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Quote

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 Dancing to the padam is akin to the juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of sacred verses in the closeness of god.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

Quote

“Dancing should look easy; like an optical illusion.

It should seem effortless. When you do a difficult variation,

the audience is aware that it is demanding and that you have

the power and strength to do it.

But in the end, when you take your bow, 

you should look as if you were saying,

 ‘Oh, it was nothing. I could do it again.’”
                

– Bruce Marks

I Agree With This!