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PAPER 9ALLARIPU, PUSHPANJALI ,JATISWARAM

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PAPER 9MODULE 1

INTRODUCTION OF BHARATANATYAMOPENING ITEMS AND JATISWARAM

Content Writer: Prof. Dr. Parul Shah

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PAPER 9 - ALLARIPU, PUSHPANJALI , JATISWARAM

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Paper 9 Module 1

Introduction Of BharatanatyamOpening Items And Jatiswaram

PAPER 9

MODULE 1 Introduction to Bharatanatyam Opening items and

Jathiswaram

The art of learning Bharatanatyam is a journey, traversed on a special path. The Word "Margam" means "way". Bharatanatyam teaching, learning and performance comprises a number of items performed in certain order. Here we quote immortal words of the great artist, the musician and the dancer, the queen of Abhinaya, Balasaraswati. Her outline of Bharata Natyam Margam given in her article, has inspired many generations of dancers to follow profession, to study and do research on dance and music.

"In the beginning, alarippu, which is based on rhythm alone, brings out the special charm of pure dance. The movements of alarippu relax the dancer's body and thereby her mind, loosen and coordinate her limbs and prepare for the dance. Rhythm has a rare capacity to concentrate. Alarippu is most valuable is freeing the dancer from distraction and making her single-minded. "

"The joy of pure rhythm of alarippu is followed by jatiswaram where there is the added joy of melody. Melody, without word of syllable, has a special power to unite us with our being. In Jatiswaram, melody and movement come together. "

"Then comes the sabdam. It is here that compositions with words and meaning, which enable the expression of the myriad moods of Bharata Natyam are introduced. "

"The Bharata Natyam recital is structured like a Great Temple: we enter through the gopuram (outer hall) of alarippu, cross the ardhamandapam (half-way hall) of jathiswaram, then the mandapa

(great hall) of shabdam, and enter the holy precinct of the deity in the varnam. This is the place, the space, which gives the dancer expansive scope to revel in the rhythm, moods and music 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. "

"The padams now follow. In dancing to the 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. "

"At first, mere metre (in alarippu); then melody and metre (in jatiswaram; continuing with music, meaning and metre; its expansion in the centerpiece of the varnam; thereafter, music and meaning without metre (in padam); in variation of this, melody and metre; in contrast to the pure rhythmical beginning, a non-metrical song at the end (in tillana). We see a most wonderful completeness and symmetry in this art. "

"To train the dancer in this art, melody and metre join together in jatiswaram. The dancer takes leave of her subjective consciousness in the alarippu and identifies herself with the universal consciousness in

the jatiswaram. Hereafter, she is ready to explore and express the infinity varied nuances of the entire gamut of emotions and feelings not in terms of her subjective self but in terms which bring out their universal essence. "

"Refined in the crucible of alarippu and jatiswaram, the dancer portrays the emotions of the musical text in the shabdam in their pristine purity. In the shabdam, emotions are withheld at the beginning, thereafter, when the dancer has clarified herself, they are released in a measured and disciplined manner. "

"It is after mastering this discipline that she dances the varnam which is a living river that holds together movement and interpretation. " "It is after passing through his ordeal of fire that the dancer fully qualifies herself to do abhinaya for the padams. "

"Sringara we experience in Bharata Natyam is never carnal, never, never. For those who have yielded themselves to its discipline with total dedication, dance like music is the practice of the Presence, cannot be merely the body's rapture. "

"The dancer, who dissolves her identity in rhythm and music, makes her body an instrument, at least for the duration of the dance, for the experience and expression of the spirit. "

"However, the experience of the art can be total only if a variety of moods and feelings are portrayed; and, variety is the soul of art. But these feelings should be universalized into aspects of divinity and not remain the limited experience of an insignificant human being. The moos of a song may tend to get portrayed as the subjective feeling of one individual, but true art lies in universalizing this experience. "

During the times of Tanjore Quartette, dance concert was statred only after performing certain ritualisitc actions, such as playing drums on the stage (the practice was called Melarapti) and singing

Todaya Mangalam songs (which were believed to of benedictory and purifying effect.) In our days, this practices are either not followed, or folloed in some different way. The good example is Todaya Mangalam, which became a dance item itself and is performed now as invocatory item in some schools of Bharatanatyam.

Todaya Mangalam and Melaprapti

Todaya Mangalam is invocatory item. In Vazhuvur style it is used as the first item in praise of Lord Gnyana Sabeshar of Vazhuvoor. Also it was used in Bhagavata Mela Natakam. Usually it is in praise of Vishnu and his incarnations. TodayaMangalam is accompanied by melaprapti. The nattuvanar, vocalist, orchestra members (flute, mridangam, kanjeera, ghatam), who also sings OM besides playing.

Singing of the set of five thodaya mangalam songs prior to the start of a solo Sadir recital was still in vogue in the early decades of this century. T. Sankaran, cousin of Balasaraswati, wrote in an article on the Tanjavur Quartet in the Hindu of March 2, 1970:

"The melaprapti from behind the curtains consisted of konnakkol** to the accompaniment of the nattuvanar’s cymbals and the clang of the mridangam, all in the khanda nadai. This convention used to be a wonderful preliminary thus building up the proper atmosphere for a dance recital. The curtain rose only after the thodaya mangalam in Nattai ragam heralded the dancer." (**Konakkol is the art of vocalising rhythmic syllable (sollukattu) in proper manner.)

In the scheme of dance developed by the Tanjavur Quartet, the melaprapti was indeed obligatory as an overture. T. Balasaraswati mentioned the practice of melaprapti, which included the singing of the thodaya mangalam, in the exclusive interviews she gave to Sruti editors prior to her demise (Sturi No. 3, February 1984.) In her presidential address at the Tamil Isai Conference at the end of 1975, she omitted reference to the melaprapti and thodaya mangalam.

probably because the thodaya mangalam is a prelude to and not a part of the dance recital, but more probably because the practice of melaprapti had been discontinued years earlier. The person who reportedly had taken the initiative to do so was guru Kandappa (Sruti No.3, February 1984), the guru of Balasaraswati.

If melaprapti, with the complementary thodaya mangalam, rendered as an .overture from behind the curtains prior to the start of a dance event is no longer in vogue, some dancers present a thodaya mangalam as the first choreographed item of their recitals. Dancers trained by the late Mangudi Dorairaja Iyer and Adyar Lakshman do so, for example. What they offer, however, are abridged versions of the thodaya mangalam, evidently because it would be time-consuming to dance to all the 70 lines of the original five songs (the most famous one is Jaya Janaki Ramana.)

Dancers of the Vazhuvoor school also present a thodaya mangalam, but this piece is a creation of the great nineteenth century nattuvanar who hailed from Vazhuvoor but was known as Tanjavur Swaminathan. It starts with the words "Jaya su bhrapurivasa, jaya mahajnana sameta", in Nattai. In its last line it contains the mudra of the composer, which is Bhakta Swaminathan. Swaminathan was the grandfather of Vazhuvoor Ramiah Pillai. Ramiah Pillai claims he has composed many melaprapti jatis, but they are not in vogue now.

Many dancers have replaced the erstwhile melaprapti and thodaya mangalam with the rendering of invocatory verses or songs prior to the entrance of the dancer. Some sing Mahaganapatim in Nattai composed my Muthuswami Dikshitar or Vatapi Ganapatim in Hamsadhvani or Vinay aka ninu vina in Hamsadhvani composed by Kothavasal Venkatarama Iyer. In olden days each performance was started with Melaprapti. But since atleast 1970s and perhaps earlier, some choreographers and Gurus have used the Melaprapti syllebles for dance composition. At timesIt is danced in the place of Allaripu. S

Sharada Teacher of Kalakshetra observers that, "PUSHPANJALI, KAUTHUVAM and TODAYAMANGALAM originate from other Art forms and do not belong to the original Bharatanatyam repertoire. If these items are performed, they should be simple."

PUSHPANJALI

Pushpanjali, as the words mean is the offering (Anjali) of Flowers

(Pushpa). This dance composition is often seen at the very

beginning of the Bharatanatyam concert. In the Chola period,

Pushpanjali was performed during procession of the idols and during

the festivals as convocation. Dancers were standing and facing main

deity in temple or went aroundthe temple in pradakshanam and

carried flowers. Pushpanjali was performed with or after Kumbha

Aarati ceremony as preventive and propitiatory item as part of

Devadasi service at the temples. Agamaragam refer to Agamas,

where offering of flowers is mentioned as the part of ritualistic

worship.

ALARIPPU

The word Alarippu (Tamil: அலாரிப்பு) means “a flowering bud,” or

"blooming" (root "alaru" may be found in Telugu, Tamil and other Dravidian languages). “Alar” means ‘flower’, and “Ilipu” means ‘bringing down (offering)’. Alarippu is a verbal noun form derived

from the word ‘Alarinchu’. In Tamil and other Dravidian languages K_C_T_TH_P after nasal become, G_J_D_DH_B and the Telugu ‘Alarimpu’ will usually be pronounced as ‘Alarinbu’. Alar, Alaru is a Dravidian word and in most Dravidian languages, the verbal form means 'to blossom' Thus Alarippu literally means 'flowering' , that is, opening of the body and limbs to get prepared to execute more difficult pieces to be taken up subsequently. Alarippu means blossoming of body and mind, and is also known as Alarisu.

Alarippu is the shortest and the simplest item of a BharatNatyam Repertoire that is Margam. The Alarippu is traditionally the first dance piece that Bharatanatyam dancers learn and perform It is an invocation piece, symbolising the offering of respects to both God and the audience. Alarippu is short Nritta item It is an innovatory piece meaning it is performed before a dancer begins a whole performance. It is considered to be a warm up piece for the dancers. The Purpose of Alarippu is paying obeisance or salutation to God, guru(intellect) and audience (Devata, Guru, Vipranam). In this invocatory piece the dancer pays her obeisance to the Gods, the Guru and the assembly of the onlookers. This nritta item symbolises offering prayer to God, to the stage and solution to preceptors and elders. It opens the solo dance performance and also opens body for dance. The limbs are warmed up by simple movements, mind is focused by precise rhythm and emotions are activated by harmony and beauty of traditional choreography and inner joy of dance, so dear to each dancer. Alarippu conveys happiness. "Nanadanti anena devata - iti naandi." That which makes the deva-s happy is naandi. Hence the Alarippu is like the naandi sloka.

The mythological conception of the opening movements of Alarippu is that the dancer's today consist of two parts, the male or Tandava in the right side, the female or lasya in the left side. This is

represented when joining the plans high over head thus allowing sprit of god to entire the body different Natya Charya's give different origins for this word "Alarippu'. The treatises 'Shaddha nandu Prakasha' and 'Bharata Sangraha' mention the word 'Alaari' but to not describe the word. Some scholars say that it suggests opening of a dancer's soul like the blossoming of a flowers. Some teachers say that the pattern of Alarippu is like a tree representing. Some People (scholar) say that Alarippu is a prayer to the holy Trinity Brahma, Vishnu and Maheshwar. Some says that this Alarippu, which starts, form the head movements and end with the feet is dedication the whole body through the dance movements to the Almighty.

According to T. Balasraswati “Alarippu, which is based on rhythm alone, brings out the special charm of pure dance. The movements of Alarippu relax the dancer’s mind and thereby her mind, loosen and coordinate her limbs and prepare her for the dance. Rhythm has a rare capacity to invoke concentration. Alarippu is most valuable in freeing the dancer from distraction and making her single-minded.” Her comments highlight that even a seasoned dancer requires to focusing her attention at the beginning.

The well-known hereditary dancer, Yamini Krishnamurti agreed; "I like to start with an Alarippu as it is a traditional warm up for the eyes neck and arms. I like the concept of Alarippu."

Alarippu was traditionally taught after learning the adavus. After a strong base in Adavu training, the dancer is ready for short, swift but strong dance composition. Normally, in the beginning, the Tishra jati Eka Tala Allaripu is taught by the teacher. Dancers usually study at least two Alarippu, in which there are slight variations of movements and postures.

It begins with Eye movements and Atamis or neck movements. Alarippu begins with eye movement. Eyes are very important elements of communication. To communicate people need to keep

eye contact. Thus, dancer establishes her first direct contact with the audience through eyes. The Alarippu movements begin with the eyes, joined by neck and and shoulder then move progressively downwards. So the eyes, neck and shoulders movements are followed by Mandi advau in the second half and later culminates with vibrant foot work and teermanam adavu. Alarippu is first done in samabhangi, aremandi, purnamandi, intricate adavus and ends with a tirmanam.. It belongs to the nritta category. It is usually of a duration of 4 to 5 minutes. It exercises the whole body, from the head to the toes.This is essentially a dance dedicating each part of the body before commencing the actual program.

First set of movements is done in Sama pada, dancer points to different sides, as if indicating the space round and including the space itself into dance or inviting guardians of nine directions to participate and protect the stage. Then dancer rises hands from NatyaRambha position, up with Anjali as if addressing the heavens. Then open in NatyaRambaa again as if holding flow of heavenly Ganga. Second set of adavus is performed in Muzhu mandi. Dancer lowers down to the Earth.After salutation series of adavus are performed. As an artist draws a sketch or hieroglyphs using his brush, the dancer fills the space with dance movements in increasing tempo. Message of pure Nritta is beauty. Beauty enters the stage in final sequence of fast and precise adavus. Dancer retreats back as is bowing to the audience for attention, hands are flying from up downwards, culminating in a flourish.

Alarippu can be performed in different Talas and Jatis, traditionaly the most done alarippu is in Tishra Eka Tala. Others are Misra chapu and Chatushra eka Talam alarippu. Alarippu is also done in 5 Jathis-Tishra, Chatushra, Khand, Mishra and Sankirn. Depending on the choice and expertise of the Guru, all Tala Jati combinations can be used in Allaripu. Alarippu done in such manner will differ in steps and talam, but keeping the three tier structure constant and not

loosing its purpose. Since this is dedicatory dance, it has to be simple, setting the stage for the more complicated dance to follow

It is a dance is accompanied by a nattuvanar and a mridangam (drummer) player along with other musicians. The act is entirely based on rhythm and is focused on relaxing the body of the dancer, thereby relaxing her mind and symbolizes her awakening.[4]The alarippu is done at the beginning of the performance and is done in three tempos. Simple and exact rhythm of Alarippu adjusts flow of time to the tempo of dance. Some believe that the Rhythm synchronizes heart beats of dancer, musicians and spectators. The Alarippu which is the first stage of the dance, is not generally accompanied by music, but is danced to the accompanied of sollu-kottu. Alarippu is the quintessence of Bharatanatyam technique having correct posture, movements of the eyes and neck, shoulder, bends, walks, fundamental foot work and through knowledge of the 1st, 2nd and 3rd speeds of the rhythm. Alarippu prepares the body for the later items to be performed by the dancer. There is a belief that if this dance is not performed at the beginning, a proper atmosphere for a Bharatanatyam recital is not crated on the stage. Thus Alarippu is a short piece with simple poses and movements in an equally simple tune and rhythm. It is a piece of 3-5 minutes duration and is preceded by a shloka or a verse. Alarippu is valuable in freeing the dancer from distraction and making her single-mindedness. In Alarippu which is based on rhythm (Taala) alone, the dancer takes leave of her subjective consciousness and identifies herself with the universal consciousness.

JATHISWARAM

Jathiswaram follows Allaripu in the Bharatanatyam repertoire. This is pure Nritta item set to tune (ragam) in particular rhythm (talam). Jathiswasram includes Jathi (sollukattu), Pallavi, Anupallavi and one

or more Charanas. There are no any sahityam passages present, the whole composition is sung using swaras (solfa patterns). Here the advaus are performed to swara patterns. Thus, Jathiswaram could be defined as "musical comosition without sahitya, which melody progressively becomes more comlex in sense of rhythm.

The meaning of Nritta, pure dance, is using the God given body and limbs we create as many forms of beauty as possible through flow of poses and movements connected together by rhythm and music. Beauty and inner joy of dance is the only meaning of Nritta. It does not have any particular mood or sentiment. It produces aesthetic pleasure.

Jathiswarams brings out three aspects of dance: unity of music, rhythm and movements. Ragam and Talam are the major aspects of Jathiswaram. A Raga can be understood as special musical space where certain patterns of swaras or tunes live in. Raga has it own mood. It guides flow of melody as cannel guides the river. Talam and Kalam (tempo) give feeling of time. They make melody move on, define how fast it should flow. Besides general Talam (Rhythm) and Kalam of music composition, which are constant, each dance adavu has its own rhythmic pattern. Sequences of adavus are fitting inside avartanam that is the rhythm cycle, as sketches are fitting pages of drawing album.

Jathiswaram has a structure. It has the usual three sections, the Pallavi, Anupallavi and Charanams. Though the Charanams were originally intended to be sung with jatis, the present day Jatiswarams have no jatis or lyrics but only swaras. The emphasis here is on the rhythmic patterns. Jathiswaram includes one Jathi (adavus set to sollukattu, without any music) and several Korvai-s set to swaras. It begins with brisk and fast Jathi. Jathi at times is preceded by Mai adavu set to Pallavi. Mei adavu is very characteristic for Jathiswaram. It comprises mandatory body bends and rotations formed along with

steps when dancer is moving to right and left sides at first and then backwards, or to diagonals. The choreographers put Mai adavu before Jathi (as a rule). At the end of Jathi, after the Pallavi-Anu Pallavi joined Korvai and after the last Swara, simple but very typical Mai adavu are put as joining flourishes. They are very special and typical to Jathiswaram and are not seen in any other item of the Margam. After the Mai Adavu and Jathi, or only Jathi two or three korvai-s set to Pallavi are executed. The next is one korvei set to Pallavi in combination with Anupallavi. Then follow several Korvai-s set to Charana swara-s.

To some, Jathiswaram reminds of a mountain river: streams of melodies appear here and there divided by stones of rhythmic patterns spread all along the main cannel of Ragam, bending gently to and fro, following shape of the mountain.

Jatiswaram is a dance item that helps in developing rhythmic stability. Highly enlightening and entertaining, Jathiswaram can also serve as a perfect choreographic tool. Message of Jathiswaram is beauty. It is pure Nritta item, thus anga shuddha (proper postures and movements) in combination with flow of melody and rhythm should evoke sense of harmony and joy of dance in hearts of spectators.

The Tanjore quartets compositions are widely performed. Some famous Jatiswaram composition often used by the dancers are

Vasntha - Rupakam - Tanjore Quartet Kalyani -Rupakam - Tanjore Quartet Bhairavi -Rupakam - Tanjore Quartet Saveri -Rupakam - Tanjore Quartet Raga Malika-Misrachapu - Tanjore Quartet Vachas Pathi -Rupakam - Tanjore Quartet Chakravagam -Rupakam - Guru Dhandyuthapani Pillai

References

1. Tillana and its special features, lecture by Dr. M.B.Vedavalli 2. "The Tamil Padam" by Matthew Harp Allen, Wesleyan

University, 1992 3. Padams and Javalis as handled in Brinda-Mukta Bani, Lecture by

Dr.Nirmala Sundararajan and Dr. Subhashini Parthasarathy 4. "Nirmalam" by S. Sharada, Madras, 1997 5. "Salon to Cinema. The destiny Modern life of the Telugu Javali",

by Davesh Soneji in "Bharatanatyam. A Reader." ed. by Davesh Sonerji, Oxford University Press, 2010

6. "Javalis of Sri Cinnayyav by .Tanjore K.P.Kittappa Published by Ponnayya Natyasala. Banglore, 1979

7. "The Music of Bharata Natyam" by Jon B. Higgins, American Institute of Indian Studies, Oxford and IBN Publishing Co PVT. LTD, New Delhi, 1993

8. "Bharatanatyam" by Balasaraswati T., NCPA Quarterly Journal 5(4), 1-8, 1976

9. Javali-s: Jewels of the Dance Repertoire. Nineteenth Century Composers, Sruti No. 240, September, 2004

References

Faubion Bowers (1953). "The dance in India". Columbia University

Press. pp. 48–50.

Roy, Sujoya (June 15, 2005). For Ganesh, Remover of Obstacles.

iUniverse, Inc. p. 219. ISBN 0-595-34556-5.

Ragini Devi (July 1, 2002). Dance Dialects of India (3 ed.). Motilal

Banarsidass Pub. p. 56. ISBN 81-208-0674-3.

Vatsayan, Kapila (June 15, 2003). The Square and the Circle of the

Indian Arts. Abhinav Publications. p. 81. ISBN 81-7017-362-0.

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