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ALARIPU
ALARIPU
JATISWARAM
Jatiswaram is an example of a pure dance or nritta
sequence in which the performer weaves several
patterns on a basic musical composition. Just like its
name, it is executed to the tune of a combination of
swara passages in a particular raga and tala. It is so
named on account of the fact that it is consists of jatis
set to the swaras. Unlike alaripu, where the dance is
performed to mnemonic syllables, in jatiswaram another
element of melody is introduced. It is distinguished from
other musical compositions like gita, sabdam or varnam
by having no lines of poetry.
PUSHPANJALI
Pushpanjali literally means offering of flowers to hindu
deities in India.
In Bharatanatyam pushpanjali is one of the dance
number, which is performed in the very beginning of a
performance or Arangetram. Pushpa means flower,
where as anjali means salutation by holding the hands
together with palm facing inwards. So Pushpanjali
means offering flowers as a salutation to the Dance
God, Lord Natraja.
VARNAM
Varṇam is a type of composition in the Carnatic
music system consisting of short metric pieces which
encapsulate the main features (patterns of notes) of
a raga.[1]
Known for their complex structure, varnams are a
fundamental form in Carnatic music.[2] All varnams
consist of lyrics,[2] as well as swara passages, including
a pallavi, an anupallavi, muktaayi swaras, a charanam,
and chittaswaras. There are different types of varnams,
such as taana varnam, pada varnam, daru varnam and
ragamalika varnam. They also come different taalams
(beat cycles). Though the most popular varnams are in
Aadi and Ata taalas, there are a number of varnams in
other talas as well (e.g., jampa tala, triputa tala, matya
talam, roopaka talam, etc).
Considered as probably the most complex form in
Carnatic music, varnams play a significant role in
Carnatic music.[3] A varnam is traditionally performed as
an opening item by musicians in Carnatic music
concerts to act as warm-up for the musicians,[4] or as a
centre main piece in Bharatanatyam dance concerts. As
a foundation to Carnatic music,[5] varnams are also
practised as vocal exercises by performers of Carnatic
music, to help develop voice culture, and maintain
proper pitch and control of rhythm. The melodic patterns
in a varnam are considered to be characteristic patterns
of a particular raga.
Types of varnams[edit]
Named for its tanam-like rhythmic qualities, tana
varnams only have lyrics for
the pallavi, anupallavi and charanam.[6]
With rhythmic elements like a padam, pada varnams are
generally sung to accompany South Indian classical
dance, including bharatanatyam.[7] Unlike the tana
varnam which only has lyrics for
the pallavi, anupallavi and charanam and swaras for the
rest of the sections a pada varnam also have lyrics that
correspond to the muktaayi and chitta swaras of the
varnam, so generally, pada varnams contain more lyrical
content than a tana varnam.[7] The swaras in this type of
varnam are suitable for intricate footwork.[7] Padajathi
varnams are simply pada varnams that also contain jatis
in it, making it again more suitable for South Indian
classical dance.[7]
Contents of a varnam[edit]
The name "varnam" (meaning "letter") was likely given
to this form of song due to the prevalence
of swara letters in this type of composition.[8]
Lyrical content of varnams are commonly either
devotional or amorous.[8]
The varnam is subdivided into several sections:
Pallavi: The first section of the Varnam, sung
with lyrics or sahitya.
Anupallavi: A sort of recapitulation, sung with
lyrics or sahitya also.
Muktaayi: Sung completely with syllables—or
swaras -- (like s (sa) r (Ri) g(ga) m(ma) p (pa)
d(da) n(ni) (sa)(This is the higher version of the
normal one). In Pada Varnas it is known as
Muktaayi Swara-Sahitya.
Charanam: Sung with lyrics
Chitta Swara or Ettugadda Swaram: Sung
completely with syllables. In a Pada varnam,
there are lyrics which correspond to the
Charanam swaras. The swaras occur in several
groups or stanzas.
Anubandham:epilogue to the Varnam. Some
varnams have this additional part that follows the
charanam and chitta(Ettugadda) swaras, that is
sung with lyrics or sahitya thus leading back to
the muktaayi(Chitta) swara or the first pallavi line
itself. It is found more often with very old
Varnams and it is less prevalent in the newer
varnams. In modern times, some old varnams are
even sung partially, by omitting the anubandham
part. The most classical example of this is the
Viribhoni varnam in Bhairavi, which is sung after
omitting one of its chitta swaras and the
anubandham.
Varnams are traditionally rendered in a format that
consists of Pallavi, Anupallavi and Chitta Swaram
(Mukthayi Swaram) being sung first in a relatively slow
pace and repeated immediately after in double the
speed. The rest of the composition (Charanam onwards)
is sung in a 'madhyama kala' or approximately 1.5 times
the speed used at the start. Each swara passage is
sung, followed by the lyrics of the charanam. Some
performers do not follow this though, preferring to sing
the entire composition in 'madhyama kala' or relatively
fast pace.
Varnams are generally sung in two varieties of talas, or
metric systems, Adi Tala (8 beat cycle) and Ata Tala (14
beat cycle), where Ata Tala varnams are generally more
complicated and advanced. In most of the Adi
Tala Varnams the tala is placed in the 2 kalai version.
So therefore each beat and finger count is placed twice.
VARNAM
Varnam is the central and most elaborate number in a
Bharatnatyam Margam. It is a demanding number
testing not only the stamina of a dancer but the training,
the skill, the imaginative faculty of a dancer to improvise
and to successfully alternate between pure dance and
abhinaya. If all these come together this engrossing
number is a visual delight.
REPERTOIRE
BHARATNATYAM
The repertoire of Bharatanatyam, like all major classical
Indian dance forms, follows the three categories of
performance in the Natya Shastra. These
are Nritta (Nirutham), Nritya (Niruthiyam)
and Natya (Natyam).[56]
The Nritta performance is abstract, fast and
rhythmic aspect of the dance.[61] The viewer is
presented with pure movement in
Bharatanatyam, wherein the emphasis is the
beauty in motion, form, speed, range and pattern.
[56]
This part of the repertoire has no interpretative
aspect, no telling of story
The Nritya performance is a mixture of both
physical movements and expressions. In nritya
performance is a story telling or a part of sahitya
along with jaatis and swaras.
The Natya performance is sort of dance drama or
in other words a type of story telling. It does not
have any specific swar jaatis or any korvais.
The traditional bharatnatyam performance follows
a seven part of presentation. This set is called as
margam.
KATHAK
A modern Kathak, in all three major sub-traditions called
Lucknow, Benares and Jaipur styles (gharana), states
Bruno Nettl, consist of three main sections - the
invocation, one pure (abstract) dance recital and one
expressive dance.[15]
VANDANA:
KATHAKALI
A Kathakalī repertoire is an operatic performance where
an ancient story is playfully dramatized.[28] Traditionally,
a Kathakali performance is long, starting at dusk and
continuing through dawn, with interludes and breaks for
the performers and audience.[3] Some plays continued
over several nights, starting at dusk everyday. Modern
performances are shorter. The stage with seating
typically in open grounds outside a temple, but in some
places, special theatres called Kuttampalam built inside
the temple compounds have been in use.[33]
The stage is mostly bare, or with a few drama-related
items.[28] One item, called a Kalivilakku (kali meaning
dance; vilakku meaning lamp), can be traced back to
Kutiyattam. In both traditions, the performance happens
in the front of a huge Kalivilakku with its thick wick sunk
in coconut oil, burning with a yellow light.[33] Traditionally,
before the advent of electricity, this special large lamp
provided light during the night. As the play progressed,
the actor-dancers would gather around this lamp so that
the audience could see what they are expressing.[33]
The performance involves actor-dancers in the front,
supported by musicians in the background stage on right
(audience's left) and with vocalists in the front of the
stage (historically so they could be heard by the
audience before the age of microphone and speakers).
[28][33][note 2]
Typically, all roles are played by male actor-
dancers, though in modern performances, women have
been welcomed into the Kathakali tradition.[4][28]
KUCHIPUDI
The repertoire of Kuchipudi, like all major classical
Indian dance forms, follows the three categories of
performance in the ancient Hindu text Natya Shastra.
These are Nritta, Nritya and Natya.[71][76]
The Nritta performance is abstract, fast and
rhythmic aspect of the dance.[77][78] The viewer is
presented with pure movement in Nritta, wherein
the emphasis is the beauty in motion, form,
speed, range and pattern. This part of the
repertoire has no interpretative aspect, no telling
of story. It is a technical performance, and aims
to engage the senses (prakriti) of the audience.[79]
The Nritya is slower and expressive aspect of the
dance that attempts to communicate feelings,
storyline particularly with spiritual themes in
Hindu dance traditions.[77][78] In a nritya, the
dance-acting expands to include silent
expression of words through gestures and body
motion set to musical notes. The Kuchipudi actor
articulates a story (particularly of Krishna) or a
spiritual message. This part of a repertoire is
more than sensory enjoyment, it aims to engage
the emotions and mind of the viewer.[79]
The Natyam is a play, typically a team
performance, but can be acted out by a solo
performer where the dancer uses certain
standardized body movements to indicate a new
character in the underlying story.
A Natya incorporates the elements of a Nritya.
[78]
Kuchipudi, in its history relied on a team of
dance-actors, while in modern times Kuchipudi
productions include solo or duo performances.[15]
MANIPURI
The traditional Manipuri dance style embodies delicate,
lyrical and graceful movements. The dance features
rounded soft sensuous movements of women, and
occasional fast movements by male characters.[13]
[14]
Unlike other classical Indian dances with religious
themes, the Manipuri dance artists do not wear anklet
bells and the footwork is subdued and gentle in the
Manipuri style. The stage movements is part of a
composite movement of the whole body.[13][14]
Chali or Chari is the basic dance movement in
Manipuri Ras dances.[31] The repertoire and underlying
play depends on the season. The dances are celebrated
on full moon nights, three times in autumn (August
through November) and once again in spring (March or
April). [31]The Vasant Ras is timed with the Hindu festival
of colors called Holi, while others are timed with post-
harvest festivals of Diwali and others. The plays and
songs recited during the dance performance center
around the love and frolics between Radha and Krishna,
in the presence of Gopis named Lalita, Vishakha, Chitra,
Champaklata, Tungavidya, Indurekha, Rangadevi and
Sudevi.[32] There is a composition and dance sequence
for each Gopi, and the words have two layers of
meanings, one literal and other spiritual. The longest
piece of the play focuses on Radha and Krishna.[31] The
dancer playing Krishna expresses emotions, while the
body language and hand gestures of the Gopi display
their feelings such as longing, dejection or cheer.[33]
In other plays, the Manipuri dancers are more forceful,
acrobatic and their costumes adjust to the need of the
dance. Dozens of boys synchronously dance the Gopa
Ras, where they enact the chores of daily life such as
feeding the cows. In Uddhata Akanba, states Ragini
Devi, the dance is full of vigor (jumps, squats, spins),
energy and elegance.[31]
MOHINIATTAM
Mohiniyattam is a lasya subgenre of dance, performed
in the Kaisiki vritti (graceful style), as discussed in
ancient Indian performance arts texts such as the Natya
Shastra.[36] More specifically, it is a dance that excels
in Ekaharya Abhinaya form, that is a solo expressive
dance performance aided by singing and music.[8] The
dance includes nritta (pure dance,
solo), nritya (expressive dance, solo) and modern
productions sometimes include natya (play, group
dance):[37]
The Nritta performance is abstract, rhythmic
aspect of the dance that appears early and at the
end of the dance repertoire.[38][39] The viewer is
presented with pure movement, wherein the
emphasis is the beauty in motion, form, speed,
range and pattern. This part of the repertoire has
no interpretative aspect, no telling of story.[40]