Author: Gayatri Deka
In the world of classical Indian arts, the union of Bharatanatyam and Carnatic music is a divine symphony, a rhythmic poetry that transcends the boundaries of expression. Rooted in ancient traditions, Bharatanatyam, a classical dance form, and Carnatic music, a classical music tradition, have evolved as parallel streams, intricately interwoven to create a mesmerising tapestry of artistic expression.
Bharatanatyam: The Dance of Expression
Bharatanatyam, with its roots deeply embedded in the temples of South India, is more than just a dance form; it is a spiritual journey, a narrative told through the body’s language. Every gesture, every movement is a stroke in the canvas of storytelling, and at its heart lies rhythm—nritta, the pure dance, and nritya, the expressive dance.
Carnatic Music: The Melodic Tapestry
On the other side of this artistic coin is Carnatic music, a tradition that dates back centuries and finds its essence in the melodic exploration of ragas and rhythmic patterns of talas. Known for its intricate structure and emotive appeal, Carnatic music is a language of its own, a poetic discourse where the human voice or instruments convey a profound emotional journey.
The Symbiosis of Layam and Talam:
In the symbiotic relationship between Bharatanatyam and Carnatic music, layam (rhythm) and talam (beat) become the invisible threads binding them together. The Bharatanatyam dancer becomes a living instrument, her feet creating intricate patterns on the stage in harmony with the beats of the mridangam or the tabla, the soulful sounds of the veena or the flute.
Exploring the Tala System:
Central to this rhythmic poetry is the tala system, a framework of beats that provides the heartbeat for both Bharatanatyam and Carnatic music. The dancer’s movements align with the rhythmic cycles, creating a dialogue between layam and talam. The adavus, the basic steps in Bharatanatyam, synchronise with the beats, adding layers to the narrative.
Mudras and Swaras:
In the dialogue between dance and music, mudras (hand gestures) in Bharatanatyam become the visual representation of the swaras (musical notes) in Carnatic music. The dancer’s fingers move like a musical crescendo, interpreting the melodic nuances through expressive hand movements. The confluence of mudras and swaras paints a vivid canvas of emotive storytelling.
Ragam, Bhavam, and Abhinaya:
Ragam, the melodic framework of Carnatic music, finds resonance in Bharatanatyam through the concept of bhavam (emotion) and abhinaya (expression). The dancer becomes the vessel through which the raga comes to life, her expressions mirroring the emotional landscape of the musical composition.
The Role of Natyacharya Gayatri Deka:
In Dwarka, Delhi, Natyacharya Gayatri Deka, the guiding force behind her Bharatanatyam School, personifies this seamless integration of Bharatanatyam and Carnatic music. With her profound understanding of both art forms, she choreographs performances that echo the spirit of this rhythmic poetry. Her students, under her tutelage, embark on a journey where dance and music become inseparable companions.
Beyond Performance: The Cultural Tapestry:
The union of Bharatanatyam and Carnatic music extends beyond the stage; it is a cultural tapestry that weaves stories of devotion, mythology, and everyday life. The compositions, be they varnams, padams, or javalis, become vehicles through which the classical heritage is preserved and passed down through generations.
Preserving Tradition, Embracing Innovation:
While rooted in tradition, the connection between Bharatanatyam and Carnatic music is also a living, breathing entity that embraces innovation. Contemporary choreographers and musicians experiment with new ideas, expanding the horizons of this age-old relationship, ensuring its relevance in the modern world.
In the rhythmic poetry of Bharatanatyam and Carnatic music, we witness the essence of a cultural heritage that has withstood the test of time. The dance and the music, like two intertwined vines, grow together, each enhancing the beauty of the other. As we delve into this artistic confluence, we discover a world where rhythm and melody converge, creating a timeless symphony that resonates with the very soul of classical Indian arts.
Frequently Asked Questions about Bharatanatyam and Carnatic Music
1. Do I need to formally learn Carnatic music to be a good Bharatanatyam dancer?
While formal training in Carnatic music is not a strict prerequisite, a deep understanding and appreciation of it are absolutely essential. A dancer must internalise the music to bring it to life. We train our students to listen intently to the nuances of the ragam (melody) and to feel the mathematical precision of the talam (rhythm). You don’t just dance to the music; the music must flow through you.
2. What instruments make up a traditional orchestra for a Bharatanatyam performance?
A live Bharatanatyam orchestra is a divine experience. The ensemble typically includes a lead vocalist who sings the compositions, a mridangam (a double-headed drum) that provides the core rhythm, a melodic instrument like a violin or veena, a flute for melodic embellishments, and finally, the nattuvangam (cymbals) played by the guru, which conducts the entire performance.
3. What is the difference between musical compositions like a ‘Varnam’ and a ‘Padam’?
These are different forms of poetic and musical compositions that form the repertoire of a performance. A Varnam is typically the magnificent centrepiece of a recital. It is a complex and long piece that showcases a perfect balance of pure, rhythmic dance (Nritta) and expressive, storytelling dance (Abhinaya). A Padam, on the other hand, is a slower, purely expressive piece that focuses deeply on storytelling and conveying a specific emotion or narrative, allowing the dancer to showcase their mastery of Abhinaya.
4. Can Bharatanatyam be performed to music other than Carnatic music?
In its purest, traditional form, Bharatanatyam is inseparable from Carnatic music. Their structures evolved together and are deeply intertwined. However, in the spirit of innovation, many contemporary choreographers do experiment with performing Bharatanatyam to different musical genres, from Western classical to minimalist electronic scores. These are exciting explorations, but the soul of classical Bharatanatyam will always reside in its union with Carnatic music.
5. How does a dancer learn to understand and interpret the complex rhythmic cycles, or ‘Talas’?
Learning Talam is a gradual and systematic process. It begins with simple rhythmic clapping patterns and the recitation of rhythmic syllables called sollukattu. As students advance, they learn to execute intricate footwork that matches these complex mathematical cycles. The guru’s nattuvangam is the primary guide, providing the rhythmic backbone that the dancer’s feet must follow with absolute precision.
6. What is the role of the vocalist in a Bharatanatyam performance?
The vocalist is the lead narrator. Their voice conveys not only the poetic lyrics of the composition but also the specific mood and emotional colour of the Ragam. The dancer listens to the vocalist’s every nuance and brings that story and emotion to life visually. It is a beautiful and constant dialogue between the singer’s voice and the dancer’s body.
7. You mentioned mudras represent swaras. Could you give an example?
While there is not a strict one-to-one map where one mudra equals one swara (musical note), they mirror each other in texture and intent. For instance, a fast cascade of notes from the singer might be visually represented by a flurry of quick, intricate hand gestures from the dancer. Conversely, a single, long, sustained note expressing sorrow might be accompanied by a single, poignant mudra held with deep emotional stillness. The hands paint what the music sings.
8. Does the dancer also sing during the performance?
Traditionally, the dancer does not sing. Their entire focus—physical, mental, and emotional—is dedicated to the immense task of embodying the music and the narrative through movement and expression. The singing is left to the specialised vocalist in the orchestra, allowing for a richer, multi-layered artistic experience.
9. How does the chosen ‘Ragam’ (melodic mode) influence the dance?
Each Ragam in Carnatic music has a distinct personality and is associated with a specific mood or emotion (bhava). A Ragam like ‘Kharaharapriya’ might evoke a mood of devotion and love, inspiring graceful and flowing movements. A different Ragam like ‘Atana’ might convey heroism or anger, leading to strong, energetic, and powerful choreography. The Ragam is the emotional blueprint for the dance.
10. The blog refers to you as ‘Natyacharya’. What does this title mean?
Natyacharya is a respected title given to a master of Natya (the art of drama and dance). It signifies a guru who is not only a teacher of technique but is also a proficient choreographer, a scholar of the art form’s theory and history, and someone who is capable of conducting a full performance with the nattuvangam. It is a recognition of one’s deep and holistic mastery of the art.
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