Tag Archives: indian dance

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An archive of bharathanatyam videos

Follow the link for a truly amazing selection of bharathanatyam videos… Enjoy!

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Some random thoughts on what music means to me while dancing

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The chime of bells, I feel in my smile,

The dham of the mridangam is my heartbeat,

The staccato of the natuvangam, my calling into bliss,

 

The flute breathes stillness into my mind,

The violin flows into me, bringing lasya to my limbs,

The ragam creates emotion resonating through to my fingertips,

 

All sounds work as one… gathering my wandering self and focusing my energies onto one all-encompassing point…

 

Saraswathi Sloka

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Saraswati Namastubhyam
Varde Kaamarupini
Vidyarambham Karishyami
Siddhir Bhavatu Me Sadaa

Meaning:

My humble prostrations unto Thee, O Goddess Saraswati,

You are the fulfiller of all my wishes,

I start my studies, with the request that I achieve perfection in them.

image from http://trixinc.deviantart.com/art/Godness-Saraswathy-23598140


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The Bharatanatyam recital is structured like a Great Temple:

we enter through the gopuram (outer hall) of alarippu, cross the ardhamandapam (half-way hall) of jatiswaram, then the mandapam (great hall) of sabdam and enter the holy precinct of the deity in the varnam. This is the space which gives the dancer expansive scope to revel in the music, rhythm and moods of the dance. The varnam is the continuum which gives ever expanding room to the dancer to delight in her self-fulfillment, by providing the fullest scope to her own creativity as well as to the tradition of the art.

Padams now follow. In dancing to padams, one experiences the containment, cool and quiet of entering the sanctum from its external precinct. The expanse and brilliance of the outer corridors disappear in the dark inner sanctum; and the rhythmic virtuosities of the varnam yield to the soul-stirring music and abhinaya of the padam. Dancing to the padam is akin to the juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of sacred verses in the closeness of god.

Then, the tillana breaks into movement like the final burning of camphor accompanied by a measure of din and bustle. In conclusion, the devotee takes to his heart the god he has so far glorified outside; and the dancer completes the traditional order by dancing to a simple devotional verse” 

A Margam beautifully described by the legendary T. Balasaraswati