commitment is more important than talent itself. Do not always get carried away by others' opinions. Think twice before changing the teacher. Don't act or decide in anger or in a bad mood. Wait until you can think straight.

Do not argue with the child that the teacher is always right. Explain the problem in a way they can understand. Just like them, the teacher will also commit mistakes sometimes. So, the parent should make the child understand and accept the teacher's mistake. Long term relationship is very important with the teacher. The child should be able to accept the teacher just like his or her parents.

I spoke about Odissi dance in one of my previous posts. Recently, the 10th death anniversary of the great obissi legend Kelucharan Mohapatra was celebrated in Bhuvaneswar, Orissa. Most of the odissi dancers and dance gurus today were his students. I had the opportunity long back to watch him live on stage along with his senior students. I still remember him on stage, whose movements were beyond perfection.

See you all next week.

A nut shell of the 1st chapter of Natya Shastra.

Hello every one,

Today, we will be completing the 1^st chapter of Natya Shastra. I am continuing from where I left last week. Brahma, after finishing his details about the representations in the art form, continued, by saying that praying and offering pooja to the stage is very important before starting the performance. Also, Vigneswara, Maheswara (Shiva- the Lord of dance) and Brahma (author of Natya Veda) are invoked before the performance.

The 1^st chapter in a nut shell, brings out , how the people related to Natya should be.   

1. The poet composing the literary piece should be as creative as Brahma, the creator of the Universe.
2. The sponsor and the stage manager should have the organizing ability as Indra.
3. The preceptor (teacher) should be as versatile as Bharatha himself.
4. Sons of Bharatha and the celestial Damsels can be compared to the male and female dancers respectively.
5. The instrumentalists should be as knowledgeable and experienced as Sage Svati.
6. The person in charge of music should be great like Sage Narada.
7. Last but not the least, the people who visit the theatre should have full aesthetic sense and should not have prejudices any way.

This brings us to the end of the 1^st chapter of Natya Shastra. The 2^nd chapter is about the characteristics of the Play House. We will start the fresh chapter next week.

I want to talk about problems related to the Guru or teacher. I would like to insist one point here. Popularity is different from accomplishments. So, please don’t run behind just brands while selecting a teacher. After you start your classes with the teacher, be patient in matters concerning the teacher – student relationship. Parent plays a major role in maintaining the relationship between the child and the teacher.

Just like you adjust to the problems with your school teachers, adjust to your music or dance teacher too. Just like doing your school home work, practice the art regularly. This will make your teacher feel good about you and also himself/herself.  Practice will make you improve which in turn will induce more interest which will again make you practice more. Trust your teacher thoroughly. Do not, I repeat, do not expect immediate or quick results. Long term commitment, patience and perseverance are very very important. I will speak more about this in my next week’s blog too.

This week’s ‘The Hindu’ brought to our attention that the Great dancer Bala Saraswathi’s 96^th birthday falls on May 13^th. She was called the ‘Queen of Abhinaya’. Bharathanatyam is so well known in the west now. This is mainly due to Bala. She is the only dance exponent until now who received the ‘Sangeetha Kalanidhi’ award from ‘Music Academy’, Chennai.

Characteristic Features of Natya

Namaskaram.

I have a request for my readers. Please read my blog posts in order from the first one to get the continuity in the details regarding Natya Shastra. Please post your comments, so that I will be able to correct myself in areas where I should.

Today I want to tell you about the characteristic features of the Dramatic Art as told by Brahma in Natya Shastra.

Everything, literally, everything that exists is depicted in the art form. Piety, wealth, peace, laughter, fighting, love are some to be mentioned. How does everyone get benefited through the art form? It admonishes the uncivilized and ill natured, encourages self control and discipline, makes the coward bold. The heroic ones are given more incentives, men of poor intellect are enlightened and the wisdom of the learned is enhanced.

Sorrowing people receive solace, agitated men derive composure and comfort from it. It even teaches ways to acquire wealth. In a nut shell, Natya gives encouragement, amusement and pleasure along with sound advice to every one. No wise utterance, arts or crafts is omitted or ignored in it. Vedic anecdotes, stories from mythology and history are so utilized as to give pleasure to those who witness. Brahma finally says, a close imitation of the Gods, kings and householders and their day-to-day activities represented through gestures is called Natya.

In today’s education, academics take the major role. Extra curricular activities like arts and sports are pursued as hobbies. Nothing wrong in this. One thing we should all understand is, they are not just hobbies, but also good entertainment and relaxation. So, one should make sure that they continue doing any one of these activities one way or the other for a long time in their life. You may not be a full time performer or a professional but still can be an appreciator. You can still enjoy listening, seeing or reading things related to the hobbies you like. You can continue doing it as a pass time too. This, not only gives you quality entertainment, but also makes sure the survival of the art or sport form for a very long time.

Remember. Don’t start learning an activity thinking that, it is not as important as your academics. Think it to be as essential as your school education. Believe me, it sure is. These activities are again knowledge, which will make you think straight during your tough times in life. You will become more intellectual and elite, which will help you, face life with more courage.

 

This week’s update.

Dance has reached a place where it is considered as a fashion to learn the art form. Also, money plays a major role which makes it difficult for most of the good dancers to continue performing. The sanctity of the art form has almost become extinct. I am planning to write a full blog post or more regarding this in future. Most of the dancers, even though will accept this to be true, are not ready to talk or argue regarding the issue, openly. Their indifference is purely based on individual gains. Never forget! Art form on the whole is more important than individual gains.

See you all next week.

Music appreciation made easy

Hello!

Natya Veda – This is how Brahma calls Natya Shastra. Natya was first performed in the festival of 'Flagstaff boosting' of Mahendra. They performed the war between Asuras and Devas, in which the Devas won. The same trend is followed until today in movies with a hero and a villain, and the hero succeeding in the end. The ‘Malignant spirits’ (Vighnas) watching the performance started creating obstacles. They disturbed the stage manager which led to a lot of commotion. Indra, with his ‘Banner staff’ (Jarjara) beat them to death. More security was needed to conduct performances like this. They decided to erect a 'dramatic hall' endowed with all good characteristics. Each Deva was assigned to safeguard different areas of the Dramatic hall. Each actor or actress performing also had a body-guard. The main characters were the Hero, the Heroine and the Jester. Also Brahma pacified the 'Vighnas', so that, the performance can continue without any further obstacles. More to come in the 1st chapter of Natya Shastra in my next post. 

Entertainment!! Pass time!! Important part of everyone’s life. What are the most wanted entertainments of today? We all know the answer for this question. Movies, Television and Internet. Listening to music also is mostly related to Movies. In sports and games cricket alone leads, while the rest of the games take the backseat.

I am not against TV or movies. I do enjoy them just like anyone else. But, we must keep one thing in mind. There are better ways of entertainment if we put little more effort from our side. Most of the people refuse to watch classical dance or hear classical music, giving the reason, they don’t understand. But the real reason being, not ready to learn. To enjoy Classical music or dance, people need to put a little effort from their side to understand the art form, which is not needed for most of the movies or TV programs.

What is the effort we need to put? Let me first take Carnatic music in particular. The best way to start, is to hear simple songs of composers tuned in popular Ragas. Then try to relate that song’s tune to any movie song you know. You can talk to a friend of yours who has more knowledge in Carnatic music to find out more details about that particular raga. Do listen to it regularly. By the end of one month you will be amazed with the knowledge you have gained. Lot of options are available in the internet itself.

This week’s update

In Mangayar Malar – a bi–monthly magazine in Tamil, a small information said that composers ‘Arunachala Kavi, Muthu Thandavar and Mari Muthaa Pillai’ are called ‘Pithamahas’ of Tamil Music. There were others who were as great as the above mentioned ones. Oothukkadu Venkata Subbhiyar, Gopala Krishna Bharathi, Papanasam Sivan, Periyasami Thuran, were a few to be mentioned, who contributed a lot towards Tamil Carnatic Music.

Read my Post every Saturday. Bye.

Natyam - Mind, Speech and Action

I would like to start today’s post by saying a few words about Indian religious works in general. The sheer volume and the intricate details scare us from learning these works. The Natya Shastra is no exception. There are a few abridged versions available, still not making it easy as they also speak jargons. Also the language in which they were written, usually Sanskrit, which we are not much familiar with, makes it even more difficult. We need more abridged versions with just the needed information for any one to learn and appreciate the art form.

Natya Shastra is divided into 36 chapters. I want to discuss the chapters slowly with you all, so that we can understand the essence fully and interestingly. I would like to tell you part of the 1^st chapter just like a story. Even though Bharatha is said to be the author of Natya Shastra, the real author is Lord Brahma Himself. Just like Mahabharatha was dictated by Vyasa and written by Lord Ganesha, same way Brahma dictated Natya Shastra to Bharatha. This art form is the blend of 3 styles (Vrttis), viz Verbal utterance which includes dialogues and musical verses (Bharati), the Grand conception of mind which means the imagination and understanding of what is being performed (Sattvati), vigorous physical activity which is nothing but dance (Aarabati). Charming graceful movements (Kaisiki) were added later.

The Vrttis mentioned here are nothing but Mind, Speech and Action which are very important for all art forms. But, Dance is the only one which uses each and every part of the body thoroughly. Even eyebrows and eyelids are used efficiently both in pure dance and expressions. After Bharatha learnt, practiced and perfected the art form along with his hundred sons, presented it on stage with the help of Sages Narada and Swati. Celestial Damsels created by Brahma also joined them in the performance. A story or Dance Drama was presented by them. What was presented and during what occasion it was presented? Let us continue next week.

Natya Shastra must be older than Mahabharatha itself, as there are instances of dance being performed during that time. Arjuna disguised as Brgannala taught dance to Uthra, princess of the kingdom of Virat.

The life of professional dancers varied from time to time and is always under criticism. Even though dance has attained high status, certain reservations still remain in the society. We need to understand and accept certain things related to time. We cannot argue or criticize their life based on our exposure and life values of today. I will speak about a few instances regarding this next week.

This week’s update

The Hindu’s Friday review carried a small information about the friendship between ‘Saint Thyagaraja and Tamil composer ‘Ganam Krishna Iyer’. When Krishna Iyer elaborately sang the first line (Pallavi) from one of Thyagaraja’s compositions, Thyagaraja asked Krishna Iyer to sing one of his own compositions. Immediately Krishna Iyer composed a new Pallavi in the same Raga as Thyagaraja’s composition. This incident shows the kind of respect between two great souls. Respect for fellow artists and sharing of knowledge are two commendable characteristics one should always follow. Art form on the whole should be contributed and more important than individual gains.

See you  all again next week!   

Natya Shastra - the 5th Veda

Hi everyone,

I want to divide my blog post every week into 3 parts.

1. Some learning regarding the art form.
2. Something interesting related to dance or music from our puranas or history.
3. Discuss reviews from the weeks’ news papers or magazines or from programs on TV or Radio.

Natya Shastra is the greatest book of theory or grammar ever written in the history of Indian classical dance. This was written by the great sage Bharata. The scriptures in Hindu religion are called Vedas, we all know. Veda, comes from the root vid, meaning wisdom. They are divided into 4. Rig, Yajur, Sama and Atharvana.  Mahabharata, the great Hindu Epic, due to its greatness is accepted as the 5^th Veda. Natya Shastra is called the ‘other 5^th Veda’. Also all art forms come under ‘Gandharva Veda’,one of the sub-scriptures or Upa-Vedas. Upa- Vedas are also 4 in number. The other 3 are Ayurveda (medicine), Arthaveda (Finance) and Dhanurveda (Martial Arts). What other recognition does the art form need?

Earlier in ‘Old stone age’ people used to communicate through gestures and expressions. Later in ‘New stone age’ language developed. Slowly,language took the lead. Now we need to explain in detail before every piece is performed, in a dance performance. Just like various languages evolved, various dance forms also evolved.

Each state in India, just like having a language on its own, has its own classical dance form too. To mention a few, Bharathanatyam – Tamilnadu, Kuchipudi – Andhra Pradesh, Mohini attam and Kathakali – Kerala, Odissi – Orissa. Kathak came in due to Islamic influence. One thing in common in all these styles is God and religion. Even though Kathak came in through Islamic influence, it has blended so well with Indian thoughts and Hinduism. Christian and Islamic stories have been performed by great Bharathanatyam dancers. This proves, music and dance have no barriers like caste, creed, religion, language, country or even continents. Various Jugalbandhis( combination of 2 or more styles performed side by side) are also performed both in music and dance which brings out the ‘Unity in Diversity’, not only within the country but also between countries.

This week's update: Recently, in music concerts either in sabhas or TV or Radio, I am seeing Ragas Pantuvarali or Purvikalyani being sung too often. Mohanam has become very rare. Also I enjoyed the story of ‘Daksha Yagam’ narrated with the help of photographs of a ‘Kathakali’ dance drama, in the magazine ‘Culturama’, April 2014 edition.

Bye for now.

Indian classical dance - an understanding

Hi everyone! I am a new blogger. Not just a new blogger, a new writer too. This is my maiden attempt to write. I have of course chosen my favourite area to write about. I hope to give and get something substantial through this.

Since I am a dancer, I will be talking more about dance in the beginning and about music later. Dance means nothing but Indian Classical dance- Bharathanatyam in specific.

What is dance? If I start answering this question in the following way, ‘dance is the outcome of Lord Nataraja’s cosmic form and the philosophy behind this is…..’ Oh God! I am hearing a lot of voices shouting ‘No……., stop! Yes I will. Because I myself cannot understand such kind of complicated explanation until now. The simplest explanation will be ‘Stylized movements , made perfect through practice, giving a treat to the viewer’. That’s it. But, is it a complete Explanation? No. These movements do not convey any meaning to the viewer. So, these movements come under the name Nrtta or pure dance.

Then, what is missing? Oh, right! Emotion! Just like life itself, Dance is also lifeless without emotion. So, the part in which emotion is expressed is called Abhinaya or expression. Both Nrtta and Abhinaya put together become Nrthya or Natya, which means nothing but Dance. If you cannot remember names like Nrtta or Abhinaya, don’t worry! If you understand the content in English, enough! Great!

The entire Grammar of  Indian Classical Dance is elaborated under this pure dance and expressive dance. I am not going to get into the details of difficult Grammar , at least not now. My aim is to make this interesting and not boring.

How important is grammar to understand the art form? Let us take the example of learning our mother tongue. When we start saying a few words at the age of …. may be 2, do we know the grammar of our language? No. Definitely not. We learn to speak, read and write the practical side and later on, slowly, we learn the grammar through the teacher. So, let us put it this way, when a common man wants to appreciate the dance form, knowledge of the practical side is enough, provided he has some basic exposure to Hindu religious aspects and Indian classical music and dance.

Basic exposure? Explain. Yes. Little knowledge about Ragam, Talam, stories in Hindu Epics, Scriptures, history and Mythology is what I mean by basic exposure. I will talk about these things in detail with examples in my up coming blog posts.

See you all next week!