Bharatnatyam bhava theory

                                                   BHAVA
Bhavas are the meaning of a poem, a meaning that includes words, physical gestures and emotions.To be precise, that which conveys the meaning intented by the poet through words , physical gestures, and facial gestures is called as bhavas. 



A meaning conveyed by a stimulus is called as Vhibhavas and when the same is made intelligible by words , physical gestures and emotions it is called as Anubhavas. 

VIBHAVAS

Vibhava is that which leads to a perception.So vibhava is a cause.It is the cause of words, gestures, and facial expressions.So , in ordinary parlance, vibhaavita means “understood”. 

ANUBHAVAS

Anubhavas are accompanied(anu) by words, gestures and facial expressions. According to a traditional verse , an an anubhava is conveyed with the help of words, gestures etc. 

There are 3 categories of bhavas – Sthaayi bhavas, Vyabhikari bhavas, and Saattvika bhavas. There are 8 Sthaayi bhavas, 33 Vyabhikari bhavas and 8 Saattvcika bhavas. Thus 49 bhavas are the source of expression of the rasas of poetry.The rasas are produced when these come into contact with the qualities common. 

STHAAYI BHAVAS

The 8 Sthaayi bhavas ar the 8 rasas.Their expressions – both involuntary(anubhavas) and voluntary(vyabhikari bhavas) .The 8 rasas or the sthayi bhavas are –Srngara,Hasya,Karuna, Raudra, Vira, Bhayanaka, Bibhatsa and Adbhuta.These have already been explained under the Rasas. The other vibhavas are-

1)Rati-(love is a feeling of pleasure)-It is performed sweetly and gracefully. 

2)Haasa-(laughter)-It is expressed by smile , gentle laughter and a guffaw. 

3)Soka-(grief)-It is expressed by collapsing on the ground and repeated lamentations, uneasy body movement,, sighs and shaking of the head, knitted eyebrowsetc. 

4)Anger- It is expressed by bitting the lips, looking down and wiping the perpiration, looking like an angry man,etc. 

5)Energy or Vigour-This is a characteristic of a uttama(high) character.It is used to express clarity , cleverness etc. 

6)Fear-It is expressed by drooping limbs, hands& legs shaking, fearful eyes etc. 

7)Disgust-Only in the case of females and low characters .It is expressed by holding the nose , by covering, by looking doubtfully etc. 

8)Wonder-A job excellently done pleases one; and the pleasure produces amazement at the fulfillment.This is expressed by extreme joy. 

Vyabhikari Bhavas

1. Nirveda: Poverty, disease, insult, humiliation, abuse, censure, anger, beating, separation from dear ones, detection of truth etc., are the stimulant causes.
In case of females, and low characters, it's enpr. is the form of crying, heavy sighs, hesitation etc.,

2. Gtani: hurt, emptiness, illness, starvation due to vows and fasts, Anxiety, highly intoxicating drink ,Too much exercise etc., are it’s vibhavas.
It’s anubhavas are weak speech , dull eyes, emaciated cheeks, trembling, drooping body etc.,

3. Shanka: It is associated with doubting, Low, and female charecters. Robbing, offending the authorities like King, comitting Sinful act etc., are its vibhavas.
It’s anubhavas are frequently glancing To and fro, covering the face, pale face trembling etc.,

4. Asuya: it’s vibhavas are hatred for good luck, riches and intelligence of others. It’s anubhavas are proclaiming faults and obstructing good deeds looking with knitted brow, and contempt and ridicule.

5. Mada: it is of three kinds and has ___ Bhavas. Intoxication is of three kinds - lively, middling, and low. Its cause is five fold. It is said that one intoxicated person sings another cries, a third one laughs, a fourth For one uses harsh words and the fifth sleeps.

The higher character sleeps the middle one laughs and sings while the low character cries and uses bad language. The characteristics of the high one are a smiling face, color rising to his face body relaxed and speech sluming. Walking is lively with uneven steps. 

The middle charaters have eyes which are unstady, they throw about their arms and walk in crooked and stumbling steps. The low charecter looses his memory is unable to walk vamiting, hiccoughing, disgusting.

On stage an intoxicated person must show suffering and causes are alarm, grief, joy etc.

6. Shravana: (Fatigue) Its vibhavas are walking excersice etc and it anubbhavas are rubbing & shampooing the body, heavy sighs, stern steps making faces etc. 



7. Alasya: Its vibhavas are depressing illness satiety etc. Its anubhavas are aversion to all activities streatching on bed drousiness etc. It is epicted by female and low characters.



8.Daivya: Ill luck worry etc are it vibhavas. It is anubhavas are deffidence, heavy headache and restlessness etc.



9)Chinta-(anxiety)- Its vibhavas are loss of prosperity, poverty etc. Its anubhavas are sighing, heaving ,worrying etc. 



10)Moha-(fainting)- Its vibhavas are bad luck, fear of illness, calamity, excitement, etc.Its anubhavas are unconciousness ,giddiness, falling etc. 



11)Smrti-(memory)- It is the remembrance of happy and unhappy experiences. 

Its vibhavas are loss of peace of mind, bad night of sleeplessness,worrying constantly by remembering like experiences etc. Its anubhavas are shaking the head, looking down, raising the eye brows etc. 



12)Dhrti-(fortitude)- Its vibhavas are bravery, knowledge, prosperity, devotion to elders etc. 

Its anubhavas are enjoying what is achieved and not grieving over what is not achieved or destroyed. 



13)Vridha-(bashfulness or sense of shame)-Its vibhavas are disobedience , confession of guilt , repentance etc. 



Its anubhavas are hiding ones face, looking down, writing on the ground with the toe, biting nails etc. 



14)Capulata-(nervousness)- Its vibhavas are hatred , intolerance, envy etc. Its anubhavas are harsh words , beating, killing etc. 



15)Harsha-(joy)-Its vibhavas are achieving one’s desires, pleased minds , blessings of the kings,gods and elders ,etc . 



Its anubhavas are pleased look cheerful face, embracing, feeling thrilled , tears of joy etc. 



16)Aavega-(agitation or excitement)- Its vibhavas are portents of storm , rain ,fire elephants running amock, natural calamities etc. 

Its anubhavas are physically collapsing, uneasiness , amazement , etc. 

In the case of storm , it is depicted by the following actions- covering with a garment,wiping the eye , holding fast the clothes and hasty steps. 

Sqeezing the body, running , seeking shelter etc depict the scene of rain. 

In the case of fire , smoke from the eyes , bodily withdrawal, jumping retreating etc. depict the scene. 

This every vibhava has its way of being depicted. 



17)Jadataa-(slothfulness )- Its vibhavas are hearing and seeing things one likes or does not like , illness etc. 

Its anubhavas are silence, staring unwinkingly etc. 



18)Garva-(pride or arrogance)-Its vibhavas are prosperity, handsome figure, youth etc. 

Its anubhavas are jealousy, arguementativeness, looking at one’s own self in the mirror, contemptuous laughter, etc. 



19)Visada –( sorrow , regret , disappointment)- Its vibhavas are incompletion of work undertaken and calamity due to acts of gods. 

Its anubhavas are seeking help , thinking of a remedy, restlessness, sighing ,etc. 



20)Autsukya-(uneasiness)- Its vibhavas are separation , repeated remembrance of it, etc. 

Its anubhavas are deep - long sighs , down cast face , thoughtfulness drowsiness, etc



21)Nidra-(sleep)- Its vibhavas are weakness , fatigue, weariness, intoxication, etc. 

Its anubhavas are puffed up face, looking at the body, roving eyes, yawning, eyes closing, drooping body etc. 



22)Apasmara-(forgetfulness)-Its vibhavas are being possessed by gods, ghosts , etc . 

Its anubhavas are trembling, heaving jumping running, falling, foaming at the mouth etc. 



23)Supta-(asleep, being overcome by sleep)- Its vibhavas are bewilderment, enjoying objects of senses etc. 

Its anubhavas are drooping body, heaving as on awakening, closing eyes ,all the limbs of the body unmoving etc. 



24)Vibodha-(awakening)-hunger ,end of a dream,touch of hard subatance ,loud sounda are the vibhavas. 

Yawning , rubbing of the eyes are the anubhavas. 

25)Amarsa-(intolerance,impatience)-It is produced in a man who is insulted and ridiculed by others richer,stronger and better learned.These are the vibhava stimulus. 

The anubhavas are shaking of the head,sweating,downcast look,moodiness,determination etc. 

26)Avahittam-(dissimulation)-It is in the nature of covering up the real things. Its vibhavas are sense of shame , fear,defeat,loss of dignity etc. Its anubhavas are appearinf different,distracting or distorting facts etc. 



27)Ugrataa-(fierceness)-The vibhavas are offending a king Its anubhavas are killing ,binding,beating,condemnation etc. 



28)Mati-(understanding, judgement) – It’s vibhavas are Studying various shastra, consideration of pros and cons etc., 

It’s anubhavas are, raising doubts, arguing and removing doubts in the interest of students. 



29) Vyaadhaii- The three humours are – Vaata [wind- gas], Pitta [bile], and kafa [phlegm]. Combinations of any of these results in diseases which are characterized by fever etc., 

The anubhavas of these characteristics are, trembling and quivering all over, folding up the body, craving for warmth, tossing the body, hands and feet, etc., 



30)Unmaada-(insanity)-Separation , loss of wealth, natural calamities, and the disturbances of the 3 humours are the various vibhavas. 

Its anubhavas are laughing or crying , moving in a chaotic manner etc. 



31)Maranam-(death caused by illness or violence)-Its vibhavas or the causes are weapons, poisons, animals, diseases , accidents etc. 

The anubhavas are symptoms of illness and its consequent effects, quivering, hiccough, drooping shoulders etc.



32)Traasa-(dread)-The vibhavas are lightning , meteor, rainstorm etc. And its anubhavas are covering the body, trembling, shaking etc. 



33)Vitarka-(arguementation)-Its vibhavas are doubt, deliberation, discrepance etc. 

Its anubhavas are reasoning, solving the question etc. 

SAATTVIKA BHAVAS

Sattva means emotions or genuineness , which is a quality of the mind. Things like feeling thrilled , tears, pallor etc. can be achieved only when the mind is composed.The pains and pleasures can be shown or expressed only on being emotional correct. 

There are 8 Saattvika Bhavas .They are-

1. Stamba-(stupefaction)-Its acted by standing still, body unmoving, eyes unseeing and limbs lifeless. 

2. Sveda-(sweating)-This is depicted by using a fan, wiping the perspiration, etc. 

3. Romaancha-(feeling thrilled)-Its depicted by showing frequently as if the hair is on the end, by plucking movements ,and touching the limbs. 

4. Svarabedha-(break in the voice)-Its shown by stuttering in different voices. 

5. Vepathu-(trembling)-Its depicted by quivering , and shaky movements. 

6. Vaivarnya-(pallor)-It is shown by pressure on the pulse and changing colouring of the face. 

7. Asru-(tears)-Shown by wiping the eyes. 

8. Pralaya-(swoon death)-Shown by collapsing onto the floor or the ground. 

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Bharatnatyam rasa theory

Rasa

Rasa is a cumulative result of vibhava (that is stimulus) Anubhava (involuntary run ) & vybhikari bhava (voluntary run}


Origin , colour , and deities of Rasas. 


The basic rasas are 4 –erotic (shringara), beroic (vetra), terror (raudra) and disgust (bibatsa). Further, Hasiya (horror,laughter) is derived from raudra,adbhuta(wonder,magical) from vira,and bhayanaka(dreat)from bibasta. 





1) Shringara


Its based on love (Rathi) It results in the caseof men women of healthy youth. It is of two kinds _a)Sambhoga(fulfillment b)viprabambha A)the shringara rasa must the enpressed by doing looks, lifting or raising eyebrow, side glances, graceful steps and gestures. Which are fall Anubhavas (disvaluntary runs.) 

B) The Vipralaambha shringara are dejection, fatigue,susticious, jelousy, patience, sleepiness, drcaminess etc., 


2. Hasya: This is stimulated by disfiguscement of dress., impudence etc.,Its empressed by expansion of lips, nose, cheeks, wide staring, vetrtration kof eyes etc., are Anubhavas. The vyabhikakri bhavas are dissimjulation,, laziness, sleepiness etc., Hasyam is of 2 types-
a) when one laughs oneself.
b) when one makes others laugh.

6 types of laughing are 

a)Smitha(gentle laugh)
b)Hasitha (laughter)
c)vihasitha (boud styile)
d)upaliasifha(satirical laughter)
e)Apahasita(silly laugh)
f)athi hasitha(loud laughter)


3. Roudra: The rasa is momented with evil spirits & iippl of viokort natures &.it cames fights. The stimulates for this rasa is anger boldness abuses, imullts and lies etc. 

The Vyabhikari Bhavas are- cold Bloodedness, Excitement, Intolerence, Sweating etc. 

4. Karuna: Karuna or pathos is the sathayi bhava of grief.it is stimulated by curse, pain, calamity, seperation from near 7 dear ones etc.The anubhavas are shedding tears,pallor,drooping limbs etc.The Vyabhicari bhavas are disgust ,exhaustion,fear,confusion etc. 


5. Veeram: It is produced by an energetic, determined, unrelenting nature which is neither taken by surprise nor by confusion. It comprises of challenging words and deeds showing courage, boldness, bravery, and self-confidence.

6. Adbhutha: It is stimulated by the sight of a divine person, by achieving the desired, by going to interesting places, temples etc.
The anubhavas are distended eyes, unthinking and steady glances, thrill, joy, words of appreciation, twisting the body, etc. 

The Vyabhikari Bhavas are- being stunned, shedding tears, Stammering, excitement, joy, restlessness etc. 


7. Bhibatsa: It is stimulated by seeing or hearing undesirable, ugly, and evil things. It is acted by withdrawing the body, leering, spitting, and agitation. The Vyabhikari Bhavas are - Loss of memory, agitation, exitement, confusion, sickness, death, etc.


8. Bhayanaka: It is stimulated by seeing or hearing words, sounds, and objects, or by fear of Jackals and owls, or by going into empty houses or lonely forests, or by seeing or listening to the stories of people he/she knows, being killed or imprisoned, etc. 
It comprises of trembling legs and hands, eyes flitting to and fro, hait standing on the end, face losing colour, and the loss of voice.

It's Vyabhikari Bhavas are, Being stupified, sweating, stammering, confusion, fear, loss of memory, death etc.


9. Shantham: Shanta is serenity and peace. It represents the state of calm and unruffled repose that is marked simply by the lack of all other rasas. Because all emotions are absent in Shanta there is controversy whether it is a rasa at all. According to Bharata, the author of NatyaShastra, the other eight rasas are as proposed originally by Brahma, and the ninth, Shanta, is his contribution. Shanta is what the Buddha felt when he was enlightened, when he reached the higher spiritual plane that led him to salvation or nirvana and freed him from the cycle of life and death. Shanta represents complete harmony between the mind, body and the universe. Sages in India meditate for entire lifetimes to attain this state. In music it is often represented through a steady and slow tempo. Shanta is a clear and cloudless state. Shanta is untroubled steadiness. Shanta is the key to eternity.

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Bharatnatyam abhinaya theory

Abhinaya





The word Abhinaya has been derived from the root word "Ni", which means to take or carry, with the preposition "abhi" meaning towards. As per the traditional slokas, the root "Vi" with the preposition abhi, gives the word Abhinaya, whcih means to carry the performance towards the audience. Abhinaya is a four fold art. There are 2 modes of Abhinaya - Natyadharmi, and Lokadharmi. While Natyadharmi is stylistic, lokadharmi is realistic in nature. Natyadharmi pertains to the conventions of the stage, for example, the use of dance and drama or walking in an artistic or appealing manner. Lokadharmi has no hype, and is executed in the form of simple actings that involve natural behaviour. It does not even involve much of expressions.






Lord Shiva is praised as the embodiment of the 4 types of Abhinaya in the following sloka:



“Angikam bhuvanam yasya
Vachikam sarva vangmayam
Aharyam chandra taradi
Tam vande satvikam sivam.”



The meaning of the sloka is:


We bow toHim the benevolent One
Whose limbs are the world,
Whose song and poetry are the essence of all language,
Whose costume is the moon and the stars…




The description of the NATARAJA :

He holds the drum of creation in his right hand symbolizing a new awakening
He holds fire in his left hand representing destruction of the old order
His other right hand is raised in blessing and he points the other left hand to his left foot, which has crushed the demon Muyalaka who represents ignorance.



There are 4 kinds of Abhinaya:
                                                   1. Angika Abhinaya 

Angika Abhinaya.

It comprises of the various physical expressions.It is of 2 kinds- Padaarthabhinaya and Vakyaarthabhinaya. Padarthabhinaya is the expression of word to word meaning, while vakyarthabhinaya is the expressions of a general idea of a sentence or mood. It comprises of six main parts and six subordinate body parts. 

The six main body parts are called as angas. They are :

? Head
? Hands
? Chest
? Hip
? Sides
? Feet


1.Head: 

There are 13 abhinaya-s of the head.

? Aakampita: In this, the head is slowly raised and as slowly brought down. This conveys a hint, a message, a question, a direction, or pointing and beckoning.
? Kampita: The movements are similar to the above, but are done much fatser and quicker. It expresses anger, doubt, recognition, threatinng, and insistent questioning.
? Dhuta: Slow shaking of the head. It conveys non-desire, regret, surprise, conviction, looking aside in empty stare, and prohibiting.
? Vidhuta: When Dhuta is done more quickly, it is called as vidhuta. It conveys the feelings of cold, of fear, of agitation, f fever, and als, the first drasught of wine. 
? Parivaahita: In this, the head is turned away in order to convey messages like surprise, joy, intolerance, pondering, denial, fooling, and the sense of enough. 
? Aadhuta: It expresses haughtiness, introspection, and looking abut or at one by one side. For this the head is lifted once obliquely.




Hands: 

Hastabhinaya. It is the abhinaya of the hands which are one of the important body parts. According to Bharata, the hand Gestures for drama and dance are different. While drama has 24 hand gestures, involving figures and palm gestures, for dance there are 64 in number. These gestures are called Mudras, and the first 24 mudras are:

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Pataka: It is denoted with the thumb bent and other fingers streched out. Whith both hands and fingers miving it denotes rain, showering of flowers etc., Both hands form a Swatika. It denotes the self. It is the first Mudra in the beginning of natya. It is used for denoting the following - to say no, taking an oath, to denote silence, cutting, to enter into a street, forcing open doors, to denote greatness and goodness, to bless, to address a person or a shield, to show that it's a rainy day, and also to denote time.

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Tripataka: It is the pataka, but with the fourth Anamika finger bent. It is also used for saluting. Swastika formed using both hands is to salute elders. It denotes a tree, a lamp, a fire, an arrow, and a bird.

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Ardhapataka: It is used to denote numbers - two, or say both; a slab or a board, a knife or a spear, and the bank of a river.

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Katrimukha: In the above gesture, when the index finger is on the back of the middle finger, it is katarimukha. Holding downwards suggests traveler walking etc., Holding upwards suggests Weight, summit, etc., By the 2 fingers, index and middle, walking in broken steps is also suggested. This Mudra denotes separation, a creeper, differenc, a corner of an eye, lightening, falling, weeping and dying.

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Mayura: It denotes a peocock’s neck, a creeper to remove knots from the hair, vomiting, scattering, to praise and to apply tilakam [the traditional bindi of those days.]

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Ardhachandra: The thumb is held on one side and the other fingers spread out, denoting a half-moon, a hand seizing the throat, a knife or a spear, consecrating an idol, meditations, prayers, origin, and to greet. 

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Arala: The thumb is bent; the other fingers are spread out from each other, 2nd finger bent like a bow. It is used for blessing in the case of males and for collecting the hair in the case of women. Bourage, dignity of men, and self-admiration by women is also denoted using this mudra. Swasthika formed with the fingers of both hands, indicate marriage and other auspicious occasions.

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Sukatunda: It denotes shooting of an arrow, an angry mood, and a spear or a axe. When in Arala gesture, the 2nd an the fourth finger on five and it is called Sukatunda. If the thing though some been down and street and more than once it indicates invitation or challenge 
 

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Musti: it denotes stead and fastness to grasp and hold various things the might and valour. The fingertips touch the palm and the thumb presses down the on the middle finger .
 

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Sikhara: It denotes Shivalingam, a bow a pillar to question the sound of a bell, the act of embrace. In this the, thumb is raised up. 
 

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Kapitha: It denotes goddess Lakshmi, goddess Saraswati, the milking of milking the cows, offering incence and camphor, Gathering The ends of the robes, to pull and to hold things. When the tips of the thumb and the 2nd finger touch in sikhara, then it’s called as kapitha. It suggests Weapons. 
 

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Katakhamukha: It denotes the picking of flowers, holding the necklace or a garland of flowers, offering beetle leaves, speaking, glancing, and applying perfumes. When the 4th and the little fingers are raised in Kapitha, it is known as Katakhamukha.
 

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Suchi: It denotes number 1, used to pint out, to perform the action of thinking, or to threaten, to indicate astonishment or to indicate the decline of the day, to show the world, the beating of drums, a rod, or the potter’s wheel and the circumference of the wheel. In this, the 2nd finger of the Katakamukha mudra is stretched out. When the second finger is turned round and round to indicate the potter’s wheel or a crowd. 
  

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Padmakosa: It denotes the lotus bud fruits, a cooking pot, an anthill, an egg, or a ball, a circular movement, and round breasts of a woman. In this the thumb and the fingers spread away from each other and bend like a bow. When the tips of the fingers are separated out 2 or three times, it suggests showering of flowers. 
  

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Sarpasira: It denotes a snake, or the action of sprinkling water, the movement of an elephant’s ears, and the arms of the wrestlers. In this all the all the five fingers are held together with the palm held down.
  

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Mrgasirsa: When the lirttle finger and the thumb are straightened up it is called as Mrgasirsa. It denotes a woman, or the feeling of fear, to call or to quarrel; it indicates the limit, the message of the feet, height and taking steps.
  

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Simhamukha: It denotes a lion’s head, an elephant, a homa, or a yagna, and preparations osf the medicines by the physicians. 
  

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Kangala: It denotes fruits, a bird, a coconut, bells worn by children, and the betel nut tree. In this, the 4th and the little fingers are straightened up. 
  

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Alapadma: It denotes fully bloomed lotus, denotes beauty, praise, a hair knot, the full moon, a piece, a hill or a mountain, ans a mirror.
  

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Catura: In this, 3 fingers are spread out holding the thumb between them and raising the little finger. It denotes a musk, or a glance, denotes the astion of breaking into pieces, sweetness, a littlesorrow, taking small steps, and to pour oil into the sacrificial pyre. 
  

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Hamsasya: It denotes the beak of a bird, purity, pearls, jasmine flower, the act of writing or painting and tying a knot. In this, the tips of the thumb and the second and middle finger touch each other the other 2 are apart from each other, and raised.
  

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Bhramara: In this, the tips of the thumb and the middle finger touch each other and the second finger is bent and the other 2 are raised. It denotes a bee, a cuckoo, a parrot and other birds.
  

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Hamsapaksha: It denotes a bridge and a covering. In this, the thumb is bent, the little finger is raised, and the other three fingers stretched parallel to each other. It denotes offering water to the dead, holding the chin etc., 
  

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Sandamsa: It denotes the belly or the naval, shows great fear, to worship and making offerings to the deities. It is similar to Arala, but in this, the tips of the thumb and the second finger touch with the palm facing downwards. 
  

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Mukulam: It denotes eating, worshipping god, a water lily, and a flower bud. In the hamsasya mudra when the fingers bent at thetip are raised, it is called Mukulam.
  

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The chest:

It is of five kinds:

Abhunga: covered or caved in. In this, both the shoulders are drooping down and arms loosely held, while the back is arched outwards. It conveys agitation, fear, sorrow, cold, rain falling etc., 

Nirbhunga: In this the breath is drawn in such that the chest expands and lifts and the back curves in. It is used to denote speaking the truth, bragging, haughtiness, deep breath, affected indifference by women.

Prakampita: In this, the chest trembles due to repeated high jumps.

Udvahita: The position of the chest while taking deep breaths or seeing a long distance or yawning is called as Udvahita.

Sama: When all the limbs are held upright, the position of the chest is known as sama. 



The sides :

There are 5 kinds of positions. They are:

1. Nata: In this the hip and the side above it are curved and the shoulder is held a little away. 

2. Sammunata:

3. Prasarita: In this, the sides are Stretched out or expanded.

4. Vivartita: In this the lower part of the spine is twisted.

5. Apasrta: When in the Vivarita position the side is moved back it’s Apasrita.



The Hip:

1. When one looks turning back, it is called as china kati.

2. When one turns around it is called as Nivrtta Kati.

3. When One revolves round and round, it is recieta Kati.

4. When the hip is intimidating the walk of the hunchbacked or the Short person, it is Kaupita Kati.

5. When imitating the slow and graceful steps of a woman it is calling as Valvokita Kati.



Foot.

These are of five kinds :

1. Valghatitta: In this the dancer stands on the tips of the toes and baugs the heels on the ground. It should be done in Drutamadhyamaonce or many times by folding the toes.

2. Sama: This is the normal form where the dancer’s feet are placed on the ground. It is the natural posture.

3. Agratulasankara: In this all the toes are spread out except the big ones raising the heel. It is used for driving the chariot, in war, stamping the ground with force and dancing, etc.,

4. Ancita: in this the heel is kept on the ground and the front part of the Foot is lifted .

5. Kuncita: It is used in Udatta Strauce, or for crossing over. In this the heel is raised and the toes are folded into the middle of the foot. 

The Eyes.

There are totally 36 varieties of the eye movements. Out of these, 8 convey 8 rasa-s The next eight express the eight stagi Bhavas, and the remaining twenty the other, bhavas.

Nose:

Expressions such as grief, impatience, Strong smell, fragrance, laughter, contempt etc., are determined by the nostrils. They might be a quivering, slightly flinched, drawn back breathing, distended and normal. it comprises of six varieties.



Cheeks: It has six varieties and expressions like sorrow, Joy, arrogance, anger, fear and other emotions can be based on weather that cheeks are sunken, full blown, puffed up, sallow, throbbing, or normal.

Lips:

These also comprise of six varieties. Curled lips, quivering Lips, lips extended Side ways, compressed lips biting lip and pouting lips.

Chin :

it is associated with the movements off the teeth and lips. Gritting Of the teeth, parting or compressing of the lips and pouting and looking up gives six varieties of the chin.

Vachika Abhinaya

Vrittis is the abhinaya of speech, jesture and emotion. 

Origin of vritti:

Once, devine Vishnu by his maya withdrew all the worlds and turned them into an ocean and lay on a snake bed. There, the 2 asuras, madhu and kaithabha intoxicated with their strength and itching for a battle began to threaten him. The Asuras, and the imperishable attacked each other with various harsh words of abuse that even the ocean shook. God brahma, listening to the various words being shouted felt perturbed and asked as to what this exchange of abuse was. “Abuses and counter-abuses are flowing without an end. Is this Bharati-Vritti.[that is the way the words are used.]. Kill the two demons.”

Listening to Brahma, lord Vishnu said, “I have invented this Bharati to serve my purpose. It will be the Bharati style of a speaker, since words [ie., language = Bharati] is predominant. Now I shall kill them.”
During the fight, the steps of Vishnu were placed in various holds here and there and they became a heavy burden [bhara] to the earth and the bharati style came into existence because of the “bhara”.
The bow of Vishnu called sarnga, as it was turned this way and that way, was brilliant and flashing in quick turns, and it’s steadily increasing sattva [strength] created the sattvati style

.

The knot in which Vishnu tied his hair [kesha] and his various graceful angaharas, brought into existence the Kaisiki style. During the course of the fight various caris were used as the fighters were full of samrambha [enragement] and avegha [excitement] and these various movements of the fight produced the arabhati style. Whatever movement Vishnu employed, Brahma made it the origin of a Vritti and accepted it by remarks whose meanings accorded to the movement. When both madhu and kaitabha were killed by Vishnu, Brahma said to the enemy-destroyer, “Oh Vishnu! You have destroyed the demons by graceful angaharas which were unusually straight forward, expressive and graceful. Therefore, this style of wielding weapons of all kinds shall be known throught the world as Nyaya

The Four Vrittis:

The sages utilized that behaviour of words and gestures as the abhinaya conceived the natyaveda and sage Bharata has used them for plays as ordered by Brahma since they’re desirable and naturally arise out of various cari movements. The Bharati Vritti was taken from the Rigveda, the Sattavati from Yajurveda, the Kaisiki from the Samaveda, and the arabhati from atharvanaveda.

1. The Bharati Vritti: This is the style in which prominence is given to speeches made in Sanskrit. It is employed only by male actors who annopunce their own names. There are four varieties of this Vritti : 
Ø Prarocana. It is that part of purvaranga in which success, victory, good luck and destruction of sin are described or prayed for. 

Ø Amukha. Also called Prastavana by some, it is that part ion the beginning where Natti, that is the female associate and the visdhushaka or Pariparsvaka [actor friend] carry on a dioalogue with sutradhara regarding some relavent topic using interesting words. Anukha has five elements in it, that is, uddhatyaka, kathoddhata, prayogatisaya, pravrttika, and avalagita. 

2. Sattvati Vritti. It is that which is endored with the quality of Sattva [vigour] and where there is nyaya and good behaviour, where there is exuberance of joy and absence of shoka [sorrow] is Sattvati Vritti. In it, there is very little karuna [pathos] and shringara [erotics] but plenty of veera [heroism] atbhuta [wonder] and roudra [terror]. It has four varieties:

Ø Utthapaka is a challenge.

Ø Parivartaka, avoiding the relevance of a challenge, taking to some other thing made necessary with reason.

Ø Samhlataka, irrelevant critism of something rising out of challenge or otherwise.

Ø Sanghataka: Breaking an alliance for reasons of a friend’s clever talk of fate or one’s own shortcomings.

3. Kaisiki Vritti: This vritti is one where the artistes are mostly women, wearing charming costumes in a colourful way and where there is plenty of dancing and music and the story is of love and it’s enjoyment. The four varieties are:

Ø Narma: Playful jest. Narma, which mostly abounds in humour, is of three kinds. That based on love, that on pure love, and the last on sentiments, other than heroic. This kindof jest, may be mixed with words of jelousy, anger, self-rebuke, and deception by others. 
Ø Narma-sphurja. Nervous enjoyment. In this, lovgers meet for the first time on the one hand words and dress excite them, and on the other, there is fear.

Ø Narma-Sphota. Incomplete enjoyment. In this, the sentiment of love is not completely enjoyed as various other emotions contribute to it.

Ø Narma-Garbha: Love in masquerade. In this, the hero out of necessity not only acts incognito, but does it with intelligence and affection. 

4. Arabhati Vritti: Here, one finds daring[of a wrong kind] in the form of deceit, fraud, falsehood etc., This too has four varieties.

Ø Sanksiptaka [one with symbols]. In this there should be many modals of articals animals, dress etc., relevant to the plot.

Ø Avapata [Commotion] In this, there are occasions of fear and joy, flight, flurry etc.,

Ø Vastutthapana. Emphasized event. It includes a stage event in which all rasas are mixed, or which gives shelter to someone in fear.

Ø Sampheta. Conflict This includes excitement, fights, fraud, betrayal etc.,

Aharya Abhinaya

Alankaras

It is the decoration by garlands, ornaments and costumes on different parts of the body according to custom and tradition.Ornaments are of 4 types –pierced, to be tied, removed, and jst put on something else.Ear rings are the 1st type , girdles and arm bands are the 2nd type anklets the 3rd and necklaces are the 4th type .

Ornaments for women

Shikhaapaasha,Shikha-jala(ornaments for the tresses),crest jewel, pearl net(with large meshes), hair-net, ear rings, peacock feather, braids of hair(loose on both ears) stringed, Karnikaa, ring round the ear, the tilaka- mark on the foreheadartistic in many ways,ear lotus made of ivoy or pearls etc. The pearl necklace, the snake necklace, the Maanjarii , the jewel necklace and the jewel string are the ornaments for the neck along with a few strings of gold too. For the ankles the ornaments are Nuupura, Kinkinii, and rings of bells.There should be toe rings for the toes. 
Ornaments for celestial and other females

Celestial women should be distinguished by their ornaments and costumes, and females of vidyaadhara, yaksa, naaga and apsaraa groups as well as daughters of sages and gods to be distinguished by their costumes. The vidhyadhara women must have their hair tied in a top knot, must have many pearls, but white costume.The yaksa and the apsara women should wear many jewels ;costume to be the same.The naaga women , like goddess should wear ornaments of pearls and jewels but the latter must be in the form of fruit.Daughters of the sages must have their hais in a single braid and there should not be many ornaments.
Make-up for different characters

One should paint the body according to the region, custom and age of the character.Gods and yaksaas,apsaraas and rudraas , Brahma and skanda and Sun are to be painted Gaura(pale red) colour. Moon, Brihaspathi, Venus, Varuna, the stars ocean.etc are to be painted white.Narayana and Nara and (the serpent) vasuki are to be in dark blue colour(syaama). Persons who are happy are given pale red or dark blue colour or lotus colour, they are also given pale red complexion. 

Satvika Abhinaya

It is the most important yet the most difficult mode of expression."SAT" means mind.It is the outcome of the phsycological state of mind.Its most important aspect is characterisation wherein the dancer must feel the various situations and mentally get involved in them. 

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Evolution of Bharatnatyam

Evolution of Bharatnatyam





As said by Dr.Z.K.Themistocles, when Art turns erotic it is always an indication of slackening morals,social, political and religious corruption, all leading to political downfall. The Nayaks were Vaishnavaites whose erotic art led to the political downfall. This had setup a trend in which religion was used to kindle and enjoy debased morals and this affected the dance field adversely during Marata period . The entrance of the European visitors were also one of the main causes for the downfall of Dance. The Devadasis were treated like dasis. The content of the art and its forms and the very approach had been changed and affected as a result it had lost its protection that was given by the Cholas . The political chaos and the economic insecurity led to the evolution of “SADIR”. But then sadir was banned in temples by the public. They demanded for a reformation to it and renamed it as Bharatanatyam. This is how Bharatanatyam was evolved. Thus sadir was reestablished as Bharatanatyam – Sage Bharata’s art. This had brought about a great change in the public’s mentality. Dance was once prohibited to the ladies of the dignified families but now learning dance has become a status symbol.


Sage Vedanta Desika has proposed a fanciful pun on the name of a person Bharata in his play “Sankalpa Suryodhaya’. This led to the misunderstanding of the meaning of Bharanatyam as a combination of Bhava, Raga and Thala alone. But in real it comprises of many more features. Bharatanatyam has evolved a lot and dosenot actually reflect Bharata’s work. Sadir is one of the dance styles that comprises of traces of Bharata’s technique, and hence cannot claim Bharata’s name wholly. The term Natya doesn’s suit the sadir dance since it is only a kind of solo Nrtya . The sadir Dance style is mainly based on Adavu technique that emerged after the 14th century. The Adavu is the basic unit for the sadir Dance .Adavu is nothing but the Southern terminology for Karana.The word Sadir is a recent origin.It has its roots in the Ve’ttiyal(a kind of performance).It is meant for the consumption of the plutocracy ie.Ve’ttiyal is performing in the praise of the Ve’ndan(the king).The term Sadir has been taken from the pra’krit script. Since Sadir had its origin in Maharashtra about the reign of Sivaji(the great Marata king), it has been derived from Satara which is the capital of one of the major districts of Maharashtra.


Sadir evolved from three sources:- 


1)From the folk tradition of the Tamizhs( those people whose mother tongue was Tamizh a south Indian language)


2)From the Telugu (another south Indian language) artistes during the rule of Vijayanagara when the Hindu culture was fading.


3)For the court of the Maratas.





ADAVU





Adavu is a southern terminology of the concept of Karanas.This technique emerged after the 14th century and is the basis of the Sadir dance style.It is a unit of contemporary dance.This term is used for the basic steps and exercises of the Kalaripait( a martial art of Kerala, a state in south India,that influenced the modern Kathakali –another form of dance art of Kerala). Adavu means Serkkai(a combination) in the Tamizh language. It is a combination of both steps and gestures in dance. Adavu is a phonetically decayed form of the word ADAIVU .The Adavus evolved from typical folk movements of dances like –Kaavadi, Karagam and Oyilattam of the Tamizhs.The term Adaivu seems to be an inscription of the days of later Cholas.This belongs to the rein of Parakesari – Kulothunga III and is found at the ruined temple of Shiva at Kulattur. The kind had made allotments of the turns for “Tiruppattadaivu’ , ‘Meikaattadaivu’, ‘Tiruvaalatti’and ‘Tirukkuulam’ for the Devadasis in the temple as agreed by the trustees.


It has been assumed that Tiruppaattadaivu has been a dance for a song in which Vaakyarthabhinaya was the main feature. Meikaattadaivu seems to be closer to the concept of Nrtta Karanas as Mei means body and Kattu means to show in Tamizh.It reflects the usage of all the Upangaas and Angaas of the Mei. All the contemporary Adaivus are grouped under this category. It is important to note that Mei is performed even now in the contemporary Bhaagavatamiha Naatakas of Melattur and other villages in Tamil Nadu. Tiruvaalatti must have been the Aalatti (Haarati) performed by the Devadasis. However it was later known as Kudamurai system. Tirukkutam must have been a dance of Shivaite character. The contemporqary Adavu system has already shrunk to the minimum in the course of this century.

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Bharatanatyam history

History and Origin of Bharatnatyam





Bharatnatyam is an artistic yoga that involves the movement of the body parts in a very artistic and elegant manner. It is the most widely practiced of Indian classical dances in south India, and has it's origin in Tamil Nadu. The term Bharatnatyam was introduced in the mid thirties by S. Krishna Iyer and later spread by Rukminidevi Arundale. It comprises of Bhava,Raga, Tala, and Natya put together as Bharatanatyam.


Natyashastra is often reffered to as the Bible of Indian classical dance. It is said that the Gods and Godesses pleaded Brahma [the creator, as per Hindu Mythology] for the creation of another Veda, that was understandable by common man. So, Brahma created the fifth Veda, which is a combination of the existing four vedas [ Rig, Yajur, Sama, and Atharva Veda]. He propogated this veda on earth through Sage Bharatha, who wrote it down as Natyashastra. Brahma took pathya [ words ] from the Rig veda, Abhinaya [ communicative elements of the body movements] from the Yajur Veda, Geeth [ music and chant] from the Sama Veda, and Rasa [vital sentiment, an emotional element] from Atharva veda, to form the fifth veda - the Natya Veda. Bharatha, together with groups of Gandharvas and Apsaras performed Natya, Nrtta, and Nrtya before Lord Shiva [the Lord of Devine Dance]. Thus Natya became the authoritative form of classical Indian dances. The term "Bharatnatyam" partly owes it's name to Sage Bharatha.


The Natyashastra reads, "when the world had become steeped in greed and desire, in jelousy and anger, in pleasure and pain, the Supreme one (Brahma) was asked by the people to create an entertainment which could be seen and heard by all, for the scriptures were not enjoyed by the masses, being too learned and ambiguous." The creation of Natyashastra is very important in the kaliyuga (the age of destruction of the world, as per Hindu mythology).


Centuries ago, there were many dancers - priestesses in the Hindu temples in south India, called Devadasis. They would sing, dance and play many musical instruments. They were well versed in Sanskrit and other languages. Since these dancers were called Devadasis, Bharatnatyam was originally called Dasi Attam. In the olden days, the Devadasis were not allowed to have families, as they led a very strict life.


Once these dancers started performing in the Royal Courts, they were called Rajanarthikas. Gradually, in the first half of the 19th century, Bharatnatyam was revitalised and redifined by the contributions of four talented brothers, known today as the Tanjore Quartet; Chinnaiah (1802), Ponniah(1804), Sivanandam(1808), and Vadivelu(1810). The Tanjore Quartet organised all the basic Bharatnatyam movements of pure dance into a progressive series called Adavus. They composed new music specifically for Bharatnatyam and introduced a different sequence of items that brought out the various aspects of dance and music. In the 20th century, the founder of Kalakshetra, Rukminidevi Arundale, restored the social status and the image of Bharatnatyam. By passing the art of dance from generation to generation, it has acquired the many forms such as the Bharatnatyam, Odissi, Kuchipudi, and many more.


The compositions of the Tanjore Quartet were in praise of the following rulers:

1. Pratapa Simha {1739-1763}
2. Thulaja {1763- 1787}
3. Amarasinha {1787-1798} 4. Sarabhoji {1798-1833}
5. Shivaji {1833- 1855}


They also contributed towards other affairs such as ,
1. Reshaping the art of Bharatia into concept form for the first time.
2. Evolving the primary syllabus for teaching dance and classifying the Adavus.
3. Evolving the present concert pattern for Sadir Katcheri.

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History of bharatanatyam

The home of Bharatnatyam is in the South, in Tamil Nadu, Andhra and Mysore vicinity. The history of Bharatnatyam has its roots in the Natya Shastra of Bharata and thus derives its name from its chief exponents in ancient times who were the devadasis or women in the service of the gods, and so Bharatnatyam or Daasi Attam means `the dance of the devadasis`. 

Relatively recently the term `Bharata Natyam` has come into general use; initially it was known as Daasi Attam and this change was an attempt to detach the art from the devadasis who had come to be regarded as disgraceful practitioners. The term `Bharata Natyam` implies dancing according to the principles of Bharata`a term that could, indeed, apply to any of the chief schools of classical dance in India, since all of them were based essentially upon Bharata`s work. 

The southern parts of India had been the least affected by foreign influences, with the exception of Aryan influences, which were profound. Lord Shiva is ardently worshipped in south India. The famous figure of Shiva as Nataraj (Lord of the Dance) shows the dynamic aspect of this god and embodies all his attributes. In his right hand he holds the damru (small drum), the symbol of creation. The Dravidian inhabitants of the subcontinent were already fond of the arts and dance and was lately discovered by the excavations of pre-Aryan sites and the discovery of dances which were purely Dravidian in origin, such as the tullals, devil dances of Kerala, and the dances of the aboriginal hill tribes. 

Temple dancing was, however, regarded unnecessary, especially in view of the fact that some devadasis performed services of an immoral nature in addition to their temple duties. Buddhism exerted great influence on dance particularly and eventually it played a role in the history of Bharatnatyam. The Shastraic literature kept the traditional form of dance alive and provided it the basis upon which it could develop and its form gradually took its solid structure. The dances of Bali and Cambodia bear a superficial resemblance to the Bharatnatyam, which was their initial inspiration. In the theatre and dance of Japan there still exist traces, which connect them with the Indian dances. 

The reassertion of Brahminism and its real expression in the form of magnificent temples increased the demand of the devadasis. The temples themselves were highly ornate in structures and every surface of the temple was profusely and painstakingly decorated with friezes, bas-reliefs and sculptures. The most famous of these temples dedicated to Shiva is that of Chidambaram in South India and the four gateways of this temple are carved with the 108 karanas or postures of the body in dance, which are described in the Natya Shastra. 

The Vaishnavite temples at Belur and Halebid have an important significance for the history of Bharatnatyam. The temples are decorated with sculptures of Vishnu and the many stories and legends are related to him. A royal lady, Queen Santala, is said to have been the greatest of dancers; the sculptures depicting her name are among the most beautiful in south India. Lord Krishna was one of Vishnu`s avatars and the history of Bharatnatyam added to its repertoire, a new store of songs and stories based on Krishna`s love for Radha. 

Later in the kingdom of Vijayanagar, Bharatnatyam flourished. The influence of the Muslims eventually led Bharatnatyam to their courts as well. It is at this time that terms from the Muslim dictionary like `salamu` and `tillana` were added to Bharatnatyam. Both of these are adaptations of Persian words. In this way Bharatnatyam started on a new phase of secularization. The Bharatnatyam dancers danced for the king or highly placed patrons and the dance form were included in the celebrations of domestic festivities and taken part in religious functions. Abhinaya or expression was articulately used and a greater use of love songs, which could be interpreted in both human and divine terms, was played in the backdrop. 

In the history of Bharatnatyam, south India played a vast role and is thus considered to be the founding ground of this art. The Bharatnatyam was defined anew by the four brothers, namely Chinniyah, Punniah, Vadivelu and Shivanandan of Tanjore. After their influence, Bharatnatyam came to be known as `Tanjore Nautch` in the region. However Rabindranath Tagore, Uday Shankar and Menaka were the great personalities who had already begun to revive the interest in the north Indian dances. While, in the South, E. Krishna Iyer started to re-awaken the interest of his countrymen in the real Bharatnatyam. Eventually many others joined him in this effort. Public interest was aroused and in the early thirties some of those who had nursed Bharatnatyam through its period of dishonor, were able to perform again in public. 

In the history of Bharatnatyam, Rukmini Devi has a special position, since she was the first great dancer of South India who was not a devadasi, and belonged to a respectable Brahmin family. After her, many other high caste families allowed their daughters to take up dancing as a profession. Shanta, Kamala, and Kausalya formed the nucleus of the new Bharatnatyam movement. Queen Santala danced in the black marble-pillared halls of the temples at Halebid and Belur nine hundred years ago, and thus became the pillar of inspiration of dancers of the future. 

Bharatnatyam made dancing once again respectable, so much so that it is an essential social accomplishment, which everyone flocked to acquire. The history of Bharatnatyam is regarded as a healthy trend since it has aroused a consciousness of the dance, and so this dance form is given a wider field of appreciation both at home and abroad, and in addition given recognition and employment to the old nattu-vanars. 

In recent years there are several schools for teaching Bharatnatyam and the mushrooming of `Academies`, `Schools`, `Colleges`, `Institutes` and `Societies` run by the Bharatnatyam teachers owe their existence to the history of Bharatnatyam. The exodus of the dance from the temple to the theatre and then to home is in harmony with the spirit of the contemporary times. 

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