|
|
|
Carnatic
music and Bharatanatyam
By Mallika Jayanti |
Bharatanatyam is one of the oldest dance forms of
India. Derived from Bharata's Natya Shastra, it
has undergone many changes over time. What remained
unchanged, however, is its popularity.
This complex codified dance form offers maximum
freedom to innovate and explore. While one danced
in praise of Lord Siva, one is also now talking
of condoms with the same ease through this art form.
"The journey of the dance from the temple to
the proscenium is a fascinating story. No other
form has traversed such a long distance, retaining
its original content and yet providing a sparkling
example of creative evolution in terms of material,
music and costume," an author said elsewhere.
He couldn't be farther from the truth. |
 |
Bharatanatyam is danced to the Carnatic
music. There is a certain relationship between the
two. The mathematical precision of Bharatanatyam
equals that of Carnatic Music measure for measure.
Music and the dance merge like body and soul to
offer the viewer a complete delight.
Bharatanatyam is based on Natyasastra. Natyasastra
is also the primary text (aptavakya prasthanagrantha)
for music.
The Natyasastra clearly expresses rasa-bhava-prakriya,
a yardstick used for all visual and aural content,
abhinaya, dialogue, dance and musical dhruvas. The
Natyasastra alone preserves an exhaustive account
of the ancient musical grammar. Bharat Muni has
devoted nine chapters to Gandharva (from 28th to
36th), quantitatively about one-fourth of the Natyasastra.
But one can find many differences in the pattern
of singing for a Carnatic concert and singing for
Bharatanatyam.
* In Bharatanatyam, one starts with a Pushpanjali
or such invocatory items that are usually in raga
nattai while the varnam comes much later. A Carnatic
music concert opens with a varnam.
* While singing for Bharatanatyam, the singer has
to constantly watch the dancer and keep up with
what is happening on stage.
* In a Bharatanatyam Margam, the tone and speed
/ 'kala' of the singing is decided by the dance
and type of dance and mood of the margam.
* The dancer and the audience experience the rasanubhava
more than the singer/vocalist in a Bharatanatyam
concert. While in a musical concert, it is the singer
who experiences the rasanubhava and then transmits
it through his/her voice to the audience.
* The extent to which the subtle nuances could be
explored is very limited while one is singing for
dance.
* While in a music concert, the singer can sing
a composition in different talas and speeds, this
cannot happen in a dance concert. The number of
times even a line is repeated depends on the choreography
of the dance.
However, both the concerts end with a Mangalam
Post your comments
Printer friendly page
Send this article to Friends by E-Mail
|
|
|
|
|
|
