Bharatanatyam Concert - Conventional Format
Over the years, the Bharatanatyam recital has been cast in a format, with a specific method and order or rendition of the items. Pranaam or 'Tatti Kumbidal' is the very first step in both a concert and a class. It is done at the beginning and also at the end of a recital. It is a salutation to the Lord Almighty and the guru. The dancer also seeks Mother Earth's forgiveness for stamping on her. After paying her/his obeisance to the Guru and the Lord in the form of a Pushpanjali (an invocation with flowers), the dancer starts the program with an 'Alaaripu'.
Alaaripu
Alaaripu is a perfect introduction to the audience of the basic framework of Bharatanatyam technique. A short and crisp nritta item, Alaarippu is done to the accompaniment of rhythmic syllables recited by the Nattuvanaar along with the taalam (cymbals) and the mridangam (a drum - percussion). There is no song for this item. In this item, the arai-mandi posture and the way movements flower out on both sides of the body become clear. Very precise, the movements should draw clean lines in space. The geometry of triangles drawn by the body becomes obvious. Crisp movements of the neck, eyes and shoulder show exactly how the body works in Bharatanatyam.
Jatiswaram
Rhythmic aspect becomes more brisk and a little more complicated in the Jatiswaram. This is done to music which has notes set to a particular combination of patterns and the dance movements follow the music so precisely that one feels that movement draws a visual picture of sound (music). Jatis or Koravais mentioned earlier are all clearly seen in the item. Each line of the music is set to 'jatis', as the rhythmic sequences are called.
Sabdam
Having introduced pure dance and rhythm in the first two items, the dancer now brings in expressional dance with a theme for the first time. Here the abhinaya is simple and usually takes the form of a dance narration of episodes from myths - like scenes from the life of Lord Krishna.
Varnam
Now the dancer is all set to perform the most important of the recital which is the Varnam. This is a nritya item in which both pure dance and abhniaya are combined in very demanding proportions. Varnam is the test of the skill and stamina of the dancer, for the item may range from 25 minutes to 50 minutes, depending on the Varnam selected. The song is dedicated to a deity and the dancer expresses the Naayika's (heroine's) love and devotion to the deity. God's greatness is glorified by referring to his famous deeds. Towards the end, there is a description of how beautiful nature looks and how the heroine wants to be there with her beloved Lord. In all these songs the human being is imagined as a devotee of God and also as a beloved of the Lord. Each descriptive passages is done with the help of hastas and abhinaya and linking up these passages are the purely rhythmic sequences. Each line of the song is interpreted in myriads of ways through expressional dance. The rhythm sequences are complicated and this is what makes a Varnam a difficult item requiring long hours of practice.
Padam
After a long item like the Varnam, it is not possible to do brisk rhythmic items immediately. The dancer needs to gather her resources of energy and this is done through items which require no physical strain but where the dancer is emotionally involved. This is the Padam, which is a song about love. In this expression of love, the dancer is shown in various moods - waiting for the arrival of the beloved, anxious and then angry at his not keeping his promise, jealous of his relationship with another woman, sorrowful at being alone and separated, radiantly happy in the company of her beloved, quietly escaping for a meeting (tryst) with the loved one and so on. the songs may describe love and devotion towards the Gods. But, unless the dancer inwardly feels the emotions, she cannot perform the Padam well. Each line of the song can be interpreted in many different ways. Carnatic music has hundreds of Padams composed by poets and musicians and many of these have been rendered in dance.
Javali
This is also a pure abhinaya item where the lyrics are racy and full of lilting rhythm. The Padam is sung slowly whereas the Javali is rendered much faster. The Javali too is a love song. Most of the Javali compositions are in the Telugu language.
Thillana
The dancer now presents, in conclusion of the recital, a Thillana which is considered the best of all pure dance or nritta. The music is just one repetitive line. There are no words to the singing - only rhythmic syllables set to tune and melody. The dancer presents her rhythm in such a way that brisk and racy sequences of rhythm are followed by moments when the dancer freezes in a pose.
Mangalam or Benediction
After the Thillana, a short prayer is offered to the deity of their choice before concluding the recital, known as the 'Mangalam' seeking Divine blessings for the well being of everybody.
Arangetram
The maiden stage performance of a bharatanatyam student is called 'Arangetram'.
'Arangu' refers to the stage. 'Etram' means 'to be raised'. Hence the term 'Arangetram'
is used to mean the formal maiden appearance of a dancer after completing her
or his training and reaching the proper level for a public performance. As the
first formal performance proclaiming that the student has mastered enough to
know at least one whole 'Maargam' (a whole line of items from Alaripu to Tillana),
the Arangetram is like a graduation ceremony and forms a very significant stage
in the dancer's life. It spells the starting point of a career that can and may
continue for many years.
There is no fixed time as to when a dancer can have her or his Arangetram, for
it depends on the individual capacity of the learner to attain the requisite
level of perfection and familiarity with the dance form.
Above all, a person seeking to be a good Bharatanatyam dancer requires dedication,
stamina and considerable patience apart from the basic talent.