Education in Spiritual Values Through BH

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Education In Spiritual Values through Bharatanatyam
Dissertation - Project work (written)

Submitted to Tilak Maharashtra Vidyapeeth,
Faculty of Arts and Fine arts,
Department of Shri Balmukund Lohiya centre of Sanskrit and Indological studies
In partial fulfillment of the requirements for
MA in classical dance (Bharatanatyam)
2013-2014
By
Chandra Anand
PRN: 03710400471
Tilak Maharashtra Vidyapeeth, 1242, Sadhashiv Peth, Pune-411030

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Education
In
Spiritual Values
Through
Bharatanatyam
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Certificate of Guide
This is to certify that the project entitled, “EDUCATION IN SPIRITUAL

VALUES THROUGH BHARATANATYAM” submitted by Chandra Anand,
enrolment number: 03710400471, a student of Master of Arts in classical dance
(Bharatanatyam), Faculty of Arts and Fine arts, Department of Shri Balmukund
Lohiya centre of Sanskrit and Indological studies, Tilak Maharashtra Vidyapeeth is
a bonafide original work done by her during the year 2013-2014 as part of the
requirements for the course under my guidance and supervision.
Date: Signature:
Place: Name of Guide: Dr. Malati Agneswaran
Designation: Research guide,

(Associate Professor and Head of Department of Bharatanatyam,
Nalanda Nritya Kala Mahavidyalaya,
Affiliated to Mumbai University,
MUMBAI)
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Declaration
I declare that the dissertation entitled, “Education In Spiritual Values Through

Bharatanatyam”, submitted by me, to Tilak Maharashtra Vidyapeeth, Faculty of
Arts and Fine arts, Department of Shri Balmukund Lohiya centre of Sanskrit and
Indological studies in partial fulfillment of the requirements for the Master degree
in Classical Dance (Bharatanatyam), is the bonafide record of the project work
done during the year 2013- 2014. This work has not formed the basis for the award
of any degree, diploma, associate ship, fellowship or any other title of any
university.
Signature of Candidate:
Date:
Name: Chandra Anand (PRN: 03710400471)
Address of Candidate: C/6-502, Pawanhans Juhu Hsg. Complex,

Relief Road End,
Santacruz (W),
Mumbai- 400 054.
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Acknowledgement
I thank my parents who gave me a chance to learn this beautiful art form,
Bharatanatyam. Also I thank all my gurus, who nurtured and nourished me in this
art.
I also thank all the teachers who taught me academics, sports, and music for it is
also their methods of teaching which was in my memory that inspired me to
attempt the subject of pedagogy for the dissertation. I sincerely thank Dr. Malati
Agneswaran for guiding me through this dissertation.
I also thank - Dr. Jayashree Inbaraj, Mrs. Sumitra Yadav, Mrs. Ranjana Sharma,
Mr. N. Mohan (my father-in-law) and Mr. Anand Mohan (my husband), to have
given me moral support.
Yours sincerely
(Chandra Anand)
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Abstract
The function of PERFORMING ARTS is to educate and uplift the SOCIETY
through entertainment. An education in the Indian classical performing arts
involves the study of form and its technique; followed by practice. When students
pursue classical art forms, they imbibe philosophical, religious and spiritual values
i.e. awareness of one’s inner self and higher realities of life. For, Indian classical
art has many aspects and connects at various levels with spirituality, philosophy,
religion and aesthetics. This study is an attempt to bring to fore these values
present in BHARATANATYAM and suggest various methods to cultivate these
values as an integral part of study of art form.

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Preface
When the need to search for a topic came, a quick look over my past dance career in
Bharatanatyam indicated not only having undergone training to be a performer but also for being
a dance teacher. Right from fourth year onwards I have always been attending basic training
classes in my Alma mater and assisted my teacher as a model for other students. I used to
perform adavus being taught and practiced them along with the new students. Perhaps this is
why I have a strong base in nritta.
After my arangetram, I was asked to assist my teacher officially which continued for 9 long
years. During this time I also finished my post-graduation in English literature and went on to do
B.Ed in preparation to become a school teacher. The B. Ed course exposed me to several tried
and tested methods of teaching, where maxims of teaching and principles of teaching played a
great part.
When the opportunity arose to write a dissertation, I chose pedagogy as my subject. I felt that my
years of observation and practice of methods of teaching and speculations on the syllabus of
dance curriculum would come in handy in presenting my dissertation. There was this realization
that process of education should be student-centered and factors like selection and gradation of
lessons according to age, environment and psychology of students are very important and have to
be taken into consideration. Most importantly the philosophy of dance education has to be
reviewed for it is important that the teacher be guided by a strong ideology in order to get full
impetus in the training efforts to teach dance.
The truism- Education is a social concept, philosophically evolved, socially based and
psychologically developed has been used as a guideline to set the course of the dissertation.
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Efforts in this direction have enabled the deduction of the ideology of margam; establish the
relation between Bharatanatyam and yoga; and also name methods and approaches to teach all
aspects of dance.
The first chapter deals with a brief of Hindu philosophy which is the basis of spirituality in
Bharatanatyam and rasa-theory which is the underlying philosophical belief of all performing
arts. The second chapter sets a journey to discover the philosophy of margam - the presentational
repertoire of Bharatanatyam, and the third explains the exact point at which yoga meditation is
similar to Bharatanatyam.
In the fourth chapter, the codification of adavus has been analyzed with the help of the maxims
of teaching and fifth names some methods and approaches the teacher of Bharatanatyam applies
to teach the dance form.
The sixth, seventh and eighth chapters deal with application of these methods, approaches and
other aids to the basic training of Bharatanatyam and the training of two margams. The ninth
chapter concludes the dissertation with observations of Bharatanatyam in present day times and
its future.
With Blessings from my gurus and other elders I submit the same for evaluation.
Chandra
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Contents
Certificate of guide 3
Declaration 4
Acknowledgement 5
Abstract 6
Preface 7-8
Contents 9
Introduction 10-17
Chapter 1-Association of Hindu philosophy
with Indian Classical dance 18-38
Chapter 2-Philosophy of Margam 39-62
Chapter 3- Bharatanatyam and Yoga 63-70
Chapter 4-Codification of Adavus 71-83
Chapter 5-Art of teaching: Some methods and approaches 84-97
Chapter 6-Basic training 98-110
Chapter 7- Training of margam 111-121
Chapter 8- In second margam 122-130
Chapter 9- Summary 131-141
Bibliography 142-143
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Introduction
The origin of Indian classical performing arts is attributed to Natyaveda that has
been written for educating and uplifting the society through entertainment. Indian
classical performing arts have their underlying roots in Hindu philosophy and
religion, which reflect teachings of the Vedas. The performing arts encompasses
human emotions and experiences in its works, and informs the society about truths
of life, above all about God and moral conduct to be followed by man; while at the
same time entertaining them.
An Indian classical performing art plucks at the heartstrings of spectators, by
presenting an emotional human experience that is universal in nature and makes
one aware of self and higher realities of life. This aesthetic theory is the
underlying belief and philosophy of all Indian classical arts called rasa theory.
Hindu philosophy and religion with their principles of purushartha are very much
part of classical arts for ‘natya is said to yield all the fruits of life -dharma, artha,
kama and moksha’1. Perhaps, in view of this, the rasa-experience is considered
akin to the supreme experience of moksha.
The teacher of Bharatanatyam must have in depth knowledge of not only the
technique of the form but also the background of the art, the philosophy of the art
and the connected arts.

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In Bharatanatyam, the margam which is the presentational repertoire is a
philosophy by itself as it embraces all concepts of human experience, religion and
other philosophical systems in its conception.
In Bharatanatyam, adavus, that are combined to make pure dance patterns, have
their base in the principle of yoga philosophy.
The teacher devises various means and measures to provide the technology of the
art form which can be called the methods of teaching. The lessons are to be
selected to suit the level of education of the learner and graded according to the
age, psychology and environmental background of the students.
An integrated approach and use of teaching aids will help cover all aspects of
Bharatanatyam in a shorter time duration, providing students with a harmonious
view of the traditional form.
Introduction (II)
Education in Indian Classical Dance (Bharatanatyam)
“The word ‘Education’ refers to the systematic training and instruction, especially
of the young, in school and college. Through the process of education, a human
being is imparted knowledge and provided training in various skills leading to
improved abilities to help him lead a good life. In addition, education also helps in
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development of moral character (good thoughts and feelings, diligence, self-
control, etc.) and mental powers (concentration, memory, patience, etc.) and
aesthetics.”2 Education in dance involves development of aesthetic sensibilities.
Education for aesthetic development
“Education for aesthetic development provides the young with emotional
experience and develops emotional stability in them. Emotions are to be well
trained to develop a balanced personality. Aesthetic development constitutes
training of the faculty of discerning and enjoying beauty in music, literature, and
other arts. The young are enabled to enjoy and appreciate beauty in its various
forms. A piece of literature like poem; a piece of art like painting or sculpture; a
musical melody are all expressions of human moods, emotions and creativity. It
reveals the human spirit”.3
The function of Art is to reveal the human spirit. Art allows man to manifest his
inner feelings and express them outwardly in a creative manner. Subtle thoughts
and feelings take concrete shape in a work of art. Symbols like words, movements,
sounds and materials such as stone or wood can be used imaginatively and
creatively, to create a piece of art. Education in art helps in developing creativity
by instructing learners in both the knowledge and the techniques to present an idea
creatively. Students of art experience delight, in creating and appreciating beauty

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in a work of art. Every such experience brings awareness to the student of their
own capabilities and temperament.
Indian Classical Art and its Connection to Spirituality, Philosophy and
Religion
Indian classical performing arts have many aspects and connect at various levels
with spirituality, philosophy and religion. Let us see the definition or meaning of
these concepts.
“Spirituality is rather difficult to capture in a few words for it includes both
knowledge and experience of this knowledge. The word spirituality suggests a
connection with the spirit or the soul of man. Spirituality is therefore, that part of
life and consciousness associated with a mental or moral attitude of human being.
It reflects a person’s state of mind or state of being. The concept of spirituality
encompasses the intellectual, moral, and emotional aspects of man. It has its root in
the realms of religion and philosophy”.4 It is philosophy that gives knowledge of
spirit of man and his existence. Religion shows the path or prescribes spiritual
exercises to realize its goal and art expresses the feelings and emotions of the spirit
aesthetically.
“Philosophy, on the other hand, is an activity - an activity that seeks to understand
ourselves, the nature of reality and the universe. Logic and reason are the main
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tools to search for answers to life’s fundamental questions about our existence,
nature, life, and understand both the social and natural worlds’ humans’ inhabit”.5
One should realize the self and its existence and its relation to the world or
environment around itself. Answers to such questions are revealed through
intuition and belief in oneself. Art reveals the inner feelings and emotions of the
spirit of man and enlightens the spectator about the philosophy of life.
“Religion is a belief in the existence of a supernatural ruling power, the creator or
the controller of the universe who has given man a spiritual nature. There are
various systems of faith and worship based on such beliefs such as Hinduism,
Christianity, Buddhism and Islam. All religions preach a way of life for humans
and set a path to liberate oneself from the sufferings and sorrows of the world and
make known that man’s final goal of life is union with the creator”. 6 Religion
preaches that one’s activities in life is to aim towards the goal of salvation. Art
connects with religion, by portraying Gods in its works, “as glorified human being
inspired with human motives and passions, born like men but immortal” 7 through
stories Rama, Krishna etc.
Indian Classical Dance and Spirituality
Most Indian Classical dances, particularly Bharatanatyam- the subject of this
dissertation, have religious and spiritual beginnings. They have been part of Hindu
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temple rituals and religion. They follow the Hindu religion in attitude. The Hindu
philosophy and their teachings are part and parcel of their themes of presentation.
The Vedas are the very first scriptures of Hindu philosophy and religion. All
human beings are the limited manifestation of the Ultimate Being and reunion of
the soul with the Absolute should be the goal. This is the truth offered in the
Vedas. Inevitably, the Vedas teach the ideal way to lead life to ensure our way
back to the source. “The goals of life which are accepted by all Hindus are
righteousness or obedience to the moral law (dharma) wealth or material welfare
(artha), pleasure (kama), and emancipation (moksa). Dharma prevails throughout
life, that is, neither pleasure nor wealth is to be obtained through violation of the
rules of morality. Moksa is the ultimate goal to which all men should aspire. This
social philosophy is accepted without question by all Hindus.”8These ideals have,
since ages, ruled not only our life, lifestyle and outlook but also permeated through
the arts; for this ideal way of life “recognizes in every sphere of activity, the
kinship of God and man9.
Thus, the underlying idea of practice of classical performing arts is to transcend
oneself towards a higher plane and achieve bliss through spiritual expression. “All
Indian classical dances are a combination of body movements and facial
expressions perfectly synchronized to represent a given context, through the
perfect vehicle i.e. the human body or human being. Though it is the body that
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moves, it is man’s inner consciousness or soul that directs his movements. This
results in a harmonistic dance form that combines music, rhythm and movement,
all of which cater to the command of man’s inner feelings. In a spiritual country
like India, where the realization of consciousness or spirit has been the supreme
goal of life, it is not a wonder that dance became a form of sadhana”10.
Introducing at a very early age this knowledge of the divine in oneself as enshrined
in the scriptures of philosophy and religion would guide a child to take the spiritual
approach to life seriously and walk on the path of right conduct and truth. Through
Indian classical dance, mainly Bharatanatyam, children can get an opportunity to
reach pure consciousness and get connected to their inner being.
Purpose of Research
This researcher has humbly attempted to bring out the educational and spiritual
aspects of teaching Bharatanatyam and remove unnecessary doubts about the
content and techniques of dance form in the modern times. To achieve these
purposes, the teacher has to throw light on the original fibre of classical dance
which is the spiritual nature of Bharatanatyam. The researcher has tried to
convince that margam, the presentational repertoire in Bharatanatyam, has a firm
logical basis which reflects the tenets of Hindu philosophy. A methodology
consisting of various methods and approaches is provided by which the teacher can
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expedite the learning process of Bharatanatyam, considering the time constraints of
the new generation of students.
Notes to reference:
1. Padma Subramanyam, Bharata’s Art- Then and Now, Bhulabhai Memorial Institute Bombay,
1979, chapter 1, pg 20.
2. A. S. Hornby, Oxford Advanced learner’s Dictionary of current English, 3rd edition, Oxford
University Press, London, 1974, pg 276.
3. K.K. Bhatia & J.N. Arora, Methodology of teaching, Prakash Brothers Educational
publishers, 1981, chapter 9, pg 193.
4. A. S. Hornby, Oxford Advanced learner’s Dictionary of current English, 3rd edition, Oxford
University Press, London, 1974, pg 830-831.
5. Ibid, pg 627.
6. Ibid, pg 712.
7. Veena Londhe, Notes on Hindu philosophy, pg 29.
8. A Source Book in Indian Philosophy, edited by Sarvepalli Radhakrishnan and Charles A.
Moore, Princeton University Press, USA, 1957, General Introduction, pg xxx.
9. Mrinalini Sarabhai, Understanding Bharatanatyam, The Darpana Academy of performing
arts, Ahmedabad, Gujarat, 1981, chapter 1, pg 1.
10. Lata Raman, P.U.C notes, Nalanda Nritya Mahavidyalaya and research centre, Mumbai,
1983.
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Chapter 1
Association of Hindu philosophy and Indian Classical Dance
The Vedas are the very first of the scriptures of Hindu philosophy and religion. The
teachings of Vedas, “through the ages, have retained a remarkable
continuity”1through commentaries, explanations, and reinterpretations in the
Upanishads, the Indian epics - Ramayana and Mahabharata, ‘shad darshanas’,
Bhagavad-Gita, Srimad-Bhagavatam and puranas. These teachings have become
the basic philosophy of life for Hindus.
Indian classical dances take most of the themes from the Indian epics and puranas
which tell us about the ideals of life as taught in the Vedas. Ramayana,
Mahabharata and Puranas are not only a source of a wide range of possible
human experiences and emotions but also touch upon the rules of conduct. In each
episode human ideals shine through. Indian classical dances closely follow Hindu
philosophy in their attitude. That is why, spirituality which is at the core of Hindu
philosophy, is also part of dance education.
Teachings of Hindu Philosophy
Let us briefly look at the teachings of Hindu Philosophy in present times.

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Bhagavad-Gita is the latest version of teachings of the Vedas. Here there are three
paths shown for man’s liberation from rebirths. They are Jnana-yoga, the path of
knowledge; Bhakti-yoga, the path of devotion; and Karma-yoga, the path of action.
Srimad-Bhagavatam expands on the Bhakti-yoga. “It is a spiritual path fostering
love, utter faith and surrender to God. It explains that the path to man’s liberation
from cycle of birth and death is through love and devotion to God and expounds
nine simple ways of becoming one or being one with God. The nine primary forms
of bhakti are sravana, kirtana, smarana, pada sevana, archana, vandana, dasya,
sakhya and atmanivedana.”2
The Bhakti movement propagates the teachings of the Vedas and Upanishads. It
advocates a personal god, and through it only the one Existence. The philosophy of
Bhakti movement explains that without bhakti to God, man does not receive
freedom from bondages of human life. To attain union with the Absolute one must
be of good nature, bereft of evil thoughts and desires, be industrious and have the
true knowledge. Just as the correct knowledge of concepts clears our doubts and
fears, true knowledge of the relationship of the soul and the creator gives the
fortitude to give up all desires and leads us on the path to liberation. Knowing the
true knowledge, the veil of maya is torn and the chain of birth and death is broken.
This is the general philosophy that is expounded by Vedanta. Vedanta philosophy
is of great value for it is this philosophy where, “in the 555 sutras an attempt is
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made to systemize the teachings of the Upanishads”3. “Vedanta reveals that
knowledge of the Supreme Ultimate brings enlightenment during this lifetime
(itself).”4
Bhajans and Hindu philosophy
Bhajans, a genre of the Bhakti movement, propagate and educate the masses on the
concepts of Bhakti yoga. Through bhajans, the saint poets have spread among the
common people the preaching of Hindu philosophy in their regional languages and
advised them about the nine easy and active ways of praying to God for liberation
from cycle of life and death.
The teaching of Hindu philosophy through bhakti movement is interpreted best in
the famous bhajan by Tulsidas “Sri Ramachandra kripalu bhajamanu harana
bava bhaya darunam.”Here, the poet says that if one sings the praise of Lord
Rama, one gets salvation from the rebirths. Tulsidas asks the devotee to close his
eyes and meditate on Rama’s beautiful image, for e.g., as the handsome
bridegroom of Sita and live a happy life. He mentions the different names of Rama
and asks the devotees to chant His varied names or sing hymns of Him and live in
harmony and togetherness. Tulsidas assures that contemplating on beautiful Rama,
adorned with the bow and arrow, will shoot all the evil thoughts, feelings and
intentions away from our mind, just like His arrows shot down the demons Kar and
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Dooshan. Even Lord Shiva and the great snake Sheshnag keep themselves happy
and close to Rama by remembering the different stories of Him. Thus if He lives in
our heart, all desires in life will melt away. No longer will one yearn for material
or physical desires as being one with the Lord is the only desire of the soul.
Devotion and love to god through emotional expression
Emotion or bhava or attitude towards an object is a good signal regarding the
relationship of a person towards an object. Other than the nine active ways of
worshipping God, the bhakti cult explains affectionate ways of relating oneself
with God. “The five famous ways of expressing affection to God are through the
emotions of santa (with equanimity, Bheeshma), dasya (like that of a servant, Lord
Hanuman), sakya (friend, Arjuna, the gopals of Brindavan), vatsalya (motherly
feelings, Yashoda), madhura, (lover, Radha). Attributes of human being is given to
Him and one feels he understands God and feels close to Him, when related to Him
affectionately”.5
Art and Emotion
Just like through emotions (of love and devotion), nine active ways of worship and
affectionate relationships one understands and feels emotionally attached to God,
in the same way an artist by evoking an emotional response in the spectators,
connects to the audience. The ideas presented are human emotions, feelings,
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actions and relationships which are the basic truth of human life. “The poetic
(aesthetic) insight into the emotional life and its artistic presentation, are the source
of beauty (soundarya) and delight (ananda)”.6 Thus the artist, through the medium
of art, educates and elevates the audience to a higher plane “by widening our
understanding of life and intensifying our appreciation of the deeper values of
life”.7
Art modifies the outlook of the conscience through rasa-experience (emotional
connection) which is also relish of art. In a work of art there is one idea or one
emotion that is the central or dominant theme that has to evoke emotional response
from the audience for its success. The arts deal with subjects pertaining to aspects
of humanity and human thoughts and feelings. To put forward an example, the
Statue of ‘David’ by Leonardo Da Vinci shows David as to be concentrating on the
thought of throwing the stone at the right moment at Goliath. “The statue appears
to show David after he has made the decision to fight Goliath but before the battle
has actually taken place, a moment between conscious choice and action”.8 In the
poem, ‘The Solitary Reaper’ the poet William Wordsworth brings out the
melancholy in the soul of the only reaper in the fields. “The poet orders his listener
to behold a “solitary Highland lass” reaping and singing by herself in a field. He
says that anyone passing by should either stop here, or “gently pass” so as not to
disturb her. As she “cuts and binds the grain” she “sings a melancholy strain,” and
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the valley overflows with the beautiful, sad sound”.9 Each one of these examples
bring out one main emotion or mood in a piece of art.
In the performing arts of dance and drama, two or three emotions can be
intertwined together but the dominant emotion is only one. There are eight such
dominant emotions that are considered as permanent states of being. They are part
of the inherent nature of man. The artist through his art brings them out to the
conscious level. Through an ingenious portrayal of these emotional states of being
in his art, the artist strives to evoke an emotional response or re-create a similar
state of being in the spectators which is called experience of rasa. Regardless of
the field or symbol that the artist used to present his idea, he has to make sure that
through his creation, he evoked an emotional response to the beauty or truth of
mankind in the art presented. This is the goal of all arts. The characteristic
features of this rasa theory are explained as we go further on, in a very simple
manner, in this chapter.
Rasa- the impersonal joy
The emotional idea expressed by the actor arouses a rasa or sentiment in the
spectator. A rasa is a result of sthayi-bhava (permanent state) producing a
pleasurable sensation through the operation of involuntary (sattvika) and transitory
(vyabhichari) states. “Sentiment is a mental feeling. For e.g. the sentiment of pity
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is made up of the feeling of sympathy and of a desire to help and protect. Such
feelings collectively have an influence on the mind of a person. This sentiment is
the sum total of what one thinks and feels on a subject.”10Thus through sthayi-
bhava a sentimental feeling is evoked and an opinion or point of view is planted in
the audiences’ mind. And so there are no personal feelings or emotions or desires
of the spectator involved in the harmonious viewing of the presentation, only a
mental feeling of awareness of a basic truth of life through artistic presentation.
In Bharatanatyam, the spiritual import is of atma (individual soul) seeking union
with the paramatma (universal soul) conforming to Hindu philosophy. Thus “this
sentiment is impersonal joy characteristic of contemplation of the Supreme Being
by the adept, a bliss which is absolutely without personal feeling”11.
Spiritual expression and spiritual exercise
During presentation of a performing art both the artist and the spectator are active.
They are developing emotions and sentiment in their minds respectively. If we
interpret the word mind philosophically, “it is ‘manas’, derived from the root man,
‘to think’. ‘Manas’ is the Cosmic Mind, the principle of cognition, in samkhya
philosophy. It is concerned with the ‘this’ aspect of the universal relationship, ‘I
am this’.”12 And “the ‘manas’ is the entire internal organ of perception, the faculty
or instrument through which thoughts enter or by which objects affect the Soul
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(atman) as in vaiseshika philosophy. It is applied to all the mental powers, that is,
the intellect, understanding, perception, sense, conscience and will”.13Thus the
function of the manas or mind is to feel, think and understand and make
sentiments. So, can we say that the experience of developing a sthayi bhava is a
spiritual expression for the artist? And also, can we say the harmonious
interpretation of the art presentation is a spiritual exercise for the spectator? Then,
we can say that, that this aesthetic experience of art called rasa experience
involves the soul or spirit of man.
The artistes of the performing arts, of yore, felt they could take it a step further.
Not only did they try to realize pure consciousness and understand reality of life
through art; but also tried to realize moksha (union of self with Absolute Self),
however fleetingly, presenting philosophical themes as expounded in bhakti yoga.
Thus in Bharatanatyam, the spiritual import is of atma (individual soul) seeking
union with the paramatma (universal soul).
Other worldly experience of rasa
"Bharata says that natya is the imitation of life (lokanukruti) wherein the various
human emotions have to be dramatically glorified (bhavanukirtanam) so that the
spectator is able to flavour the portrayed pleasure and pain (lokasya sukhaduhkha)
as Natyarasa. This Rasa experience will entertain and enlighten the spectator who
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hence becomes the 'Rasika'. The aesthetic relish is produced (rasanishpattih) by a
combination of the determinants (vibhava), consequents (anubhava), and transitory
states or fleeting emotions (vyabhicharibhava). This aesthetic relish, which is
possible only through mental perception, is termed as 'natyarasa'. Even the terms
vibhava, anubhava, and vyabhicharibhava refer only to stage representations, not
to realities of life. It naturally follows that what they produce should only be
'natyarasa' (sentiments pertaining to the dramatic spectacle). One enjoys
experiencing the emotions with the artistes, and sometimes even visibly expresses
it by shedding tears or laughing spontaneously. But both the artiste and the
spectator are well aware that neither of them is going through it in reality. This
enjoyment is 'natyarasa'.”14 So it is an enjoyable experience of a make-believe
world where no personal desires are involved. So equanimity of mind prevails, for
there is no gain or loss to account for. Thus outcome of natya is only relish in the
beauty of art. A thing of beauty is a joy forever.(Keats)
The rasa-experience- content and outcome
In Indian classical performing arts, the delightful experience that arises, while
relishing the beauty of art is termed as rasa-experience - an awareness of joy.
“Rasa in the Indian theory of aesthetics is the tasting of the flavour of a work or
art”15or the relish of art. This theory of rasa was first formulated by Bharata and
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over the years has been further explained and enriched. Bharata says in
Natyashastra,
“Just as the tree takes its origin from the seed and later flowers and fruits are borne
on the tree, so also rasa is the root (which comes out of the seed) and all the
bhavas are stabilized therein or the rasa is the source from which the bhavas
arise”.16
It establishes double significance - one it is in the content of art where the purpose
of objects of presentation is to create rasa, and two rasa is also the one that is
relished which is the ultimate objective of art. Rasa is the product of the objects of
presentation which provide the content of art and rasa is the nature of emotional
experience that transcends us by giving us an intellectual awareness, which is its
ultimate objective. “Rasa is the aesthetic emotion present in an aesthetic object”.17
“Etymologically rasa means what is relished, tasted or enjoyed. Since the art-
construction of vibhava and other factors is supposed to create rasa it must be
assumed to be present in it potentially. In this sense rasa is the emotional content
of literary and dramatic art, which leads to relish. From the view-point of a reader
or spectator rasa is actual relish or aesthetic enjoyment of a moving emotional
experience. With this position a double signification of the technical term rasa
emerges. Rasa denotes the emotional content, the potential of aesthetic experience;
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and for a reader or spectator, rasa is relish of the emotional experience presented
through the art-data.”18
“No meaningful artistic idea can be conveyed without evoking rasa, an emotional
response from the audience”19. Each and every technique used to create an art
presentation is a step towards this purpose of evoking rasa in the minds of the
audience.
Techniques to portray spiritual state of being or Absolute State
The aesthetic theory underlying all Indian arts is that every artist through his art or
creation should evoke an emotional response or bring about rasa-experience in the
audience though the technique and medium (symbol) of expression are different
and specific to each. For this the artist has to portray or bring to consciousness a
spiritual state of being or one of the dominant emotions that is inherent in man at a
subconscious level, in his art. “The technique of the arts was directly conditioned
by these principles, and the techniques of the Indian classical arts are the rules
through which these rasa states could be evoked”20. “Each art worked out an
elaborate system for the presentation of the different elements of a work of art in a
deliberate and well-defined pattern. The different constituents of drama, poetry,
architecture, etc., are enunciated to instruct the artist in the manner for presenting
them: each constituent had a precise function to perform. Each single detail of
29
technique was significant as long it was a hand-maid to express the central intuitive
idea and the Absolute State (dominant emotion, sthayibhava). The more deeply
we penetrate the technique of any Indian art, the more clearly we see that what
may seem spontaneous, individual, impulsive and natural to the lay spectator is in
reality well-considered, long–inherited, minutely studied and imbued with a highly
symbolic significance”21.
The high point of rasa-experience
There are some conditions that have to be satisfied for the success of any art to
instill or attain rasa-experience. The main condition is that the artiste and
spectator both have to identify themselves with the idea presented. This
presupposes a modicum of creativity in the spectator too. He cannot be idle. He has
to actively participate with the artiste. He has to interpret every movement, stance,
and symbol the artiste uses in carrying forward the idea being presented. He has to
be instep and empathize with each feeling and thought that is expressed. Then
only can the spectator respond to the truth presented. Thus there is a need for
learned and scholarly audience, initiated and trained in the particular art, for any
presentation to achieve success.
Mere concentration and responsiveness to the gesticulations of the actor makes one
forget oneself and enjoy the presentation and feel uplifted. Then again, the
30
amalgamation of poetry, music, instruments and other theatrical accessories just
transports one to another ambience or space and time and helps forget self and
gives a sense of wellbeing. This is the beauty and magic of NATYA which is an
aural and visual medium.
Perhaps, it is seen that the idea in a presentation is palpable but does not create
rasa- experience. It means that either the spectator is not well-versed with the
techniques of art, or the presentation does not have the right proportions of objects
of presentation of artistic creation. Rasa is created by the union of determinants
(vibhava), the consequents (anubhava), and the transient emotions (vyabhichari
bhavas) which are the objects of presentation. Bharata says “vibhava anubhava
vyabhichari samyogad nishpattih”22.The exact and proportioned use of objects of
presentation brings about the evoked state (rasavastha). The best presentation is
when vibhavas, anubhavas and vyabhicharins are equally prominent and the idea
presented is an aesthetic truth. Y. S. Walimbe states in his book, ‘Abhinavagupta
on Indian Aesthetics’, “Abhinavagupta also emphasizes the fact that the relish of
Rasa is possible only when there is an equal prominence of all the three
constituents, as is chiefly the case in the ten varieties of drama only.”23
Nandikeswara says in his book Abhinayadarpanam, “The audience is compared to
the tree of fulfillment with the sacred texts as its branches, the scriptures of art its
flowers and the pundits the bees; where men of truth, high qualities and good
31
conduct as well as men of learning, well–versed in history and mythology are to be
found”.24Thus the best audience are the people who are well versed in the vedas,
shastras, puranas, shad darshanas, the art of dance and are of good conduct. One
must understand that the spectators are also our teachers. Positive appraisal from
them encourages the artist and negative appraisal helps her/him correct oneself and
leads towards an improved performance. Thus a dance teacher too requires the
same qualification as a spectator, in addition to knowing the methods of teaching
the art.
Comparison of rasa and moksha
Rasa is an aesthetic experience where a higher reality of life is brought in focus
through mental perception which is formed in the mind. Moksha is a spiritual
realization where one realizes the Absolute Self in oneself through intuition of the
mind. Thus, both experiences involve the spirit or atma, but are far apart from each
other.
Rasa experience is the product of art data and its construction which help spiritual
expression of the artist and spiritual exercise of the spectator. Moksha is result of
the contemplation of the devotee on God, with bhakti and surrender to God, based
on the true knowledge of the inner nature of self, which is the Ultimate being
(brahman) and the inner self (jiva) are not different and the world is an illusion.
32
An artist must evoke an emotional response or rasa experience in the minds of the
spectators through his art is the underlying philosophical theory of art, while
moksha is the goal of the spirit of man as explained in philosophy of life in the
Vedas.
Through rasa-experience one experiences catharsis- temporary purification of
mind and a sense of relief from burden. Through moksha one’s soul is purified and
experiences eternal freedom from bondages of life.
In art, both the performer and the involved spectator (sahrdya) forget worldly
matters and concentrate their mind and senses on the idea of presentation. In
meditation, the sadhaka controls all his senses and concentrates and seeks the
divine within himself. The same method of controlling the senses and penetrating
concentration is required to be followed to achieve both rasa and moksha.
Rasa is for one getting entertained, and moksha is for the spiritual seeker. Both
need a great amount of discipline and perseverance. Both also need a guru to show
them the right path. And both of them need the sense of equanimity to achieve
their goals.
In moksha, the sadhaka has given up all material desires and in rasa-experience,
the material desires lay dormant in the sadhaka and rasika.

33
“Rasa-experience is fleeting, transitory because the relish exists only till the
vibhavas, anubhavas and vyabhicharins of the make-believe world are present,
while in moksha the experience is eternal, everlasting for it is consisting solely of
his inner joy of the self and devoid of any tinge of sensual attachment”.25
The proof of rasa-experience is the feeling of the sattvika bhavas originating in
the involved rasika or sahridya; and moksha perhaps the detachment from the
world and “attachment to his own objects of contemplation”26 i.e., of the Supreme
Being.
Moksha brings with it experience of enlightened bliss while rasa brings pure joy or
pain, a new awareness of life and bliss of art; moksha is personal and rasa is
impersonal.
“The basic principles implied in the rasa theory or creation of art are: (i)
There is an experience which an artist feels compelled to reveal or
communicate;(ii) This revelation or communication demands a particular
construction or structure of presentation;(iii) Thus revealed, the experience affects
emotionally;(iv) It also becomes very enjoyable because it is felt to be an
experience of beauty27.”
In art, the artist creates a make-believe world and presents emotional experiences
of man with aesthetic insight. It is believed that the artist and the sahridya pass
34
through the principles of purushartha in the make-believe world too for the human
emotional experience presented is depiction of life-like experience.
Navarasa and principles of purushartha
Contemporary artiste Leela Samson has expounded the nine rasas philosophically
in her book, “Rhythm of joy”. “The nine classical rasas or flavours which emerge
from bhavas are shringara (erotic), hasya (comic), karuna (compassionate), vira
(heroic), raudra (terrible), bhayanaka (fearsome), bibhatsa (disgusting), adbhuta
(marvelous) and shanta (peaceful). Interestingly each rasa is associated with an
opposite rasa, a color, a presiding deity, a swara or musical note and a
purushartha, or significance in relation to the four activities in a man’s life:
dharma or duty, artha or wealth, kama or desire and moksha or liberation. It is
believed that depiction of the appropriate rasa is equivalent to the dancer’s actually
experiencing each purushartha. Therefore each performance takes the dancer
closer to the ultimate goal - moksha or liberation from the cycle of rebirth.”28.
Perhaps this is why rasa-experience through classical arts is considered akin to
moksha the ultimate spiritual experience.
Thus is the religio-philosophic background of Indian art.
Educational philosophies and philosophy of dance education:

35
Plato, a Greek philosopher, defines education as, "Education is the capacity to feel
pleasure and pain at the right moment. It develops in the body and in the soul of
the pupil all the beauty and all the perfection which he is capable of." 29 Aristotle
speaks of education as, "Education is the creation of a sound mind in a sound body.
It develops man's faculty, especially his mind, so that, he may be able to enjoy the
contemplation of Supreme Truth, goodness and beauty of which perfect happiness
essentially consists”30. Gandhi wrote, “By education I mean an all- round drawing
out of the best in child and man – body, mind and spirit”31. Vivekananda said,
“Education is the manifestation of divine perfection already existing in man” 32.
In the words of Redden, “education is deliberate and systematic influence exerted
by the mature person upon the immature, through instruction, and discipline and
harmonious development of physical, intellectual, aesthetic, social and spiritual
powers of the human beings according to their essential hierarchy, by and for the
individual and social uses and directed towards the union of the one being educated
with his creator as the final end”.33
In Bharatanatyam, the practice of nritta develops a sound mind and body. The
nritya helps develop the capacity to feel pleasure and pain. The philosophy of art
aims to manifest the inner self of man which is philosophically divine in nature.
The theme of a traditional margam, the presentational repertoire, is to show the
path towards spiritual realization in an aesthetic manner. It aims at educating and

36
elevating society through rasa-experience. Therefore the classical dance of
Bharatanatyam advocates in its education and philosophy- all the above
philosophies on education synthesized into a composite whole.
Educational psychology and rasa-theory:
The use of educational psychology is only a twentieth century concept, but has
come to stay and has permeated the whole of the educational concept. The
educational psychology is the study of the psychology of the society which is to be
taught. It dictates the selection of methods and approaches a teacher needs to
employ in her efforts to teach the art.
What can be noticed is that the experiments dealing with concepts of educational
psychology have come to the conclusion that the best education is through reaction
or response to one’s experiences in one’s environment and society. “It is new
experience that causes learning. Every time an individual gains some new
experience, he learns something. The process of learning is explained like this. An
individual reacts to a particular situation. As a result of his reaction, he gains some
new experience. This experience causes modification or change in his
behavior”.34This is the same as rasa theory as expounded by Bharata in
Natyasastra. The main cause of the creation of natyaveda is to uplift and educate
the society about higher realities of life by stimulating rasa-experience.

37
Now in Bharatanatyam, the researcher’s forte and research area, margam is the
path- a Bharatanatyam artiste follows to present her/his art. Margam comes from
the Sanskrit word ‘“marga” which means “to seek”35. It is the perfect or ideal path
which the practitioner of the dance follows. This word “margam” has been used to
mean the repertoire of a full programme of a Bharatanatyam presentation. It is well
laid and a highly symbolic path. Each item creates rasa in the spectator and leads
him towards bliss.
Notes to reference:
1. Mrinalini Sarabhai, Understanding Bharatanatyam, The Darpana Academy of

Performing Arts, Ahmedabad, Gujarat, India, fourth edition,1981, chapter1, pg 1.
2. http://en.wikipedia.org/wiki/Bhakti & Srimad Bhagavatham,Kamala Subramaniam,
Bharatiya Vidya Bhavan, Mumbai, 7th edition, 1997, chapter 82, pg 160.
3. A Source book in Indian Philosophy, edited by Sarvepalli Radhakrishnan and Charles
A. Moore, Princeton University Press, USA, 1957, chapter 15, pg 506.
4. Theo Bernard, Hindu philosophy, Motilal Banarsidass publishers’ private limited,
New Delhi, 1999, chapter 6, pg 116.
5. http://en.wikipedia.org/wiki/Bhakti
6. G.K. Bhat, Rasa Theory, M. S. University of Baroda, August 1984, chapter 1, pg 5.
7. Ibid, chapter 1, pg 5.
8. http://en.wikipedia.org/wiki/David-(Michelangelo)
9. http://www.sparknotes.com/poetry/wordsworth
10. A. S. Hornby, Oxford Advanced learner’s Dictionary of current English, 3rd edition,
Oxford University Press, London, 1974, pg 776.
11. Sunil Kothari, Bharatanatyam, Marg Publication, revised edition 1997, chapter 8, pg
84.
38
12. Theo Bernard, Hindu philosophy, Motilal Banarsidass publishers’ private limited,
Delhi, 1999, chapter 3, pg 78.
14. Jayashree Rajagopal, Rasa theory with reference to Bharata’s Natyasastra,
http://www.shadjamadhyam.com/rasa_theory_with_reference_to_bharatas_natyashastr
a
Performing Arts, Ahmedabad, Gujarat, India, fourth edition,1981, chapter7, pg 38.
16. The Natyasastra, English Translation by a Board of Scholars, Sri Satguru Publications,
Delhi, India, 1988, chapter 6, pg 38.
17. Lata Raman notes for classes of Nrityasudha fine arts, pg 80.
18. G.K. Bhat, Rasa Theory, M. S. University of Baroda, August 1984, chapter3, pg 18.
a
20. Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts, Sangeet Natak
Akademi, New Delhi, second edition, 1977, chapter 1, pg 6.
21. Ibid, chapter1, pg 38.
a
23. Y.S. Walimbe, Abhinavagupta on Indian Aesthetics, Ajanta Books International, 1980,
chapter Rasa sutra, pg 68.
Performing Arts, Ahmedabad, Gujarat, India, fourth edition,1981 chapter1, pg3.
25. Y. S. Walimbe, Abhinavagupta on Indian Aesthetics, Ajanta Books International,
1980, chapter Rasa sutra, pg 62.
26. Ibid, pg 62.
27. G.K. Bhat, Rasa Theory, M.S. University of Baroda, August 1984, chapter 9, pg 63.
28. Leela Samson, Rhythm of Joy, Luster Press Pvt., Ltd., New Delhi, chapter 2, pg 24.
39
publishers, 1981, chapter 1, pg 4-5.
30. Ibid.
31. Ibid.
32. Ibid.
33. Ibid.
publishers, 1981, chapter 3, pg 24-25.
35. Sangitratnakara of Sarngadeva, Text and English Translation, R.K. Shringy & Prem
Lata Sharma, Vol. I, Munshiram Manoharlal Publishers Pvt. Ltd., New Delhi, 2007,
chapter 1, pg 10.
40
Chapter 2
Philosophy of MARGAM
“Margam has been codified by the Tanjore Quartet in the 19 th century”.1 It had
been immediately accepted by every dance guru of those times and they have
followed it ardently with full faith since then. People still talk about it saying,
margam is the right way a full Bharatanatyam performance is to be presented.
Kalyanasundaram, dance guru and principal of Sri Rajarajeshwari Bharatanatya
Kalamandir, strongly feels “Margam is here to stay. It is the most scientific format
for imparting ‘systematic training’ with variety and gradual progression from the
simple to the complicated, both for the ‘performer’ and the ‘viewer’.”2
Balasaraswathi and others on margam
The legendary Balasaraswati says about the correct sequence of margam -“I
believe that the traditional order of the Bharatanatyam recital viz., alarippu,
jatiswaram, sabdam, varnam, padam, tillana and shloka, is the correct sequence in
the practice of this art, which is an artistic yoga for revealing the spiritual through
the corporeal.”3
The religious experience of margam has been explained by Balasaraswati, giving
an analogy of the Temple thus,

41
“The Bharatanatyam recital is structured like a Great Temple. We enter through the
gopuram (outer hall) of alarippu, cross the ardha mantapam (half-way hall) of
jatiswaram, then the mantapa (great hall) of sabdam, and enter the holy precinct of
the deity in varnam. This is the place, the space that gives the dancer expansive
scope to revel in the rhythm, moods and music of the dance. Varnam is the
perpetuity which gives ever-expanding room to the dancer to delight in her self-
fulfillment, by providing fullest scope to her own creativity as well as to the
tradition of the art.
Padam follows. In dancing to padam 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 varnam yield to the soul-stirring music and abhinaya of padam.
Dancing to 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, 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.4”
42
She adds further, making us aware of the GREAT SYMMETRY of the margam
sequence thus,
“At first, mere metre; then, melody and metre; continuing with music, meaning and
metre; its expansion in the centerpiece of varnam; thereafter, music and meaning
with metre; in variation of this, melody and metre; in contrast to the pure
rhythmical beginning, a non-metrical song at the end. We see a most wonderful
completeness and symmetry in this art. Surely the traditional votaries of our music
and dance would not wish to take any liberties with this sequence.5”
The practical aspect of margam has been expounded as - margam goes from
simple to complex, the artist and the accompanists find it untiring to unfold the
ordered sequence. Simultaneously the spectators are taken from simple rhythms
and ideas to complex cross rhythms and ideas.
Rukmini Devi and other great stalwarts of the time reorganized sadir as
Bharatanatyam. Under the banner of Kalakshetra, Bharatanatyam was given a new
identity. Although Rukmini Devi brought about a lot of changes in content,
costume and stage design, she followed the margam pattern of presentation. The
dance gurus’ V. P. Dhananjayan and his wife Shanta Dhananjayan and the artist
Alarmel Valli still perform margams and use it not only in their solo performances
but also in their dance drama productions and theme based productions.
43
‘Vasantavalli’, a dance ballet of Sri Rajarajeshwari Bharatanatya Kalamandir
(Alma mater of the researcher) and many other group creations of the school also
still follow the margam pattern. Arangetrams of the students, in all styles of
Bharatanatyam, are still presented in the format of the margam. This proves that
there is definitely an underlying theory that unifies all the sampradayas of
Bharatanatyam which undertake margam for presentation.
It is known that if any concept stands the test of time, it has a profound philosophy.
Margam has stood the test of time. So, what is the philosophy behind margam? It
is worth pointing out that many of the items the Tanjore Quartet brought into
margam had been in existence for a long time. Also “there was a presentation
called nirupana of ekartha style of nritya meaning all the numbers were
interconnected with one another with a common theme or a common raga. The
contemporary Bharatanatyam or margam pattern is prtagartha style of nritya in
which each item is isolated from the other6.’ There is also no proof to show that
there were other new presentation repertoires or any others experimented with.
A systematic arrangement for presenting of items was required then, because the
performances had come out of the temple precincts to the courts. The Tanjore
Brothers were asthana vidvans of the Tanjore court (Raja Sarfoji II), Mysore court
(Wadiyar) and Vadivelu was in the court of Travancore (Swathi Thirunal) for
many years. Their guru Muthuswami Dikshitar is credited to have brought

44
changes in the concert recitals of Karnatic music. Perhaps the brothers decided to
follow suit in arena of dance. “The four brothers seem to have kept in view the
object of re-edition to bring out the beauty of nritta, nritya and abhinaya at their
best.”7 The prthgartha style was chosen, for perhaps, the prthgartha style gave
variety to the courtiers of different tastes. It allowed people to leave in the middle
of the performance without losing out on much of
the performance or theme. The idea behind the margam format must definitely be
of real value to the followers of the classical dance of Bharatanatyam for it has
continued undoubtedly since over two centuries.
Let us go through the significance of the items in margam sequentially.
Ideology of margam
Through margam, a Bharatanatyam artiste propounds the ultimate truth of life
which is union with the Absolute Self. Right at the beginning, the theme of the
presentation which is setting out on the spiritual path to achieve salvation, is put
forth.
Alarippu is philosophically considered as an offering to the Supreme Being
(paramatma) who resides in all living beings (atma). This atma takes rebirths or is
born many times, till it gets salvation, which happens only when the soul, achieves
pure consciousness. So in alarippu, this amsa (limited self) of God prays to the
45
Ultimate Being (unlimited self). The physical body here is the vehicle of the atma
(soul) to help one set on the path to salvation. (Basic of Hindu philosophy and
Vedanta as explained in chapter 1)
Alarippu, the initial nritta item, considered to be a prayer to God, uses elemental
movements to awaken the different limbs of the body and in the culminating
movements propitiates to God with the whole body. This awakening is said to be
the blossoming of the body and is symbolically compared to blooming of a lotus
flower. It is performed to a rhythm pattern set within a metrical cycle.
Jatiswaram is a nritta item, and precedes all nritya and abhinaya numbers. Nritta
in classical dance is a coordinated unit of movement which is well structured with
geometric precision and harmony. Nritta has evolved from the systematization of
body movements which were perhaps the very initial way, man used to express his
joy and sorrow before he learnt to speak. “In India, dance took two directions. One
it developed as a way of amusing oneself and others on occasions i.e., the desire of
man to express his sense of fun through dancing. Another is, to use dance as
ritualistic practices of our faith. Not only has man known that the mortal form can
express joy and sorrow through movement, but he has also realized that this
movement must have discrimination and selection and; just as he must organize
society to transcend the selfishness of the personal man on the horizontal plane, he
must formalize movement to transcend himself along the vertical plane and devote
46
himself to a being higher than himself, a power which he evokes and to whom he
dedicates himself body and soul. This direction of growth is most important for our
purpose as it is this instinct for sublimation, for transcendence, that gives true fibre
and character to classical dance. That dancing was and is an essential feature of the
Hindu temple is not a casual happening. It results directly from a continuous
process of thought and living: this ritualistic dancing, in both its religious and
classical richness, ascends and descends - grows and declines, with the other
sociological processes of history”8. Nritta item is called a pure dance number for it
lays foundation to awaken or perceive pure consciousness and hence perhaps a
Bharatanatyam artist can get in touch with one’s inner self or being, like a yogi
through his practice of meditation.
In jatiswaram, with the help of the variety of dance patterns the body raises the
energy levels in the kinesphere. It is known that in adavus, “the point of perfect
balance can be maintained if there is the minimum possible deviation from the
centre of gravity”9. The centerline or the vertical median of the body demarcates
the bilateral symmetrical system of the body. It represents the direction of the pull
of gravity. This centre line is where the chakras lie. Automatically the araimandi
posture helps concentrate on the chakras. The effect of concentration on the
chakras has been well explained by yoga practitioners. When the chakras are
concentrated upon the coiled energies are awoken. The energies spread through the
47
body. The angular, triangular and circular dance patterns in Bharatanatyam end in
angular and triangular postures. Hastas and mudras lock the energies in the body
preventing their escape through outstretched hands. Thus the body creates an
electrical space (spherical shaped) around itself, inside which the soul
communicates with God (yoga philosophy). Perhaps, it is like a séance; the dancer
makes a purified sanctum around himself/herself, where the spirit meets its
Original Source.
Next comes sabdam, which is an interpretative dance. The dancer interprets words
and verses of devotion through abhinaya. Here, the devotee expresses his profound
devotion to God. He expresses his wish to be always at His feet and only be
thinking of Him. The devotee describes the God in His splendour, and praises His
compassion, valiance etc, and requests God to show some benevolence towards
him. The theme of the song could be devotional or romantic. Sabdam is associated
with samkhya philosophy which postulates two ultimate realities, Spirit (purusa)
and Matter (prakriti), to account for all experience. Only when purusa unites with
prakriti will evolution of world occur. And when man, who is prakriti, realizes the
purusa aspect in him will evolution of soul begin. In the margam, the theme is
evolution of the spirit on the path of salvation. It is only through love and devotion
one attains God.

48
Then we come to items where abhinaya is performed extensively. To do abhinaya
convincingly, the dancer requires an analytical mind, power of reasoning, logical
thinking, a good understanding of human nature, a sense of propriety and an ability
to express accurately. Nyaya philosophy is about postulating and reasoning and
analyzing, a system of pure logic. To explain this association of nyaya philosophy
and art, the words of Spirkin are to be used. In his essay ‘Man and Culture’, he
states “Art is one place where reason and heart gets connected as a single whole or
are in harmony with each other. Art gives an intellectual awareness arousing the
subconscious emotions of man. Art is aimed at improving higher intellectual
principles in man and society. When reality comes into focus of human
consciousness and is made, transformed or modified by it, it also acquires a value
aspect of its existence, a meaning”.10
Vaisesika philosophy “classifies all knowledge of the objective world (made of
substances or dravyas) under nine realities. It discusses how the various
combinations of these nine basic realities bring all things into being.” 11 “The
realities are prthvī (earth), ap (water), tejas (fire), vāyu (air), ākaśa (ether), kāla
(time), dik (space), ātman (self) and manas (mind). The first five are called bhūtas,
the substances having some specific qualities like colour, form, taste, odour and
sound etc so that they could be perceived by one or the other external senses. As a
system of philosophy, the Vaisesika teaches that knowledge of the nature of reality
49
is obtained by knowing the special properties or essential differences which
distinguish the Nine Realities.”12
Elucidating on this, “Substance (dravya) is shown to be the foundation of the
universe and is resolved into the nine Eternal Realities”13. The five bhutas are the
materials that our body is made up of. The five sense organs or indriyas help
atman to perceive these different forms of the world made of the five substances
and identify them according to their special properties or essential differences. And
they help the body to perform different activities. “Time or kala is the force that
gives our notional ideas of present, past, and future produced by the continual
coming and going of all manifest phenomena observed in the objective world of
sensible manner”14. “The dik, which is also called space, is that power or force that
holds all discrete substances in their respective positions in relation to each and
other things in space (akasa)”15. The atman “is the Soul, Self, Principle of Life
and sensation or Abstract Individual”16. It is the abode of consciousness having the
property of awareness. The Manas is “the entire internal organ of perception, the
faculty or instrument through which thoughts enter or by which objects affect the
atman…….. It helps the atman perceive objects of the subjective or internal world
in the nature of ideas, thoughts and feelings.……. Atman is the basis of all
experience, while manas (mind) is only an instrument for experience”17. The

50
atman here is the subject and the five indriyas and manas are its objects of
perception through which it gets aware of the objective world.
Thus, our body, made of five bhutas, is the instrument through which one does
nritta and nritya. Kala gives us the metrical cycle or tala or time for music and
dance. Dik or space is the kinesphere where the dancer performs and connects to
the audience through her energy. Emotions, thoughts and ideas get developed in
the mind or manas. And, the atman draws the manas and indriyas together as one
to help manifest the ideas and emotions externally to the world; through actions of
the gross physical form (made of five bhutas) tuned to the rhythmical patterns
(kala) of music in a given space or position (dik). Thus the performing art of dance
is formed.
The reflection of other philosophies is seen in varnam and padams – (mimamsa
philosophy and Bhakti philosophy). Many of the songs used are written by bhakti
poets. There is a gamut of human emotions displayed. The navarasas come into
play. The artiste can choose from any of the classification of nayikas in their
different moods to express her relationship with God through love and devotion.
“The purpose of mimamsa is to inquire into the nature of Right action (dharma)”.18
“The term dharma is derived from the root dhar, ‘to hold, maintain, preserve’. It
has reference, therefore, to anything that holds, supports or preserves. When used
51
in the metaphysical sense, it means those universal laws of Nature that sustain the
operation of the universe and the manifestation of all things, without which nothing
could be. When applied to the individual, it has reference to that code of conduct
that sustains the soul, and enables, man to fulfill his divine destiny”. 19 “The basic
premise of mimamsa is that action is the very essence of human existence……….
without action human destiny cannot be fulfilled; therefore, right action (dharma)
is the spiritual pre-requisite of life.”20 It says “all the effects of right action lead to
the evolution of consciousness….. The soul to achieve salvation must first exhaust
its potentialities through action……. It must survive the earthly manifestations.” 21
It is necessary that one understands life, its source and value of existence which
can be done only by living through it.
Thus the soul has to undergo actions, emotions and feelings while experiencing
various relationships one’s life offers and pass through the principles of
purushartha - “Dharma, artha, kama and moksha. Any human aspiration like
desire for wife i.e. procreation, desire for wealth or desire for name and fame in
this and the other world, has to be guided by these four ends. Dharma and moksha
have to support and guide all the human activities. All activities are symbolized by
artha and kama and are bracketed by dharma and moksha. Dharma means support
while moksha means release, deliverance, freedom from ignorance, bondage and
52
birth and death phenomenon.”22 Thus the Vedas show the right path to be followed,
i.e. path of moral conduct to reach the ultimate goal of life salvation.
The performing arts express emotions and feelings of humanity that are the basic
truth of life, through the medium of various actions and relationships. The art of
abhinaya through varnam, padam and javali in Bharatanatyam, portrays actions
and reactions which are the outcome brought about by various relationships one
gets to experience in life. It is only when the actions and reactions experienced in
real life are aesthetically depicted in art, can it result in rasa-experience. The
emotions of love and affection become important for these two alone bring us
happiness and keep us united with our beloved ones. Thus the idea of pining for
union with the Absolute is shown through emotions of shringara, vatsalya and
bhakti bhava in varnam, padam and javali.
Varnam is a comprehensive item in the margam. It combines nritta and abhinaya.
The dancer portrays a lovelorn heroine who personifies atma, pining for union
with her Lord who personifies paramatma. She pleads with her sakhi personifying
guru to help her. The significance of nayika pining for her lord is pining of
‘jivatma’ for spiritual union with ‘paramatma’. This item points out that through
love and devotion one can attain God.

53
In varnam, the heroine (nayika) tells her friend (sakhi) to bring Him (nayaka) to
her (anandabhairavi varnam, sakhi ye inda velayil), or her sakhi is talking to the
nayaka on her behalf (thodi varnam, daanike takuja) or she is asking her Lord why
is He angry and when will He give her salvation (bhairavi varnam, mohamana en
meedu).
In padams and javalis, the nayika relates to Him as husband, lover (rati bhava) or
even child (vatsalya bhava). The dancer portrays the nayika as awaiting the
nayaka’s arrival, or is angry for His infidelity (indenthu vachithivira), or how she
dresses up for nayaka’s arrival (dari juchu). It is to be understood as jivatma’s
yearning for union with paramatma. It could be a bhakti padam too where he/she
expresses her wish to stay at His feet forever and remember Him always
(varugalamo aiyya), or surrender to God, (as in charanam charanam raghurama).
A point to be noted, in Natyasastra, Bharata says, “there are no limitations of
theme or content in this art. It depicts the exploits of gods, asuras, kings and
ordinary human beings. Its range extends to the seven divisions of the world
(sapta dvipa). The limitless range of human nature, with its joys and sorrows, is
depicted; by means of representation through abhinaya”23. This explains the import
of mimamsa philosophy. So aspects of social life and social changes are also
themes for classical dance. Present issues and all other hues and colours of social
54
life can also be presented. These themes have to be presented at a universalized
and generalized level revealing an emotional experience of human life.
Tillana is essentially the expression of joy. Tillana expresses the happiness of the
devotee, as a certain promise of union has been obtained or a prophecy of his
attaining union with the Lord in the immediate future is foretold. Tillana is a
joyous dance of the soul in appreciation of the promise of God for union or perhaps
the spiritual experience achieved. Here the song is sung in syllables. In the sahitya
the devotee asks God to be quick and not delay His arrival. It signifies the final
cry signifying yearning for union with God. Only one verse in words indicating the
God worshipped, is found in the charanam. In tillana the dancer dances intricate
dance patterns to the music of rhythmic syllables. The dance patterns are
choreographed such that the space of the cuboid or sphere created around the artist
is covered with large movements. The movements after charanam look artistically
and geometrically designed and quite fast to show the excitement of union with
God. The energy levels are increased to fortify the purified sanctum. This also
follows yoga philosophy as jatiswaram.
Shlokam or viruttam reflects vedanta philosophy. It is a simple devotional verse.
A prayer to the Lord is offered (kasturi tilakam) and is the last item in margam;
here the devotee describes the god as seen by her or as realized by her limited self.
55
A full cycle is completed where the margam starts with vedanta philosophy and
ends with vedanta philosophy.
Margam educates and elevates society by giving the spectator a foretaste of
moksha the ultimate spiritual experience through rasa-experience. This elevating
experience perhaps can be credited for the increase in viewership for
Bharatanatyam; for encouraging the spectators to view the art for the charm and
magic that envelops them after a presentation; and stimulating them to take erudite
interest in the presentation.
Rituals and Bharatanatyam
The items in the sadir were actually used as rituals in the temples. The dance was
presented to God during the shodasha upacharangal part of the ceremony of
worshiping God.
“The idea prevalent in rituals is to help the devotee get connected to God in an
easier manner. Thus the dance as a ritual served as a two-fold purpose. One was in
the sense of offering entertainment to the deity as a mark of respect, and two was
of educating and goading the people towards being devoted to God, by praising the
Gods or telling various stories of God, and exalting his super divine powers that
promise to save the people from various hardships.

56
Ritual worship in temples is conceived by the Hindu religion as complex and
elaborate ceremonies of worship (upachara). Though there are forms of collective
worship, most worship is an individual ceremony which the worshipper personally
practices with the deity. A complex ceremony or upachara with flowers, incense,
holy water and offerings aims at creating a sort of intimate relationship with God.
It is considered to be a useful prelude to mental concentration. Dance is considered
to be one of the rituals like other upacharas and helps the dancer (devadasi) and
the audience (devotees) to withdraw their thoughts from worldly matters and
concentrate them on God.
The upacharas of the rituals form an important part of the actual presentation of
Bharatanatyam. Almost every other dance item has incidents in which the nayika
welcomes the nayaka who is either Shiva, Vishnu, Skanda etc, offers Him a seat,
serves Him in different ways by offering Him fragrant and sweetened betel leaf,
fanning Him, playing musical instruments, singing for Him and anointing on Him
sandal paste, etc. Thus, in dance, these upacharas are woven as a part of the
anubhavas of love. It is either in vipralambha or sambhoga sringara. They depict
the striving of the bhakta for union with God, but only in the form of an artistic
story. e.g. bhairavi varnam, talam tisra ekam, mohamana en meedu.
Here it differs from real upacharangals of aarthi, archana, chanting of mantras,
lighting of lamps and incense, camphor, decorating with garland etc. In dance it is
57
an artistic representation. The upacharas in dance serve the purpose of an alankara
in the well- knit intensely emotional theme of dance. The upacharas are subtle and
suggestive. They exhibit the intensity of love and devotion of the nayika. They are
more psychological than literal.
Some of the upacharas are done in the puvaranga of dance and some are fused in
the sahitya of dance and the dance itself forms a part of the upacharas. In temple
dancing the responsibility of the performance of these upacharas were on the
devadasis who were brides of God. That is why the dancer is always to be a young
girl dressed like a bride. The Lord is eternally youthful and His young bride awaits
union with Him. In dance the dancer’s body is a temple and when the dancer prays
to God, she is asking God to accept avahana i.e., to accept a place in her heart. The
beauty of nritta is the jewellery of God and the body is like a lotus flower offered
at the Lord’s feet.”24
Thus margam sets the path for spiritual enlightenment.
Margam and Ashrama system
Margam can be applied to the life time of the human being. The items of margam
can be linked to the life stages of man as explained in the scriptures. Alarippu is
blossoming of the young child into an adult. Jatiswaram is the building up of all
faculties to lead life. Sabdam is where a young boy and young girl enter into
58
wedlock and promise each other their companionship. In varnam we can see the
various ways they portray their love and pining for each other. Padams express the
life they lead in various hues and shades. Tillana is celebration of the life they
lived together. Finally shloka is their readiness to lead life devoted to God and
await the moment of beckoning. Thus the ashrama system is portrayed. Alarippu
and jatiswaram is in the brahmacharya ashram; sabdam, varnam and padams fall
into the grihastashram, the vanaprasta and sanyasa ashrams are not relevant in
this age and time; but perhaps one can bring in tillana and shloka in the vanaprasta
and sanyasa ashrams for it is here they seek the spiritual path of life. Thus the life
time of the human being comes under margam to which the lay man can relate.
Assertions
Since ancient times, Hindu religion and Indian philosophy have played a large part
in Indian arts and the way of life. Veena Londe explains “Both in life and in
philosophy, the spiritual motif is predominant in India. Indian religion recognizes
the spirit as the truth of our being and our life as a growth and evolution of the
spirit. Philosophy is for life. It is to be lived; it is not enough to know the ultimate
truth, but to realize it and to become one with it. Truth is to be sought and found
within. The inner spirit of man is significant clue to his reality and to that of
universe. Indian philosophy makes use of reason, but, intuition is accepted as the
only method through which the Ultimate can be known. One does not merely know
59
the truth in Indian philosophy, but realizes it. Intuition is a direct experience of
reality which transcends not only intellectual thinking, but also sensory perception.
Every new discovery originates in a sudden non-verbal flash; and finally the
acceptance of authority of the intuitive insights of the ancient seers i.e. of Vedas is
its main characteristic”25.
When the atheist philosophies questioned the principles of Hindu tradition, the
knowledge of the Vedas was re-interpreted in six different ways. Thus the Vedic
knowledge was safeguarded. Theos Bernard writes, “According to Indian tradition
there is only one Ultimate Reality, but there are six fundamental interpretations of
that Reality. These are called shad darshanas or “six insights”, because they give
man sight of the sensible verities and enable him to understand in the light of
reason the super-sensible Truth attainable only through the revealed scriptures
(Vedas) or through the experience of rsis (sages). The six darshanas namely,
nyaya, vaisesika, samkhya, yoga, mimamsa, and vedanta constitute the classic
philosophical systems of India. Together they form a graduated interpretation of
the Ultimate reality, so inter-related that the hypothesis and method of each is
dependent upon the other. In no way are they contradictory or antagonistic to one
another, for they all lead to the same practical end, knowledge of the Absolute and
Liberation of the Soul.”26

60
Natyasastra states, Lord Brahma created the art of dance upon the request of the
Gods as a form of entertainment and it became known as the fifth veda, and was
open to all, irrespective of caste and creed. Natyaveda of Brahma was written
taking different constituents from the four Vedas namely rig veda, yajur veda,
sama veda and atharva veda. Lord Brahma drew literature or pathya from rigveda,
song or gitam from sama veda, abhinaya or expression from yajur veda and rasa
or aesthetic experience from atharva veda. Abhinayadarpanam states another
version about the origin and creation of art, but it too has divine origins. Thus
divinity has been attributed to Indian classical performing arts right from inception
stage and margam covers all philosophies from Vedas to shad darshanas and
bhakti cults.
Margam and test of philosophy
The Tanjore brothers perhaps were guided by the systems of philosophies to find
the right way to preserve the sanctity of the traditional form. “The true test of
philosophy is that it must be comprehensive; it must embrace all the concepts of
religion and other philosophical systems…….... All ideas must receive recognition
and find their proper place within the border of its synthesis; every fact of the
universe, every aspect of life, each and every content of experience must
immediately fall within the scope of its mould”27. Margam encompasses all the
existing philosophies in its structure. All human emotions and human conducts can
61
be portrayed. Every social issue and celebration can be dwelt upon. Its very
essence is spirituality. Thus margam is a philosophy by itself.
When the dance performances left the precincts of the temple to that of the court, a
change in content was observed. Till the end of the nineteenth century both temple
and court performances prevailed. But, the songs used were now in praise of the
kings or the patrons of the day. The kings and the patrons, the present nayakas of
the lyrical content, were eulogized as devotees of Lord Shiva and Lord Rama in
their varied forms and some bhakti content was sustained. As a classical form, its
traditions had and has a lot of scope for innovations and experimentations with the
format; but the philosophical and spiritual aspect of the content had to be
safeguarded. Thus, standardizing the items of sadir in the margam by adhering to
the tenets of Hindu philosophy played a great role in preserving the spiritual
significance of the traditional form. In the twentieth century, the dance entered the
proscenium stage and margam was continued by the revivers of this art form.
Thus it is established; margam integrates all the philosophies in its set up and
derives its technique from Natyasastra and other treatises in Sanskrit and regional
languages. Margam directs us towards the path of enlightenment and thereby is a
philosophy by itself.
Notes to reference:
62
1. Mrinalini Sarabhai,’ Tanjay Ponnaiya Avargalin Charitram’, Tanjore Quartette(Tamil),

edited by K.P.Kitappa Pillai and K. P. Sivanandam, third edition, Aparna Printers,
Chidambaram, July 1992, pg vi.
2. Jyothi Mohan, Sri Rajarajeshwari Bharatanatya kalamandir, Shanmukha, Sri
Shanmukhananda Bharatiya Sangeetha Vidyalaya, Sion (W),Mumbai, Special Issue,
Banis of Bharatanatyam and Recent Trends, Vol. XXXVI-No 4, Oct-Dec 2010, pg 38.
3. T. Balasaraswathi, Dancer’s paradise,www.carnatica.net/dance/bhartanatyam1.htm.
4. Ibid.
5. Ibid.
6. Padma Subramanyam, Bharata’s art - Then and Now, Bhulabhai Memorial Institute,
Bombay, 1979, chapter1, pg 18.
7. Sunil Kothari, Bharatanatyam, Marg Publications, Mumbai, revised edition 1997, chapter
9, pg 92.
8. Kapila Vatsyayan, Classical Indian Dance in literature and the Arts, Sangeet Natak
10. A. Spirkin, Man and Culture,
http://marxists.org/reference/archive/spirkin/works/dialectical-materialism/ch05-
s08.html.
11. Theos Bernard, Hindu Philosophy, Motilal Banarsidass Publishers Pvt ltd., New Delhi,
India, 1999, Introduction, pg 6.
12. en.wikipedia.org/wiki/Vaisheshika
13. Theos Bernard, Hindu Philosophy, Motilal Banarsidass Publishers Pvt ltd., NewDelhi,
India, 1999, chapter 2, pg 47.
14. Ibid, pg 56.
15. Ibid, pg 58.
16. Ibid, pg 58.
17. Ibid, pg 62-63.
18. Ibid, chapter5, pg 102.
19. Ibid, pg 104.
20. Ibid, pg 102.
21. Ibid, pg 103.
22. Veena Londhe, Notes on Hindu philosophy, pg 3.
23. Kapila Vatsyayan, Classical Indian Dance in literature and the Arts, Sangeet Natak
Akademi, New Delhi, second edition, 1977, chapter 1, pg 8
24. Lata Raman, B.F.A (II) notes, Nalanda Nritya Kala Mahavidyalaya, 1983-1984.
25. Veena Londhe, Notes on Hindu philosophy, pg 5-6.
26. Theos Bernard, Hindu Philosophy, Motilal Banarsidass Publishers Pvt ltd., New Delhi,
India, Introduction, pg 4 & 5.
27. Ibid
63
Chapter 3
Bharatanatyam and Yoga

Indian classical dance has been equated to yoga. The practice of Indian classical
dances and other classical arts is said to be akin to meditation. The spiritual, mental
and physical discipline required for complete harmony of mind and body is found
in yoga philosophy. “Yoga is adeptness or efficiency in any activity undertaken by
the Individual: this is the karmasu kausalam of the Bhagavad-Gita. Yoga is the
power of withdrawal of mental energy from all activity not directed towards the
single end in view; it is also perspicacity of vision which enables one to see the
underlying unity of everything”.1
The Chakras and the Vertical Median
During meditation, one concentrates on the chakras particularly agnya chakra. The
common factor in the practice of yoga and Bharatanatyam, is the fact that both
need to concentrate on the chakras (the psycho-physical centers) of the body. The
chakras together form “the thought body of the trans-migratory soul”2. The
chakras lie on the central line of the body that demarcates the left and the right
parts of the body (bilateral symmetry).
“The nrtta technique of Indian classical dance as discussed in the treatises or
natyasastras has to be understood as the laws of human movement. It is generally

64
accepted that Indian dancing has a sculpturesque quality …for its emphasis is on
the pose, the stance….In the nritta technique we find that a series of poses,
sculpturesque in quality and almost static in impression, are connected by
movement in a given metrical cycle. Indian dancing seeks to depict the perfect
point or the moment of balance along the brahmasutra (the vertical median), so
much so that all movement emerges from the sama (the point of perfect balance,
akin to the samabhanga of sculpture) and comes back to this. It is movement of the
human form in direct relation to the pull of gravity that Indian dance conceives,” 3
which explains or indicates the character of Indian dance. “…..and all its
movements can be analysed in terms of the relation of the different parts of the
human body to the vertical median (the brahmasutra).”4
The brahmasutra is the vertical line or the imaginary line passing through the
centre of the body. This vertical median represents the direction of the pull of
gravity. It is the adherence to the gravitational pull that gives stability to the body.
The araimandi stance encloses the body into an imaginary “cuboid” 5 and helps get
a hold of the vertical line on which the chakras lie. The various movements of the
angas, pratyangas and upangas move, turn or activate the chakras and the
energies lying dormant in the chakras are released. The araimandi as the yantra or
medium for perceiving pure consciousness is explained in detail by Mohiniattam
Guru, Mandakini Trivedi in her book “The Yoga of Indian Dance”.6

65
Various adavus, their relation to gravity and training
The tatta adavu is where one learns the first cadence of movement, of stamping the
legs on the ground in an artistic manner while holding the araimandi. This adavu
helps to realize the vertical median and maintain the body’s relation with the
gravitational pull of the earth.
The natta adavu helps in training the movement of limbs of the body in the
araimandi position in relation to a fixed point on the ground. In this adavu, the
students learn to move the hands and legs away from the body. Here they also
learn to maintain the symmetry of the movements between the right side and left
side of the body in relation to the vertical median. The hands are held in
natyarambhe position where the hands are aligned with the shoulders away from
the body; and also extended in front, away from the body. And the legs are
extended to the side and front away from the body all the while holding the
araimandi position which helps maintain body’s relation with the gravitational pull
of the earth.
The second set of natta adavu beginning with the cadence of kutta adavu and the
periya adavu, both help cover area, with hands making geometrical movements in
space and the legs moving on the ground. The cuboid moves along with the dancer.
The araimandi is maintained and the vertical median is held firmer for stability.
66
The hands make circular movements giving impression of a sphere around the
cuboid. Thus the vertical median also acts as the diameter of the circle. Thus
geometric precision is observed.
Then the tandudal adavu helps cover space in air with jumps. The body is still
held in the araimandi stance and held more firmly. When landing, the body
maintains the araimandi stance and is all the while conscious of the need to keep in
touch with the ground or gravitational pull of the earth.
The mandi adavu covers space on ground in accord with the gravitational pull of
the earth. In mandi adavu the legs are extended from the muzhumandi which brings
the vertical median even closer to the ground. The vertical median gets more
stability because it is closer to the ground. Also the full length of the legs is used to
cover space.
In shikarahasta adavu the complexity rises. Here the student is taught to turn
around and back all the while changing position from araimandi to muzhumandi
and vice versa. The concentration on the central line increases. The dancer not only
turns around, but also sits up and sits down as in araimandi and muzhumandi. It is
as if the brahmasutra is turned to and fro like a churner. The stronger movements
of the adavu give more power to the chakras to turn and coiled energies are
released.
67
In murukku adavu again the dexterity of concentrating on the central line
increases. One has to learn to remember the alignment of the chakras when the
body is in a twisted position.
In pakka adavu the cuboid moves in all directions changing its positions in space.
The coordinates of the vertical median alters in space with every movement. Again
the control of the body and the position of limbs of the body in relation with the
central line have to be checked. To do this there must be utmost control of the
limbs.
By the time the tataitaha adavu is learnt the stability of the body is improved. The
araimandi stance is well practiced in this adavu. The jump on the toes, the mettu
movement, where the body dips down towards the ground, increases the force of
the adavu. The adavus in this group are done in fixed position and space too is
covered in every way. The student is taught to use the sides of the body in this
adavu. There are the side bends and twists. The body is held in the araimandi
stance while bending down and stretching to the sides from the waist while striking
the feet or pushing the torso away from the waist upwards while jumping on the
foreparts of the feet. The hands accordingly move up and down on the sides and
away from the body in a diagonal manner.

68
One only notices, as the complexity in the movements of the adavus increases one
has to hold the body firmer and firmer. This also increases the concentration on
the central line. The stronger the movements of the adavus, the chakras get more
power or force to turn and energies are further released.
Thus we get ready for the next set of adavus.
The kudittamettu adavu is where one dances on forepart of the foot and heels. The
whole body is moved in a very controlled manner. All the centres of the subtle
body are concentrated upon while performing this adavu. The leg movements are
in fixed position. The torso bends on the sides from the waist and is pushed back at
the waist when hands go upwards and also twisted towards the back and front. The
hands accord to the same. The hands are moved in all directions and the eye
movements’ accord with the hands.
In sarukkal adavu, the cuboid position and the araimandi stance is put away. The
adavu is done standing in full height i.e., in samapada. The student learns to move
in a sliding manner in samapada position and hands accord with this movement.
Thus this may seem like an easy adavu but the steps need more control of the
limbs, as the sudden respite from the araimandi may create a disharmony in the
movements of the limbs. But by this time the understanding of movements in
relation to the vertical median and the gravitational pull is established.

69
From here all other adavus are easy since the limbs are trained very well. The other
adavus like the second type of kutta adavu, visharu adavu, meykattu adavu,
theermanam adavu, tatti mettu (panchajathi) adavu and many more varieties of
natta adavu call for variations and increase in dexterity of the dance form.
Nritta and nritya: the tools of rasa-experience
At the mental and physical level, like yoga, dance trains the physique and the mind
through nritta. Once the mind and senses are controlled, equanimity is developed
and performing nritya is possible.
The technique of classical dance has two parts nritta and nritya. The correct use of
these important tools evokes rasa. Nritta constructs harmonious geometrical
movements with different parts of the body creating aesthetic visual beauty, which
helps control the limbs and senses. It aids to get in touch with the inner self or pure
consciousness. Once we get in touch with the inner mind while performing nritta,
our abhinaya becomes the outward manifestation of the inner mind. Thus the soul
expresses itself and ideas are revealed.
To be adept at any art, one has to learn with devotion, dedication, discipline,
perseverance and hard work. The student learns from a guru. The guru instructs
and nurtures the student in the art form. This nourishment finally becomes the base
of the student’s individual style. The artist performs forgetting oneself, becoming
70
one with the art and the idea being presented. “The greatest tribute that a pupil can
pay to a teacher is to do without him”.7
Dance as meditation
For one to control all the indriyas, withdraw all worldly thoughts and be able to
concentrate the mind on God or bhavas is the aim of both yoga and Bharatanatyam
respectively. “To reach from dhyana to pratyahara state is necessary prerequisite
to be able to meditate as well as to be able to express the inner feelings and
thoughts of the mind”.8
In Bharatanatyam, all the five sense preceptors - ‘the indriyas’ are used while
exercising the limbs of the body during the execution of the adavus. The eyes see
where the hands go (the mind goes thither). The ears hear the music to which the
limbs sway. The dancer sings at her throat and so uses her faculty of speech. The
hands are used to show gestures to interpret the words of the song. The body feels
the movements and enjoys the feeling of delight (flavour) that permeates through
her body while performing the movements in harmony with the music, so the
faculty of touch is used. And while concentrating on the central line for symmetry
the breath is regulated for the chakras are also supposed to lie on the path of
breath– “the prana (the ascent of air and the descent of air through mouth, nose,
71
navel and heart)”9. Thus all the senses and the mind are held in total control while
dancing.
Rasa-experience and the teacher of dance
When a teacher has this knowledge it is easy for him to instruct the students to do
their movements symmetrically. The body can attain perfection like the images of
the temples where the sculptures are actually dance movements carved in stone.
The sculptor knows through his techniques the distance the limbs should be from
the vertical median in any pose and also what expression each stance portrays.
Thus in an image or statue too the rasa-experience is active. “The underlying unity
of dance and sculpture is being dependent on the law of proportion”.10That is why
a dance teacher actually moulds the body of the dancer. She is sculpting a live
model with a mind of its own to perfection. Dance teaching is the art of perfecting
a human being physically and mentally. The teacher through perfect instructions
trains the student to know, understand and experience the divine self of its being.
The underlying unity of all classical arts is to manifest the spiritual state of being
and experience bliss which is akin to realizing God in oneself.

72
Notes to Reference:
1) Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts, Sangeet Natak
Akademi, New Delhi, second edition, 1977, chapter 1, pg5
2) Sangitratnakara of Sarngadeva, Text and English Translation, Vol I, R.K. Shringy &
Prem Lata Sharma, Munshiram Manoharlal Publishers Pvt. Ltd, New Delhi, 2007,
chapter 1, section2, pg 28.
3) Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts, Sangeet Natak
4) Ibid, chapter 4, pg 264.
5) Mandakini Trivedi, The Yoga of Indian Dance, Saraswati printers, Mumbai, pg 11.
6) Ibid, pgs 9-17.
7) K. K. Bhatia and J. N. Arora, Methodology of teaching, Prakash Brothers Educational
publishers, 1981, chapter 4, pg 38.
8) Veena Londhe, notes on Yoga Philosophy, pg 17.
9) Sangitratnakara of Sarngadeva, Text and English Translation, Vol. I, R.K. Shringy &
Prem Lata Sharma, Munshiram Manoharlal Publishers Pvt. Ltd., New Delhi, 2007,
chapter2, pg 60.
10) Padam Subrahmanyam, Bharata’s art- Then and Now, Bhulabhai Memorial Institute
Bombay, 1979, chapter 3, pg 53.
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Chapter 4
Codification of adavus
The art of dance is created through the symbol of movements. Cadences of
movements are combined in different permutation and combinations to make
dance patterns. In Bharatanatyam, “The small units of dance patterns which
emerges as a co-ordinated pattern of movement of the feet, thighs, torso, arms,
hands, neck, head and the eyes is known as adavu”.1 The name adavu falls from
the word “adaibu”2 meaning to integrate cadences of movement into dance
patterns. It is actually a Tamil word, for the Sanskrit word “karana”3. “The
adavus of Bharatanatyam have like karanas, the sthanaka, the basic standing
position; the chari, the movement of the leg and the feet; and the nrittahasta, the
decorative hand gesture”4.These are the common points between adavu and
karana. Adavus form the base for all the major dance patterns called the korvais
and jatis. These different dance patterns form the nritta of Bharatanatyam.
Definitions of adavus
“The adavus ( the smallest units of dance patterns or alphabets of dance) are
conceived as different types of cadences where all movement relates to the vertical
median on the one hand and to the fundamental proportioned flexed position of one
half of the human body on the other. It is these primary units of movement where
the feet and the hands and other limbs of the body form a precise harmonized
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movement which combine together to form a dance pattern. However, none of
these primary or secondary movements are conceived outside a given time cycle
and without reference to the musical or rhythmic phrase which they interpret in a
composition”.5“In short, adavu is a basic rhythmic unit of dance within a specific
tempo and time structure that involves composite movements pertaining to
nritta”.6
“The adavus’ elements are the sthanakas (poses) and the charis (leg movements).
In the adavus particular importance is attached to angashuddha (correct postures of
the limbs which include the nrittahastas and padabhedas); talashuddha (correct
rhythm); the tandava (strong movement) and lasya (graceful movement). These
form the structural validity or grammar of the art form though the style varies
slightly with each guru and sampradaya”7, like dialects of languages.
Codification of adavus
Training of Bharatanatyam starts with teaching of adavus. There are a variety of
adavus created by using the various mandalas, sthanakas, charis, brahmaris,
utplavanas and nrittahastas. They have been perhaps created over many years by
different dancers and teachers and have come down to us through oral tradition.
They had perhaps different names or were perhaps nameless and were taught to the
students only as required in the item to be taught or performed.

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The Tanjore Quartet codified the adavus by grouping and sequencing them and set
a pattern or method by which the adavus are to be taught. This is as told by T.
Balasaraswathi, in her article “tanjay nanmanigalin tanipperumai”, in the book
“The Tanjore Quartette”, edited by Kitappa Pillai and Sivanandam, in Tamil
language.8 Sri Rajarajeshwari Bharatanatya Kalamandir school of Bharatanatyam
also follows it, for they also follow the Tanjore style of Bharatanatyam. But they
must have definitely modified it to suit their specific style of dancing. So at this
moment the researcher has the order in which the steps have been taught in this
school.
The names of the adavu groups:*9
The names of the adavu groups have been given mainly according to the
movement of the foot work.
Tatta adavu: This adavu is the most basic unit of Bharatanatyam. Tatta means to
strike flat. The body adopts the araimandi stance and the feet strike flat in various
rhythms on the floor alternately.
Natta adavu: In this group of adavus, from the araimandi stance the leg is
extended to the side of the body and the heel of the foot strikes the floor. The natta
adavu can be varied by doing the above movement with the leg stretched straight
to the front or by placing one foot raised on the toes behind the other foot.
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Natta means to stretch the leg outward away from the body. Thus the garudamandi
also comes under this category and is introduced along with this group of steps.
The garudamandi is: from the muzhumandi, the right leg is extended outward with
the body resting on the left leg and toes pointing the opposite direction.
There are three groups of natta adavu, each with four steps each. The complexity
of sequence of the steps increases step by step.
Kutta adavu: Here, when the body is in the basic stance the foreparts of both feet
strike the floor accompanied by a slight jump. This movement is taught along with
the second group of natta adavus, where the students are to be taught to cover
space on the ground level with the natta movements. First the cadence of kutta
adavu is done, then the right leg is extended to the side and left leg is placed
behind the right leg with the toes raised and the right leg is again placed next to the
left leg in araimandi position. Thus movement covering space is accomplished.
This is a shorter adavu compared to the periya adavu.
This movement is also used for the adavu where after the kutta adavu movement
the foot stamps the ground (tatta adavu) with right leg and then left leg. The hand
gestures used are alapadma to katakamukha and pataka.
Periya adavu: Periya means big. This adavu is usually used to cover large
distances. The body takes a vertical jump (kutta adavu) with hands thrown above
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the head holding the alapadmahasta and, while the hands form a neat circle
downwards the feet move sideways, diagonal or in a circle in a crossed position.
Tandudal adavu: In this adavu group, the feet are lifted to the side or front with
vertical and horizontal jumps. The hands are also extended sideways and to the
front. Students are also taught to do full sitting with a jump and cover space
horizontally while jumping. There are four adavus in this group with hands holding
the alapadma and katakamukha hastas in two steps and kartarimukha hasta in
other two. The shutru and the murukku movements are introduced in the second
and fourth adavu respectively, thus raising its complexity and bringing in variety to
the movements of this adavu group.
Mandi adavu: In this adavu group, the body assumes the muzhumandi or full
sitting position. There are varied movements of the leg extensions from this
position. One such movement consists of jumping on the toes in full sitting and
resting one knee on the floor while the body rests on the heels. Another is to jump
on toes and extend the leg and assume garudamandi position. The hands accord
with the feet. One is also taught to cover space using garudamandi at the ground
level. There are several steps in this group with these variations.
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Krishna mandi adavu: In this adavu from the muzhumandi position the entire
body sits on one side and then takes a circle after getting up. The hands accord
with the action. It is a very graceful and majestic step.
Shikarahasta adavu or tataitam adavu: The adavu derives its name from the fact
that the step begins with the hands holding the shikarahasta and the sollukattu is
tataitam, ditaitam. In this adavu group all the movements of the legs and hands are
revised with a few new movements leading to an introduction of the complex
adavus. The adavu is divided into two parts, wherein in the first part the tatta and
natta movements are used. In the second part the step uses new leg movements like
to hold balance on toes in the araimandi stance, to turn and sit or lower oneself
into full sitting (muzhumandi) and turn and raise oneself back to half sitting
(araimandi), and to turn and lower oneself to a full sitting (muzhumandi) and twist
from back to front in a murukku position and turn around (shutru) and come back
to half sitting position. The last two positions were of course already introduced in
the mandi adavu. The shikarahasta adavu gets more complex for the nadai adavu
movement in combination with a stamping of feet and a jump is taught within this
group. After doing the first part of the shikarahasta adavu the second part adds the
nadai adavu movement, a tatta adavu movement and a tandudal adavu movement
in a beautiful combination. These movements also hold the shikarahasta as its

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hasta and help cover space. So, shikarahasta adavu is majorly a plateau where all
the earlier cadences of movements get revised in a different and dexterous manner.
Murukku adavu: Murukku means literally to twist. The body is in the manner of
the mandi adavu and twisted from back to the front. This movement is used in
combination with the tandudal adavu and repeated in shikarahasta adavu too.
Pakka adavu: Pakka means side. In this adavu group, the body moves sideways,
diagonally etc. With a jump one foot is struck on the floor at a distance, the other
foot crosses and the foot is brought to its side. The hands accord with the feet. The
accent here is on movement which is either sideways or diagonally towards the
corners.
Tattaitaha (mnemonic syllables used for adavu) adavu: In this adavu group, the
body assumes the araimandi stance. The two feet are struck on the floor
alternately and a jump is done on the fore parts after which one foot is stamped.
There are variations in this feet position and the hands in tripataka hasta take
different positions.
Kudittametta adavu: In this adavu, the body is maintained in the basic stance
throughout the adavu. The feet with the heels are raised and struck on the floor
with a slight jump, after which the heels are lowered together. The hands usually
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are holding the alapadma hasta and katakamukha hasta alternately in almost all
the steps. The hands are extended in all directions symmetrically.
Sarukkal adavu: In the sarukkal adavu the body is held straight with the two feet
joined together and toes pointing front. The right foot is lifted and kept a little
distance away on the side, front or diagonal and the left foot is slid towards it.
Then the right heel is struck on the floor in the front and the two feet are struck on
the floor with a slight jump. There are other variations to the adavu with different
hastas. One is parsva sarukkal – towards side; two is abhimukha sarukkal- towards
front; three is adhomukha sarukkal – towards back.
This group of adavus is combined with the kudittamettu adavu group in the
researcher’s school. This increases the complexity of the adavus. But the learning
factor becomes less tedious as the students get respite from the basic stance
(araimandi) of the kudittamettu adavu.
Etta adavu: In this group of adavus, the body is always in the araimandi stance
throughout the sequence of movements. In the araimandi stance after a jump on
the foreparts of the two feet one foot is struck on the floor and the other is kicked
sideways or diagonally out. The hands accord with the legs, with tripataka or
sikharahastas.
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Visaradavu: In this group of adavus, the hands and feet are spread sideways,
diagonal, frontwards and backward. The right foot is struck on the floor at a
distance from the left foot, then the left crosses the right and then the right is
brought to its side. The hands accord with the feet.
Korvai adavu: When adavus from two groups are connected together to make a
beautiful dance pattern and practiced as one unit it is called korvai adavu. Mostly
such patterns are pre-taught before going on to teach the large korvais or jatis in
the jatiswaram and varnam which are a group of korvais unified to create beautiful
dance patterns.
Theermanam adavu: Theermanam means to conclude. It is a movement ending a
group of movements and is usually repeated three times or in units of three.
Accordingly they are adavus which are joined at the end of a korvai or jati of nritta
items.
Tatti mettu (panchajathi) adavu: In this group of adavus, the body is held in the
araimandi stance, the foot strikes flat on the floor, and then the forepart strikes the
floor and then the heel of the other foot is raised and struck on the floor. The
second variation is that the foot is struck flat on the floor and then the forepart of
the other foot is raised and struck on the floor. Both these adavus are combined to
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do more sequences. These variations are guided by the five jathis of the music tala
system namely tisra, chatusra, kanda, misra, sankeerna.
Shuttraladavu: This adavu is done in combination with other adavus. They also
mostly end an adavu. Shutru means to whirl. One foot balances the body while the
dancer whirls around with the other foot. This is taught in the mandi adavu,
tandudal adavu and shikarahasta adavu.
In second variety of shuttraladavu, the body moves in a full circle. The hand
movements can be done in many ways. They are used to cover space.
Meykattu adavu or meyadavu: Mey means body and kattu means to show or
reveal. It is a group of adavus where a movement makes skillful use of the angas
and pratyangas of the body. e.g., they occur in the initial stage of jatiswarams and
tillanas.
Nadai adavu: In these adavus we have movements which include walking
sideways, to the front or backwards etc. The hand movements vary making
beautiful geometric pattern in space.
Other than the co-ordination of hands and feet, the eye movement also needs to be
given importance. The eyes are the indicators to the audience as to which part of
the anga is being given emphasis. The eye has to coordinate with the hands. Since
the hands and legs are coordinated, consequently the eye is also coordinated with
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the legs. Thus by the coordination of hands, legs and eyes with rhythm the nritta
part of dance is developed.
The Maxims of teaching
Teaching is a technical job. The teacher who manages to teach in an interesting and
loving manner is a joy and celebrity for students. For this the teacher should have
devised some methods of teaching which help her to communicate with students
effectively. It is even better if the teacher is familiar with the time honored maxims
of teaching. These have come down to us from the observation and experience of
successful teachers. These teachings are now available to us through the medium
of books that give information about the art of teaching with its varied methods
and approaches. The maxims of teaching are to proceed from known to unknown,
easy to difficult, simple to complex, concrete to abstract, particular to general,
whole to parts and many more.
The Tanjore Quartet who codified the adavus not only set the array of adavus
according to the elemental quality of the adavus but also used the maxims of
teaching with discretion to codify them in a manner that is easy to teach the
students. They have been credited in various books by their authors to have
codified adavus in this manner. The authors have also named these adavus either
by sollukattus, or the hastas or by their technique of foot work as is convenient to

84
them. Thus they have improvised on the theoretical knowhow of each group. A
student has to identify the adavus by all three aspects.
What one should infer from above arrangement of adavus, is that the adavus are
grouped and sequenced or codified according the maxims of teaching easy to
difficult, known to unknown, simple to complex. One can notice slow introduction
of new movements for easy assimilation and the large number of adavus in a group
of adavus ensures repetition of movements. Each adavu group has simple to
complex adavus.
The various resemblances and differences in the use of each cadence of movement
in the adavus can be understood by the students in an inductive manner. A cadence
of movement when synthesized along with another movement or other steps is the
same movement attains a different character due to conjoining with another
movement. For example, at one time it may have to be used as a tandava (move
with force) cadence and in another as lasya (move in a soft manner) cadence.
These will be understood through the large number of adavus taught in each group.
Even if the student understands vaguely the movement and its technique in the first
few steps, repetition of the same in the following steps in the same group helps the
student to learn better. The number of adavus in a group also gives the child an
idea how one movement can be combined in several ways.

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The adavus practiced in three speeds ensures repetitions and retention of the steps
and the technique applied. It helps in getting the feel of rhythm and good laya base.
Thus this workout also builds up good stamina. It ensures fun (play way method) to
learn about the variety of ways the body can move or the various abilities of one’s
own anatomy.
Foot notes to reference:
1) Kapila Vatsyayan, Indian Classical Dance, Publication Division, Ministry of Information and
Broadcasting, Government of India New Delhi, 1974, chapter 3, pg 25.
2) Ibid, chapter 3, pg 25.
3) Ibid, chapter3, pg 25.
4) Sunil Kothari, Bharatanatyam, Marg publications, Mumbai, revised edition 1997, chapter 4,
pg 36.
5) Kapila Vatsyayan, Classical Indian Dance in literature and the Arts, Sangeet Natak Akademi,
New Delhi, second edition, 1977, chapter 5, pg 336.
6) Mrinalini Sarabhai, Understanding Bharatanatyam, The Darpana Academy of Performing
Arts, Ahmedabad, Gujarat, India, fourth edition, 1981, chapter 4, pg 26.
7) Ibid, chapter4, pg 27 - 28.
8) Tanjore Quartette, edited by K.P. Kittapppa Pillai and K. P. Sivanandam, Aparna Printers,
Chidambaram, third edition, July 1992, pg 3.
9) *Dr. Veena Londhe and Malati Agneswaran, Handbook of Indian Classical Dance
Terminology, Nalanda Dance Research Centre, Mumbai, 1992, pg 32-45* and Mrinalini
Sarabhai, Understanding Bharatanatyam, The Darpana Academy of Performing Arts,
Ahmedabad, Gujarat, India, 4th edition,1981, chapter 4, pg 26-28* these two books* were
used for the correct terminology of adavus.
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Chapter 5
Art of teaching: Some methods and approaches
Dance is the language of the heart. It is the art of expressing the joys and sorrows
of life, where the instrument is the human body and mind. The teacher trains the
student and helps the student to integrate body and mind through cadences of body
movements set to rhythm and express ideas through use of actions and expressions.
A teacher trains the students in an art form by giving instructions on the practical
aspects of the art i.e., performance of the art, duly supported by theoretical
knowledge of the subject matter. Various means and measures are devised to
provide the technology of the art which can be called the methods of teaching.
These methods vary from teacher to teacher.
Teaching of Foreign language and language of gestures
The researcher is trying to access the methods and approaches of teaching a foreign
language for teaching gesture language of dance since both are for communicating
purposes.
The essentials for a method of teaching of a language, according to W. F. Mackey
is, “A method determines what and how much is taught, the order in which it is
taught, how the meaning and form are conveyed, and what is done to make the use
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of the language unconscious. Thus a method deals with four things: viz. selection,
gradation, presentation and repetition.”1 The lessons are selected to suit the level of
education of the learner; it is graded according to the maxims of teaching and with
the understanding of the psychological makeup of the student. It is presented in a
manner so that the concepts and techniques are conveyed with sensitivity and are
made habituated through repeated practice or repetition and drill.
Language of gestures
Dance teaching consists of demonstrating the use of gestures in specific ways for
expressing one’s emotions and feelings. Gesture language is symbolic and evolved
through a process of selection and elimination. In classical dances, only those
gestures are chosen which provide the qualities that can evoke rasa, of course,
when used in the precise manner. These gestures of hands, legs and face are
described in the various natyasastras and are discussed in great detail by ancient
writers from Bharata, Abhinavagupta, Nandikeswara, and Dhananjaya in their
respective manuscripts. The present generation teachers have translated their
Sanskrit works, into English and other languages of the present century for easy
assimilation and understanding of the students of the present generation.
In the “language of gestures”, each gesture is a symbol which conveys a meaning.
These symbols are single hand gestures, double hand gestures which describe the
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meaning of the words in their portrayal. Hand gestures have been designed to
depict Gods, relationships, castes, planets and many others. Facial gestures have
also been evolved for expressing various emotions with help of the minor limbs of
the body -the eyes, eyebrows, eyelashes, cheeks, lips and neck. Gestures have also
been developed using different legs movements and stances to help to depict the
different gaits, leaps and turns or whirls of the human beings, animals and birds. In
fact the works of “Natyasastra” and “Abhinayadarpanam” have not left out any
movement that a human body has the ability to perform. The student is taught the
names of the gestures and applications and is enabled to use these, in order to
interpret and express thoughts and emotions while performing nritya.
Using of Direct method in training of gestures
For teaching this gesture language of dance, the researcher recommends the
adoption of the ‘Direct method’ as explained below. “The Direct Method is a
method of teaching a foreign language especially a modern language, through
conversation, discussion and reading in the language itself, without use of the
pupil’s language, without translation, and without the study of formal grammar.”2
“The only difference in learning a new language and using the gesture of language
is that in foreign language the student starts to think and speak in the new language
without the need of translating his idea or thought from the mother tongue into the
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foreign language”3. In dance the artist thinks and forms sentences in the language
he finds easy to communicate with and shows gestures for the respective words
used in the poem to express his idea. It is the audience who need to know how to
interpret the gestures used and translate them into appropriate or respective
meanings with the help of lyrics to interpret the gestures. It is important to
understand that the lyrics are only guide lines and the music provides a rhythm for
movement and expression. The artist gives many meanings (sancharis) to a line of
verse, to present and strengthen the sthayi bhava, which the audience should grasp.
The audience will need to know the language of gestures too to interpret the
gestures.
Creation of Rasa-experience
“The direct method aims at establishing a direct bond between thought and
expression, experience and language. The idea is that the learner should experience
the new language in the same way in which he/she experienced his/her mother
tongue.”4 Dance uses the gestures of the limbs as its language to convey thoughts
and feelings. Therefore the gestures should be interpreted quickly and naturally as
one understands one’s own mother tongue. The intent is that the audience should
experience the rasa evoked in a natural way as he experiences his environment.
The sattvika bhavas that indicate rasa-experience originate naturally from the
mind of the involved spectator or sahridya. For this the spectator should be in step
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with the artist for a harmonious apprehension of experience. These gestures can be
taught and are to be taught by using normal situations that the student faces in day
to day life. Therefore, through the direct method, a dance teacher can aim at
establishing a direct bond between thought (idea) and expression (emotion),
experience (rasa) and language (gestures and angika abhinaya i.e., expressing
through the limbs of the body). The only difference between day to day experience
and rasa-experience is that both the artist and the spectator participate in art-
presentation and an idea is shared (rasa-experience); while day to day experience
is individual and a mundane one. The emotional experience presented is
aesthetically dramatized and so rasa-experience is enjoyable and blissful.
Teaching method and teaching approach:
“An approach tells us what to teach while a method tells us how to teach”.5
“The direct method helps in teaching dance as it is to learn by way of doing” 6. It
deals with presentation and repetition. Like the teacher presents the movements
(skill), the child learns it by imitating and acquires the correct movements only by
repeating it several times (drill). Like speech which has to be learnt by oral
practice, dance has to be learnt by practicing movements.
But selection and gradation of teaching materials is required for effective results.
An approach is to be taken to help us decide what to teach and how much to teach
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in a session. This is done by selection and gradation of material to be taught.
Structural approach deals with selection and gradation of material. Therefore direct
method is combined with structural approach to help us decide what and how much
needs to be taught in each dance session or lesson. The above definition of method
to teach language by W.F.Mackey combines both method and approach.
Principles of Structural approach:
“The structural approach is based on the following principles; one – in language it
is the importance of speech as the necessary means of fixing firmly all ground
work”.7 Just like a language has grammar for proper usage of language, e.g.,
subject, verb, object - this structure or order of words makes a full sentence. The
basic unit of language is a sentence. In dance the required movements of the body
or cadences of movement are to be fixed firmly through adavus. There are special
ways and positions of the hands by which the hastas and other limbs of the body
are to be moved and placed and replaced, i.e. angashuddam, to make dance
patterns.
“Secondly, the importance of the pupil’s activity rather than the activity of the
teacher is paramount”.8 For language, the child has to practice speaking, use
vocabulary to make sentences or structures according to situations and usage as in
affirmative sentence or interrogative sentence etc. In dance, the pupils have to

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practice the adavus taught by the teacher and do the movements again and again to
achieve mastery over different body movements, steps and expressions.
“Thirdly, the importance of forming language habits, particularly the habit of
arranging words in English standard sentence patterns, to replace the sentence
patterns of the pupil’s own language”9. The student should be able to converse in
the new language without resorting to translating in the mother tongue. Likewise in
learning dance one learns to make clean and clear body movements in geometrical
patterns. It is a process of habit formation where one trains one’s body and
familiarizes the body to the various ways it can move artistically and aesthetically.
One should be able to forget the techniques while giving a performance. One trains
the body only to forget it.
Using different methods and approaches for gestures, adavus and abhinaya:
“Structural approach is linked with the oral approach, the drill method and the
situational approach”10; and direct method is linked with skill lessons and drill
lessons.
(i)The structural approach:
“In the adavus, particular importance is attached to angashuddha (correct postures
of the limbs which include the nritta hastas and padabhedas); Talashuddha
(correct rhythm); the Tandava (strong movement) and Lasya (graceful

93
movement)”.11These form the structural validity or grammar of the adavus. Dance
patterns (adavus, korvais, jatis) and structures of various items (alarippu,
jatiswaram, tillana, varnam) and choreography etc. are taught using structural
approach. Like sentence structures of the English language these items too are
designed in specific manner and have defined structures as names attributed to the
items signify. While performing nritya (abhinaya) too these rules of the nritta
movements are to be adapted and emphasized.
(ii) Skill lessons and Drill method for Training of adavus
Learning a language or dance is a skill. Repetition or drill is the key to success in
acquiring any skill. It is repetition which ensures retention, absorption and helps
the learner to acquire the skill. A teacher is to supervise and guide the students’
practice. It is very essential that errors should be pointed out, eliminated and
corrected so that wrong habits are not acquired and get fixed. “Correction by the
teacher goes on until mastery is achieved. Thus the cycle of Practice - Correction -
Practice goes on until mastery is achieved.”12 Practice makes a man perfect. In
Bharatanatyam, the araimandi and the angasuddam is to be emphasized in the
beginning from the initial adavus itself. In other words drill work in classes or
practice, is of great importance and value.
(iii)Situational approach:
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The natural way to teach a language or for that matter any subject is to teach it in
situations. In a language, items of vocabulary, parts of speech and structures of
sentences should be taught in appropriate situations. The students are to be given
various situations like buying a ticket, inviting a friend for tea etc. and make the
pupil use appropriate vocabulary and sentence structures to learn to speak or write.
Likewise, items of abhinaya that depict many mythological stories and anecdotes
of visualized scenes of social life are to be taught in appropriate and meaningful
situations. Like a song in praise of Goddess can be taught around the time of
Navarathri festival. Also the child can be asked to relate the Goddess to her own
mother for easier understanding of the concept of universal mother.
Also the items are to be pupil-centered and are to be selected according to the
maturity level of the learners. Our work and lessons must be properly graded to
suit the intelligence of students. While determining ‘easy’, we must take into
account the psychological make-up of the child - The younger students should be
taught items related to god and mother, while the senior students can be taught
items of love and relationships of husband and wife in different situations.“Thus
situational approach combines psychological approach, logical approach, and
linked to life experiences. Psychological approach implies selection of material and
logical approach implies the systematic arrangement and explanation of the matter
to be presented”13.
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(iv)The oral approach:
In dance, the theoretical part is to be taught orally. The knowledge of theory helps
in grasping the practical part for it provides explanations necessary for a complete
understanding. For e.g., the words pallavi, anupallavi and charanam help
demarcate the parts of items and enable to remember the order of the dance in
progression. The adavus names will enable the students to remember them in their
groups. Why the adavus are named as such, will remind them of the technique
involved in execution of an adavu. Similarly the indirect experience of reading the
story is brought to life when the stories from different myths are presented with
actions and expression. Here usage of technical terms to instruct the students to
learn their movements will be very helpful. The teacher will have to use a dance
vernacular language for giving instructions, so that the student understands and
learns the theory with ease. She has to use the names of all poses, stances and
hastas while teaching the nritta and nritya items of Bharatanatyam. Therefore for
planning teaching-learning experiences of dance or lesson plans of dance sessions,
oral method can be used.
For training in gestures the use of direct method for teaching foreign language is
already explained above.
Selection and Gradation of structures:

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Structures are to be selected and graded in the order of their difficulty. Simple
structures should precede the more difficult ones. “While selecting and grading of
structures, the principles of - usefulness, productivity, simplicity and teachability
should be kept in view”.14Like we find the tatta and natta movements are regularly
repeated in other adavus too. So these adavus are taught first. Also they give a
sense of balance and understanding of the central line or bilateral symmetry of the
body. “While grading structures, one should also ensure proper grouping and
sequence. Grouping means which structures that fit together because of their
similarities. Sequences indicate arrangement of structures within a group according
to the rise in complexity of the movements”.15
For this we know the adavus are already grouped and sequenced long time back by
the Tanjore Quartet. These follow the maxim ‘simple to difficult one’. The earlier
adavus are the basic movements that are simple and easy to teach. They are used
again and again, in varied ways to create more complex adavus. These are further
used in adavus, where difficult and complicated movements are introduced. The
earlier ones are simple and easy to learn. The latter complex adavus are also easy
to learn because the pupil already knows the basic movements which are
synthesized to make more adavus.
“Grading of ideas and matters to be expressed with thoughts and feelings, depend
on the intellectual level of pupils, their age, their educational and socio-cultural
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backgrounds, and the aim of the selected portion to be taught”. 16 This is applied
while teaching the items in the margam. The items of abhinaya are taught with the
situational approach. Concepts and ideas are explained according to the age group
and maturity level of the student. That is, psychological approach is used to select
material to be taught and logical approach is used to organize and explain the
material.
Factors that influence choice of techniques*17”
“There are a number of factors which affect our choice of materials and techniques.
Such factors may be: the objectives of teaching language (or dance), the class for
which the objectives are set: the age, the ability and capacity of pupils; the ability
and training of the teacher; the availability of aids (charts, videos, projects, group
discussions, workshop, seminar etc), the size of the class and even the location of
the school whether rural or urban.
Methods of teaching will differ accordingly as the teacher is teaching language (or
dance) to 6 year olds, 16year olds or 25 year olds. An inexperienced teacher or one
with an average ability may not be able to make a success of the methods that suit
brilliant teachers. Methods successful in a country such as America may be out of
place in India. Methods that work with small groups of pupils may not suit large
classes. The social background also contributes to study of art. Pupils in rural
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areas who have less opportunity to see performances are in a disadvantageous
position as compared to the pupils in urban areas who can afford to see a lot of
performances. They miss out on actual experience and must make do with
representative ones like books, etc.
Spontaneous teaching:
The foregoing discussion leads us to the conclusion that there can be no particular
method which can suit all people, all places and all conditions. It is the teacher
who has to select by himself or herself the best in all methods according to their
need. He may create his own methods according to his inspirations, experiences
and need of the hour.
Teaching has always been and remains, more of an art than a science. That is to
say, it is largely intuitive and dependent on the personal abilities and convictions of
the teacher. Most of a teacher’s success is the result of such qualities as
enthusiasm, intelligence, and love for the students and her art”.17
The best thing about dance is: it can be learnt by all, at any age group and by those
who have varied educational and socio-cultural background. The aims of learning
dance will always remain the same.
Footnotes to reference:
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1. A.L. Kohli, Techniques of teaching English, Dhanpatrai and Sons, Jullunder, Delhi,
1988, chapter 3, pg 39.
Performing arts, Ahmedabad, Gujarat, India, 1981, chapter 4, Pg 26.
12. K.K. Bhatia and J.N. Arora, Methodology of teaching, Prakash Brothers Educational
Publishers, 1981, chapter 9, pg 192.
14. A.L. Kohli, Techniques of teaching English, Dhanpatrai and Sons, Jullunder, Delhi,
1988, Chapter 3, pg 48.
15. Ibid, chapter 3, pg 48
16. Ibid, chapter 3, pg 48-49
17. * A.L. Kohli, Techniques of teaching English, Dhanpatrai and Sons, Jullunder, Delhi,
1988, chapter 3, pg 54-55, much of the part is written from the text.
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Chapter 6
Basic Training
This syllabus used here is based on the researcher’s school curriculum Sri
Rajarajeshwari Bharatanatya Kalamandir. This has been modified for fast paced
teaching methods and to give an integrated approach to the practicals, theory,
philosophy and connected arts. Guidelines to how syllabus can be modified,
according to the teacher’s capability to teach and student’s capacity to learn is also
suggested.
Syllabus of basic study of Bharatanatyam and its objectives
A small synopsis of the syllabus intended for the first three years of training. The
aim behind this syllabus is that the student should learn all the aspects of
Bharatanatyam in an integrated manner and flavour the art wholesomely right from
the initial stage:
In the first three years all adavu groups, the names of hastas, drishtibheda,
padabheda, grivabhedha, charis, mandalas, sthanakas, brahmaris, utplavanas
with their applications or viniyogas from Abhinayadarpanam should be taught.
Application of the hastas in situations according to age, making of charts of hastas
by students and other such aids as scrap books, log books etc., can help to expedite
the teaching and learning process of the same and make study more interesting.
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Also while teaching the devata hastas and navagraha hastas, the students can learn
simple stories of the Gods of Hindu religion. The teacher can add in some shlokas
of the Gods she knows by memory or teach famous and popular ones like Gayatri
mantra, prayer to guru, Goddess Saraswathi (yakundentu), Lakshmi (namasthe tu
maha maye), Ganapathi (vakratunda, mooshikavahana), Shiva (angikam
bhuvanam yasya, shivamshivakaram), Karthikeya(shadananam kumkuma),
Hanuman(manojavam), guru (guru brahma, guru vishnu), om sahanavavatu, etc.
The tala system of 35 talas in three speeds should be taught. The students should
also be able to tell the sollukattus of adavus on any one talam, namely, chatusra
jati-eka talam and show the hastakriya for the same.
The students can be taught a little history of Bharatanatyam, names of famous
manuals and some famous temples that have dance movement or karanas from
Natyasastra engraved in their walls. Information about names of famous dance
schools and the various styles of Bharatanatyam practiced all over India should be
given. Also knowledge about the other classical styles of India and their origin is
an important subject for study.
Objectives of the syllabus
With the prescribed activities and information the teacher integrates all aspects of
Bharatanatyam. The students should realize that learning dance is a multi-

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disciplinary activity. These activities will help the students realize that religion,
philosophy, aesthetics, mythology etc. are all part of study of Bharatanatyam. They
will know that Bharatanatyam is practiced not only far and wide, but also since
ages. They will understand that Bharatanatyam and other classical dances are part
of their heritage and have a lot of cultural, philosophical and religious significance.
They will understand the underlying unity of all art forms. When this is imbibed in
the initial years of learning dance the students will get ready for the hours of
practice, discipline and dedication required for learning the art wholesomely. Or, at
least have a lot of respect for the practitioners of the art.
Guidelines: The teacher can use her/his discretion and demarcate the same for
three years. Still for the convenience of little children who start learning dance at
the age of 3 one should teach only simple basic steps and abhinaya of elementary
day to day situations in dance for first four years and teach the other aspects of
dancing by re-teaching the adavus and basic margam along with theory and other
aspects. In fact the smaller children must be given training only in the chowka
kalam and madhyama kalam in the beginning. Or else the progress of class will be
very slow. In a class where there is mix of slow learners, backward learners and
intelligent students, the earlier two would lose interest and the latter might get
bored and will not continue classical dance training. Age differences and mental
capability will influence the methods of teaching in order to hold interest. A

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teacher should be able to cater to all these and other individual differences like
physique of the students; their tastes and aptitudes to keep the interest in classical
dance alive in the students. The teacher’s capabilities should be such that she
enriches or keeps fueling the students’ interest through his method of teaching.
Training of adavus
First the namaskar to mother earth is to be taught. Here the araimandi position is
to be introduced.
Araimandi
“In Bharatanatyam, the principal stance of the dancer is one in which the body is
broken up into a series of triangles. The triangle is formed with the line joining the
two knees as the base, and with its apex at the heels. Another triangle is formed
with the waist as the apex and line joining the knees as the base. A third triangle is
conceived with the waist as the apex and the line joining the shoulder as its base.
This is further emphasized by the outstretched arms, which make yet another
triangle in space on either side of the vertical median. The flexed position of the
knees known as the ardha mandali……... is an imperative in Bharatanatyam and
the entire dance is executed with a few accepted exceptions in this position. The
leg extensions, the jumps and pirouettes all emphasize this and the entire
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technique of dance cadences is one which deliberately seeks to emphasize covering
of space, in terms of many varied triangular patterns”.1
Araimandi posture is not known to the pupil. Therefore this posture is to be related
to that of sitting on a straight backed chair and the comfortable feeling experienced
while sitting on it. Thus the word araimandi is understood as to be seated in the
chair and to reduce the height of the person in half. Whenever this stance is loosely
held or not adhered to the teacher should say the word ‘sit’, cautioning the child
that it has forgotten to hold itself in the posture of araimandi. Thus the child will
go back to holding the half-sitting position.
The order of adavus to be taught is given in the chapter- Codification of adavus.
Training should start with tatta adavu (stamping of foot) and go to natta adavu
(leg extensions like alida and pratyalida). The pupil learns the cadences of the
movement of dance one by one. Most of the movements and positions of the legs
and hands of Bharatanatyam are to be taught with the tatta and natta adavus as
they are done in static position and also repeatedly used in other adavus.
Angashuddam
The importance of maintaining the position of the hands and legs should be
emphasized by the teacher. The symmetry in the poses and stances the body holds
at all times can be explained by indicating the central line that demarcates the
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body’s bilateral symmetry. The left and right hand sides of the body should be
moved at equidistance from the central line or vertical median of the body.
Illustration of how the house is to be kept in order by keeping the things used in
their places can be given. Thus the angashuddam and shoustavam of the body
movements can be maintained.
Synthesis of movements
When a pupil is taught a new movement, it should be taught by joining it to the
earlier/previously learned adavu. Thus, through synthesis of a new movement with
old movement or adavu, a new adavu is easily taught to the pupil.
For e.g., If in the tatta adavu the child is taught to sit in the araimandi position
with legs forming the ayata mandala, and stamp the feet on the ground; the next
adavu is to extend the leg outward to the side of the body and keep the heel of the
foot on the ground and come back to the original position by stamping the foot
(tatta adavu), back in the same place it was lifted from, all the while maintaining
araimandi. This is to be repeated to the left.
The extension of the leg is added to the previous movement of stamping of the
foot. Thus a new movement is to be joined with known movement. And the
student learns only one new movement at a time but a new adavu. Even when one
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leg (right) is extended the other leg (left) maintains the stance of the tatta adavu.
This way one learns to hold the centre of gravitational pull.
Thus in the subsequent adavu, the new movement is: to move the foot inward by
placing the right foot (kunchita) behind the left leg and striking the left foot in the
same place. Thus one new movement at a time is to be taught. In this way we use
the maxim’ known to unknown’.
Balance of the body
The tatta adavu and natta adavu steps are done in the same place and a good sense
of the centre line of the body can be developed, before the student is taught to
move to cover the space while maintaining the araimandi posture. The student
should understand the need to maintain symmetry in movements of the right side
and left side of the body. Also the student needs to know that, when right side is
moved the left side should be static and perfect positions of the limbs is to be
maintained. It is important for maintaining the balance of the body.
Every time the leg is lifted off the ground, the heel must touch the posterior. This
requisite movement is to be emphasized by the teacher. The leverage of the upper
body is then easy and balance can be maintained.
The same three movements of ayata with a jump on toes (kutta adavu), pratyalida
and kunchita are to be employed to do the moving step maintaining the araimandi
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position. The child is to be taught to do leg movements all the while encouraging it
to look straight ahead or look away from the ground or at its feet, for which the
illustration of a child learning to ride a cycle can be given. If it looks at the wheel
or the ground near the wheel, it would fall off the cycle. It should feel its leg and
gauge the distance to where the leg has to be moved.
Then the pupil has to be taught to do the forward leg extension. This adavu can be
taught in combination with the moving adavu where the skill of being able to stop
covering space and then continue to do another step in the same place all the while
maintaining araimandi can be taught.
Then the movement of garudamandi (lunge position) is to be taught under the
heading of natta adavu. Again you will see that this is the only new movement
(stretching the leg backward with the knee of the front leg bent, while the toes of
the other leg points in the opposite direction) in this adavu. It is to be joined by the
front leg extension adavu.
Next is the periya adavu. Here pupil is to be taught to cover the space and the need
to hold the araimandi till the end of the adavu must be emphasized. Every time a
pupil moves the leg in the araimandi position it must touch its heel to the posterior.
Only after this step one masters the araimandi position.

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In the tatta adavu and natta adavus, the araimandi, angashuddam and
layashuddam are to be emphasized. Through these adavus, the strengthening of the
body limbs in all respects takes place getting the pupil ready for the tandudal
adavu (cover space in air with the jump maintaining araimandi) and the major
garudamandi adavus (to cover space on ground with lunges) that follow. These
mandi adavus ensure overall development of the body and they also help the pupils
to gain a good height if they practice well. Thus the student not only improves in
physical health but also gains elegance and good looks.
Thus, students are now ready to learn the powerful steps of the shikarahasta adavu
(tataitam)and tattimettu adavu (thataitaha) and kudittamettu adavu (taihataihi) and
yetta adavu (tataitaha taitaididitai) where graceful movements of the upper body
and strong movements of the legs is emphasized.
Maxim Known to Unknown
By using the maxim ‘known to unknown’, the teacher must make use of the
movements already known to the pupils and then conveniently take them to the
new adavus. Next group of adavus to be taught is the shikarahasta adavu. The
variations in this adavu group are given by combination of the older movements. If
there are many numbers of adavus, about 7-8 adavus in each of the various groups
of adavus, the student will notice the points of resemblances and differences
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between the older adavu and the new adavu. It becomes easy for the student to
learn the new adavu and ingrain the old adavu firmly in its mind. The
resemblances are maintaining araimandi, angashuddam at all times and how the
tatta and natta movements are repeated in different ways. The differences are the
new movements that increase the complexity of dance patterns and offer variety to
the form.
It is possible that the movements already supposed to have been learnt by the
pupils, may be known to them only in a vague manner or with a number of doubts.
These become clearer and more definite as the lessons progress, for a large number
of adavus in a group of adavus helps to reiterate the technique. The movements
which are known imprecisely become clear and vivid with repeated instructions
and practice.
The repetition of the movements with a new adavu and sollukattus gives some
emotional stimulus. The joy of learning a new adavu is evident and making the
correction and practice of the old movement becomes easier. The learner also feels
that he is making progress. As he learns a new step, he puts more energy and
enthusiasm in it. There is no boredom either for the teacher or the student.
In this way, a link is also established between the old adavus and the new adavus,
the alphabets or cadences of movements of the dance become clearer to the

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student. The student understands the many ways in which a particular movement
can be done. The advantages are also that the teacher comes to know the grasping
ability and intelligence of the student. And how much the student is mentally alert
in the class and applies the inputs given by the teacher.
Teaching-learning of hand movements
In the same manner, the hands and their positions in relation to the body are to be
emphasized. At first, the natyarambhe hand position which is a curved, straight
line and which is infinitely difficult to maintain needs to be taught. Then the
simple movement of opening the palm facing upward and turning the hand back
palms facing downward in the natyarambhe position is to be taught. This is taught
with the natta adavu done in the same place. In the moving natta adavu and periya
adavu the hands move overhead in a circular position. When the hand moves
downward the araimandi should be maintained in order to avoid gawky bending.
Thus there is a natural dip to the body when the step gets completed. The diagonal
lines of the arms are to be introduced in the garudamandi natta adavu.
The hastas are to be checked regularly for accuracy. The artistic and visually
appealing manner in which the hand has to be held and moved is to be explained
by the teacher. The student is to be asked to imagine carrying a china cup in the
hand while doing the hand movements. She or he will have to be careful to hold
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the cup firmly or steady enough that the cup should not fall and also to hold it
softly enough that the cup does not break by pressing on it tightly.
Training of the eyes and rasa experience:
The careful attention with which hands are to be held and the hand is to be moved
and placed in position is to be emphasized with the maxim ‘yatho hastha thatho
drishti’. ‘Where the hands go the eyes follow’. Thus the seed for the development
of rasa should be in sowed in the students’ mind in the initial lessons itself.
yatho hastasthatho drishtiryatho drishtisthatho manaha

yatho manasthatho bhavo yatho bhavasthatho rasaha ||
“Where the hand goes eyes also should go there. Where the eyes go there the mind
follows, whither the mind goes psychological state (bhava) should turn thither, and
where there is the psychological state, there the sentiment (rasa) arises.”2
“Here the psychological state is a sense of well being and the happiness arising in
the mind of the dancer as the body moves to the rhythm of music and the rasa is
that of joy in the mind of the audience arising in seeing the delightful geometric
patterns presented by the body movements.”3
A large variety of adavus ensures that the child imbibes the proper araimandi and
the hastakshetras are well established. The simple variations in a group of adavus
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help reiteration of all the techniques. Thus the essence of good nritta can be
thoroughly instilled in the student slowly and steadily.
By the time the child learns theermanam adavus, angashuddam is well set. The
pupil should learn all the adavus in three speeds and attain a good sense of rhythm.
The students are to learn the names of the hastas and their usages or viniyogas. The
shlokas pertaining to these hastas, charibedas and padabedas all should be taught
along with the adavus. These technical terms have to be used while giving
instructions by the teachers so that easy assimilation of the shlokas is possible. A
jargon for instruction of dance should be created by using the terms from the
Abhinayadarpanam and thus make teaching and learning of dance easy and
scientifically more correct. The names of adavus and viniyogas will make the
pupils’ knowledge of the movements and gestures concrete.
Information regarding the tala and the jathis is also to be given along with the
teaching of adavus. The 35 talas with its parts and divisions are to be orally taught
and the sollukattus of the adavus preferably along with tala (hastakriya) also need
to be practiced along with the adavus. The benefit is that the child will be able to
relate to music of the nritta and nritya items and understand the changing rhythm
patterns.
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Thus it perhaps would take about three or more years to complete all the adavus
and basic theory. The speed of the lessons can depend on the ability and experience
of the teacher. An internship under an experienced teacher could help in building
confidence in new teachers.
After this the students are ready for the training in margam.
Notes to reference:
(1) Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts, Sangeet Natak
Akademi, New Delhi, second edition, 1977, chapter 5, pg336.
(2) Nandikeswara, Abhinayadarpanam, Translated and edited by Manmohan Ghosh,
Manisha Granthalaya Private Limited, Calcutta, 3rdedition, 1975, Translation and notes,
pg 42.
(3) Ibid, pg 42.
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Chapter 7
The training of Margam
After the basic training devoted to learning the basic technicalities of the art, the
students can relate easily to the korvais, jatis and theermanams of the alarippu,
jatiswaram , tillana and the abhinaya of sabdam, varnam, padam and javali.
Already, margam is well arranged from simple to complex. The other maxims like
concrete to abstract, particular to general, whole to parts, empirical to rational ,
psychological to logical and actual to representative can be used to teach
abhinaya.
Aims and objectives of syllabus
Along with the study of margam, the history and background of all classical
dances, life stories of legendary exponents and dance gurus should be included in
the study of dance. Through this the students will derive inspiration from the
stories of the legendary artistes and gurus. The children can make a scrap book
with this information.
The readings of Ramayana and Mahabharata and other mythological texts can be
made part of training. This should be integrated along with the learning of the
abhinaya items. This helps the student understand the moral and ethical values
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from stories of Rama, Krishna and other characters in the epics and learn the
values of life from the numerous episodes of the epic.
The students should learn to play the tattukazhi along with reciting jatis and
singing of the songs. Thus the students learn all aspects of dance.
Training of Margam
Alarippu is initiated with the tisra eka talam. Alarippu is done in all three speeds.
The 3 speeds alternate regularly. Students are to be taught to dance to the speeds
using the number pattern 123. This helps even a student not learning music to
understand the rhythm. At the end of alarippu, the speed goes from fast to slow
rhythm. Students learn to slow down in the last avartanam, thus guiding the item
from ending abruptly. The korvai and theermanam is done in chatusra jathi. It
breaks the monotony of the tisra jathi. Alarippu thus helps the student and the
audience to gauge the understanding of the talam or artist’s sense of rhythm. The
student should also begin to put tala (hasta kriya) and sing /recite alarippu. He
already knows the talam tisra ekam. He will learn how to recite rhythmic syllables
in three speeds.
In the jatiswaram of Sri Rajarajeshwari Bharata Natya Kalamandir curriculum, the
choreography has been kept simple. All the adavus that the students have learnt
have been used to make the dance patterns required in the jatis and korvais of the
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first jatiswaram and varnam. All the adavus have been given equal weightage.
Thus students find it easy to relate it to the different combinations of the dance
patterns. Thus the adavus are again revised with the children in the jati and korvai
format. The araimandi, the hastakshetra, the angashuddham, the tandava and
lasya aspects and adherence to the principle “yatho hasta thatho drishti” is to be
all checked up, emphasized and reiterated upon. The choduku-kulluku which are
delicate movements of the shoulder and the glances characteristic to
Bharatanatyam are to be taught to students who have gained several years of
continuous practice and attained performance level. Here the students are to be
taught to sing the jatiswaram putting talam. If they understand the placement of
the adavus of the korvai in the talam it is a sign of a promising student.
Some adavu groups and theermanam combinations of the jatiswaram are to be
given practice before starting to teach the items and also at the beginning of every
class. These have to be chosen again according to the lessons planned for the day.
They give a good warm up freeing the body of stiffness and the students perform
the adavus with ease in the korvai and jatis that are in the nritta items.
What is to be noted is that the last korvai of all jatiswarams in the researcher’s
school have the garudamandi adavu as its finale. This is put here also as a test for
the stamina of the pupil. The more the student practices, the more adept she will be
in her rendering of the last korvai. Again in the last korvai, all the jathis have been
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used in different dance patterns and combined together. This also peps up the
ending and the rhythm sense of the pupil is put to task.
Now the next item is sabdam. It is a song in praise of Goddess Parvati. Here, she
is described as the Mother of all living beings, the Ruler of the world. She protects
the people from evils and is praised as the compassionate one, who answers to the
ardent call of her devotees. {shankari shankuru (ragam saveri, talam adi)}
The abhinaya items use the situational approach. Any new knowledge to be
imparted should be linked with the life and experiences already gained by the
pupil. Therefore, the idea conveyed in the abhinaya item sabdam is linked to the
pupil’s mother. The item shankari shankuru is based on the goddess Parvathi who
is the universal mother. Any child can identify with its feelings towards its own
mother and attribute the same to Goddess. So the student can easily grasp the
concept of universal mother.
Students are to be asked to see the Universal Mother Parvathi as their own mother -
how their mother provides food and clothing, tends lovingly, guides in studies and
is a great influence in their life. Students are able to work out the emotions as this
concept is from its immediate background.
Thus the lesson of abhinaya being imparted is linked with life and experience
already known to the pupil. The child is asked to think as thanking her mother for
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all the care she gives. The gestures of praying and the blessing are taught. The
lessons are to be initiated during Navaratri festival. In this festival the Goddess is
the creator, protector, and destroyer. She is held higher than the Trimurthi
themselves. The story of killing the demon Mahishasura is narrated again and
again. Therefore the students are able to understand presented ideas and do
abhinaya. The assimilation of the idea is very easy. When abhinaya is taught it is
grasped quickly. They need not contrive the expressions. They look up to their
mother with love and affection. The story of the Goddess destroying the demon
and removing evil develops a sense of pride and devotion toward the Goddess.
Their minds undergo change and worship of the goddess is instilled in them. Thus
this is a good item for the student of the younger age group.
The next item taught is the varnam. Here the student learns to alternate between
nritta and abhinaya. The structure of varnam and its vastness is to be explained to
the student. In the pallavi and anupallavi the God’s or nayaka’s attributes are
praised, and in the charanam the pining of nayika for the nayaka is portrayed,
symbolically meaning the pining of the soul for union with the Ultimate Being.
In varnam the concept of Lord Krishna who as a lover is also explained here as
friend, (as the age group of the child is only 7-10). At this age, their thinking and
reasoning powers have increased considerably. The children of this age are anxious
to find and learn things through their own efforts. Romantic and adventurous
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stories have fascination for him. The varnam in ragam anandabhairavi, talam adi,
taught in this school caters to both the romantic and adventurous feelings. This
varnam contains some romance as it tells about a male and female relationship.
The student who is young is familiar with Krishna as she already must have heard
about the antics of the Lord. Thus the child relates to Krishna and she is able to
think of Krishna as a friend.
In the varnam the heroine tells her friend not to tease her at the time like this.
(Why not and what is her need?) She tells the sakhi to go and bring her Lord
quickly. (Where from/ which place?) He is the one whom this world praises a lot
and he lives in the capital city. (Who is he?) He has beautiful hands which hold the
shanku and chakra and his name is Rajagopala. There is a mystery involved in the
questions why, where from, who is he etc. Therefore the suspense also gives a
chance for the children to enact surprise and so on for the Lord and his
whereabouts is revealed in a slow manner. His attributes are praised in this
varnam. Therefore here using lateral methods we bring out their abhinaya without
embarrassment. The tattimettu part has to be done in araimandi and has to be
maintained for the full avartanam or lyric line. Also here, there is some fun, for the
students learn to do abhinaya while performing foot work. Here the movements of
the hands, legs and the upangas of the face have to be used at the same time. Thus
the whole body is at play. Thus the utmost concentration of the mind is mandatory
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for precision and the mind is focused fully at the idea. It takes a long time to get
the pupil coordinate the tattimettu footwork and the hand movements.
From the chittai swaram, the varnam moves fast. In the second part of the varnam
the idea is to concentrate on the lord with affectionate feelings. The pining for the
union of the soul with the Absolute is brought out. The male-female relationship is
brought into focus and cannot be explained. Therefore the abhinaya is to be shown
by the teacher. The pupil learns by imitation or through interpretation of gestures.
Stress is to be given on the tattimettu and placement of the hand movement
according to words and adherence to rhythm in the second half of the varnam.
The pupil understands the format of the varnam before proceeding to the padams.
Here too the importance of talam must be stressed. The children should be able to
recite the sollukattus of the jatis while putting the talam. Students should learn
recitation of the adavus, used in the korvais, in the talam (hasta kriya).
Maxim from particular to general
In the padams again the students are to be taught bhakti kritis. The goal of
spirituality through dance education is to lead the student towards understanding
that God is the beginning and end of all. Many songs elucidating devotion to God
are to be taught while teaching abhinaya. Each song on god will talk about the
particular God and be in praise of the God and the devotees’ profound devotion
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towards the God. Thus the student realizes the general idea, that praying to god is
necessary. From the similarities in the moral of each sahitya they will absorb that
He is the Absolute, the creator, the protector, the destroyer of this universe. He is
the One with many forms and that all devotional songs talk about this philosophy.
So the idea is to initiate the child in religion or cultivate faith and belief in a
Supreme Being, by giving many examples of bhakti themes.
Maxim of psychological to logical
Another reason is that children will not understand if we speak of god as the
Omnipotent, and of omnipresent nature etc., right at the beginning. Therefore
different views and manifestations of God for e.g., Krishna should be given to the
student. The songs of Krishna describing his appearance, his garb and accessories
and his dance, stories describing his valour (kaliya nartanam) his mischief (teasing
the gopis and stealing butter etc) and his adventures after he left Brindavan are to
be taught and these stories are to be told to the students. When we talk about
Krishna’s appearance (shringara), his valour (vira), his mischief (hasya), his
dancing and flute playing (adbhuta) and in the last his upadesha in Gita (shanta)
(last one mainly taught to senior students, for the lessons have to be taught
according to the age of the child), different kinds of impressions and emotions are
developed in the students’ minds, thus leading out to some effect in their mind
(hopefully of bhakti) towards Krishna. Later the child will understand the logic,
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that all beings born should join the creator in the end. It is important that he learns
about the Supreme Being as the Only God and work towards the goal of salvation.
Dance is taught with activity method. Therefore the students get actual or direct
experiences. By indirect experience they can only know what it is and how it was.
But here the child by enacting the feelings and emotions of the devotee is able to
understand the poetry and its emotions. Since it is done by activity, the impression
carved in the mind of the child, by this very activity, is carried through the entire
life.
Krishna nee begane baro, a padam in Kannada language is taught. In this song,
Krishna’s face, physical appearance; His dance as little Krishna and as the saviour
of this world in times of calamity (Dasavatars) is described. In this song, the
image of little Krishna is brought to the mind of the audience; His stories are told
and Yashoda’s affection towards Lord Krishna is portrayed.
The abhinaya in a padam is more complex than in the previous items. The children
actually find it easier to learn padams as they have done abhinaya in sabdam and
varnam. In bhakti padams, kritis, bhajans etc the navavidha bhakti and affection
towards God become the common theme. Also God as the creator, protector,
sustainer, preserver and destroyer comes through. The stories of the Gods are
narrated or expressed with actions and emotions.

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The students are taught kalai tooki nindru adum chidambara peruman. Here all the
poses of Shiva with all his icons are taught. They describe the appearance of Shiva
as holding his various symbols. The Nataraja pose and the various hand gestures
symbolizing the fire, deer, damaru, trishul, moon, snake, the Ganges are taught.
The song is a simple song mentioning Lord Shiva, who is the Lord of
Chidambaram. He is revered as one who lives in Kailas, the compassionate one
and the lord of all beings (pashupati). Here we can add the story of Markendeya to
whom Lord Shiva showed his compassion. The one who danced on the golden hall
of Chidambaram and when he danced, music was played by Brahma and Vishnu.
All the rishis praised him and prayed to him with their hands held high over their
heads. Perhaps all those who saw this dance are supposed to have experienced
moksha. In this item are depicted, the various nritta murthis, which are found in the
sculptures of the temples of India.
In the next padam/kirtanam, Lord Rama as conquering the sea god Varuna, and
Varuna surrendering to the lord are depicted, (charanam charanam raghu rama).
While teaching this item the teacher should encourage the students to read
Ramayana. The teacher can make it more interesting by holding a quiz
competition. This will interest the students to read and learn the epic in a detailed
manner.
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The next item to be learned is tillana. The student learns the structure of tillana.
The korvais are to be simple, short and crisp. All the adavus are to be given
weightage. The mei adavus are to be taught to be done gracefully. The pupils learn
the panchajathi korvais and the tattimettu pertaining to the panchajathi. The whole
tillana is to be done in a relaxed manner. The slow manner in which the dance is
choreographed will give the children enough scope to understand the varying
rhythms (the five jathis) of the tala. With the practice of tillana, one gets immense
stamina. The single line sahitya of the tillana speaks about the devotee asking God
to come fast and bless him.
Then finally a shloka is to be taught for example -
sayankale vanam te kusumita samaye. Here the Lord is again described, amidst
nature. These are not rhythmic in nature. The verses are sung in a raga or a string
of ragas- ragamalika. They are sung in ati-vilambit kala or ati chowka kalam i.e.,
a very slow tempo. The calmness, the equanimity, the satisfaction of the
performance or the delightful experience of bliss comes through in the shloka. It
needs a very high mastery of technique in singing as well as dancing to be able to
do abhinaya to a shloka. This shloka is performed either as a prelude to a padam,
tillana or as a separate item in the end.

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Chapter 8
In the second Margam

The second margam is teaching of another set of repertoire to the students. These
are more complex than the ones they learnt in the first margam. The students learn
about the structures of each item again and more nuances and techniques are
taught. The students learn about ashtanayikas, nayakas and navarasas.
The study of history of dance is in detail and the philosophical points are of higher
order where the spiritual aspects and religious aspects take the lead.
Kavuthvams
Kavuthvams which are invocatory items are to be taught. A Kavuthvam is an
invocation to deities. It is in the form of verse - describing a particular god, his
origin and qualities. These verses are interspersed with short interludes of rhythmic
syllables. The kavuthvams are lively compositions opening out with brisk passages
of jatis. The kavuthvams originally were performed in the temples by the
devadasis. Some temples in South India have their own kavuthvams in praise of
the deity in the temple.
The myths and stories of the gods and goddesses make interesting reading.
Discussions which are related to the items can be made relevant. The students will
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learn not only the stories of the different gods but also how they are worshipped in
different parts of the country, and also the different names for the same god etc.
In many other institutions, pushpanjali an invocatory item praying to the dikpalas
of eight directions are taught. This is mostly sung in syllables.
Svarajathi
The svarajathi in ragam kamas is taught. It is in adi talam. The adavus are simple
and crisp. The raga is vakram type, therefore there is complexity of the swaras;
likewise the dance patterns set to these notes are also complex. Thus the
complexity of svarajathi which is like a sister to jatiswaram improves the ability
and dexterity of the student. The student learns to put the talam and say the korvai
along with the tattukazhi. The student needs to understand how the talam
dominates and guides the choreography of the dance patterns, how the swarams
and adavus are in harmony with each other. The bhava in the ragam or swaras’
alignment helps to know whether the step needs to be done in lasya form or
tandava form. In the first margam, it is mostly orientation with the form or the
structure of the item, information regarding talam, the place of adavu in the talam.
Here in the second margam, the student is given information about the song and
encouraged to sing. Thus the student is taught the connection between both the
arts.
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Sabdam
Another sabdam is taught. The sahitya is taken from Kambha Ramayanam. Here
the story of Rama is described. The students who have knowledge of the story of
Rama or the epic Ramayana are able to understand and find it is easy to emote.
The first line describes the beauty of Rama. The second line tells us that Rama is
not a mere man. He is the Supreme Being himself on earth. The third line says that
because of the knowledge that Lord Vishnu in the form of Rama was to be born,
many rishis and sages were waiting to get a glimpse of him before taking samadhi.
Therefore too, this world was a sacred place because of all the great sages living on
earth at that time. “To this great Lord Rama I pray” is the fourth line. Thus the
religious and spiritual aspect is imparted to the students. In the first margam, when
they learn charanam charanam raghu rama, they are encouraged to read the story
of Rama. The teacher can keep a quiz competition on Ramayana and make it
interesting for the children. This encourages the students to learn the story of Rama
in detail. The teacher can ask questions of higher order. Thus they learn
collectively and in a faster manner.
Varnam, next to be taught is a Tanjore Quartet sahitya in ragam thodi, talam
rupakam. The different tala pattern helps in teaching the student understand the
dance patterns in differently molded jatis. In this varnam, the sakhi goes and talks
or convinces the nayaka how the nayaka and nayika are suitable for each other.
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She says do not to delay at this hour for she is yearning for him. She praises the
greatness of the king as a great devotee of Lord Shiva, thus bringing the bhakti
aspect in the item.
In the first margam, the varnam structure is understood by the student. To make
learning of varnams faster the sahityas of many varnams can be discussed with the
students. Thus the student not only understands the meaning in the varnam that is
taught, but will be able to understand other varnams when they are watched in a
programme. Thus the students’s knowledge is expedited. The student must also
understand that the jatis and sollukattus need to change according to the ragams.
Like, in thodi raga varnam, the jatis will be of a softer kind as compared to the
jatis in kambhoji raga varnam. Thus the music knowledge also improves.
Another Nataraja padam is to be taught. The concept of Shiva needs to be
explained again. (natanam adinar, ragam vasanta, adi talam). Another one on
Lord Vishnu which is yen palli kondiraiya, ragam mohanam, talam adi) is to be
taught. A Malayalam song on Lord Guruvarappa (vagachatu) a bhakti song in
talamalika and ragamalika is taught. The change in the ragams as well as talams
or jatis in the same item gives a different appeal to the dance item.
In these items the significance of Shiva’s attributes are given philosophical basis.
The whole outline of Ramayana can be portrayed. The stories and the significance
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behind the different names of Shiva, the story of Lord Guruvayurappan, the
sthalapurana, why is he like a child there and related stories of devotees can make
the lesson interesting. Perhaps the philosophical background of Ramayana could
be discussed i.e. How the brothers represent the four Vedas, why the chapters are
called kanda etc.
In the fast paced padam, adhuvum solluval (ragam saurashtram, talam adi) the
ladies gossip and bitch against each other. Adhuvum solluval a popular padam
helps in displaying one’s competitive instincts. It is linked with reality. The
students can correlate it to the social life. The students understand the nature of the
nayika and express her feelings in different rasas. Thus the eight or nine states of
emotions can be brought out in this one item only. Abhinaya is easily and
convincingly done.
Many padams of this nature can be discussed in class. The teacher should either
dance and show these padams or make them do at least once for actual or direct
experience. The structure of the padam, its varied kinds, the famous writers of
padams, their different styles, the padams written in chauka kalam, padams with
romantic themes, and the ashtanayikas can all be discussed here. The whole
padam should be shown and discussed. In the discussion the anubhavas, vibhavas
and vyabhichari bhavas pertaining to the nayika or nayaka in the item can be
pointed out. The dance can be shown again so that the students enjoy the dance
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wholesomely with focus on the intricacies of the choreography. The intricacies of
padam are so vast, it definitely would take another two margams to understand and
memorize every detail.
Madhava mamava (ragam neelambari talam adi), is another item where Krishna
troubling gopis is described. Here the antics of Krishna are enacted. Thaye
yashoda (ragam thodi talam adi) is another Krishna padam where gopis
complaining to Yashoda about Krishna is taught. The gopis’ love for Krishna is
also brought out and is enacted here. Students are able to relate to Krishna.
Histrionic abilities are trained. The structure of the kirtanam can be understood in
the first margam itself. Here the Krishna stories like the Kaliya mardhana, the
Gajendra moksham etc can be re-visited and discussed with the philosophical
background of the stories. Perhaps a master class or seminar or workshop can be
conducted where a person qualified to speak about Krishna could be invited. Here
knowledge of Narayaneeyam, Srimad Bhagavatham and Mahabharata could be
discussed here. An example of inner significance or philosophical significance in
Kaliya mardhana episode is:
“A serpent by name Kaliya was poisoning the atmosphere and the waters of the
Yamuna with its breath. All those who approached that area – men, cattle and birds
fell dead. Krishna, the blue boy of Brindavan jumped into the depths of the river
forced the foul snake to rise above the level of the river and leaping on its hoods
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danced upon them. The pressure of His tender feet was enough to force the deadly
poison out from the fangs of the monstrous cobra, and render it harmless forever.
The inner significance: In the mind-lake of man, there lurks a poisonous cobra
with six hoods - lust, anger, greed, attachment, pride and hate. The name of the
Lord when continuously chanted, dives into the depths of the mind-lake and forces
the six hooded cobra to come to surface, so that it may be destroyed. Allow the
Divine Name to dance, on the six hooded cobra in the mind-lake. Then the cobra
would be tamed and made Satvik”1.
Tillana in another talam (adi), ragam (hindolam) is taught. The student learns that
the structure is same with variations in choreography. Naturally complexity of
dance patterns is increased and the talent of the student is improved. By now, a
student should be able to play the tattukazhi and sing the song.
Other than this the children are to be taught misra alarippu and jatiswaram (ragam
kalyani, talam tisra ekam).The student has now completed the portion that gives a
basic understanding of practical and theoretical knowledge. The arangetram is the
next step where all this study gets expression.
This point also shows that the children have done a basic course to know and
understand what is happening during a performance and be able to enjoy the
performance harmoniously. The students are to be given choice to do or not to do

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the arangetram. The students then choose whether to continue or not. Mostly the
students continue because they enjoy dancing, as exercise or discontinue
depending on the stream of education they have chosen. By this time they are in
the last year of school. Students who continue, they practice and help younger
students who have joined the classes after them with the lessons.
They can also learn more padams that deal in detail with the ashtanayikas and
navarasas like in padams –thaye yashoda, yaro ivar yaro, varugalamo aiyya,
indenthu vachithivira, yarukayilum bhayama, padari varugudu, unnai dooth
anupinen, vandakariyam yedu aiyya, ethai kandu nee ichhai kondai, etanai
chonnalum theriyada, dari juchu chunadi, netrandunerathile, thikku theriyada
kaatil, velavare unnai thedi oru madandai, kannan idam cholladi thoyi; javalis-
sarika kongu, yera rara, saramaina matalenthu, nee matale mayanura; navarasa
on Rama in particular(shringaramshitinandini), the navarasa in ‘Soundarya
Lahari’ by Adi Shankara( shive sringaraadra). Devotional songs varugalamo
aiyya (nandanar charitam), mughatai katiya deham, ganashyama sundara
sridhara (Marathi song), vishveshwara darshan (Hindi doha), and many more.
Songs from many other languages are to be taught too.
It takes at least two more set of margams for the students to learn alarippus in all
five metres, 7-8 jatiswarams, sabdams, varnams , tillanas and Nataraja padams
(kalai thooki nindradum deivame, idadhu padam tooki adum, yar adinar ini
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evaraduvaar) and javalis. They are to learn Ramanataka keertanams, Swathi
Thirunal padams, Kshetrayyapadams and many more shlokas. Also items like the
useni svarajathi and tanavarnam in ragam kalyani ata talam are taught who are
adept in the form of Bharatanatyam.
Many padams need not be taught line by line unlike the ones in the first two
margams. The teacher should teach the full padam or javali and may repeat it after
few months. Even if the student does not get a chance to by heart the item or
perform it anywhere, the student gets enough knowledge to enjoy it and appreciate
it, when she sees others perform it. Sometimes the teacher should make students sit
and watch other students perform and ask them to identify good and bad points of
the dancer. The dance performances of other students and artistes are discussed in
class analyzing the various features of a dance programme. Thus the student will
learn appreciation of the nritya items.
Workshops on how to choreograph a padam, the approach towards nritya items
can be done for senior students. The lyrical meaning of the song and the variety of
sancharis interpreting the lyrics with different vyabhichari bhavas can be
discussed in detail. The nayikabhedas can also be discussed. Some songs unknown
to the students or new situations should be given and students can be helped to
choreograph them. Thus the students apply the techniques and hone their abilities
by using those in new situations.

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Thus dance education is a continuous process. The child can grow into a performer
or a dance teacher or join professional college for professional training.
Notes to reference:
1.Quiz on Bhagavatham, Sri Sathya Sai Sadhana Trust, Publication Division, October 2010, pg
35.
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Chapter 9
Summary
EDUCATION through Indian Classical Dance
Experiments in educational psychology have proved that a emotional response to
an experience modifies behavior of a human being. Abhinaya is the art of
expression which evokes emotional response to an idea presented, which exerts
influence on man’s feelings and emotions thus directing man towards right conduct
and conscience. The techniques and the knowledge of the ultimate aim of arts,
enables the artiste to create a work of art which is an artistic presentation of a
theme. In the final analysis of the art, the content or idea is primary and the
technique becomes secondary.
The deep roots of Hindu philosophy in arts
Philosophy gives direction to choose the path of life. It helps set aims and
objectives of education too. No system of education can be successful without a
strong philosophical base or ideology. The Indian arts have their roots in ancient
Hindu Philosophy which explains values of life. The explanation for the
phenomena of rasa-experience has been investigated in the systems of Hindu
philosophy.
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Through classical arts one can exercise the power to create and understand the
creation of God - MAN. “The Upanishads propound, devo bhutva devam yajet –
become a God in order to worship God”1. “The poet creates an image of life. The
artist is a creator, for he creates a world of men and women, incidents and
happenings. This picture is convincing and is yet free from the restrictive banalities
of the world of living beings and from the inexorable laws of cause and effect” \2.
Thus the poet is also a creator. The poet’s creation is a microcosm of the God’s
creation. The order of nature is same in the macrocosm and the microcosm. Thus
the artist passes through the principles of purushartha in Natya. So, rasa-
experience can be likened to moksha.
Ramayana and Mahabharata convey the teachings of Hindu philosophy in the
form of stories. These stories depict God as living life of a mortal for setting an
example to be followed by humanity. Bharatanatyam portrays all the characters of
these epics and Puranas, and give to the world a whole philosophy of life through
their stories, for every emotion and feeling of humanity has been dealt with in their
plots. Thus spirituality, philosophy and religion converge in the traditional form of
Bharatanatyam.
Mastering aspects of Bharatanatyam

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To be able to create an art presentation, mastering all aspects of art is required. All
classical dances have to be studied with devotion, dedication, patience and
thoroughness. The techniques and its many nuances have to be mastered. Each
stance, adavu and technique has to be practiced many times to understand the
emotion, the character and the nuance respectively, vital in them. Mere technique
does not make an art form complete. The study of the philosophical values and
religious connotations, historical background of the traditional forms and
knowhow of allied arts; all go to make the mastery of any traditional art complete.
Then one understands the completeness of the traditional form.
The teacher should be thorough with all the aspects of dance and should never
waver from the philosophical background which is the foundation of
Bharatanatyam. With full belief in it she will be able to pass on this great divine art
to future generations in its purity. This will help her do wonderful service to the art
and human race.
Change is taking place everywhere. In early days, dance was learnt in a leisurely
manner. Today, due to stress in academics and time constraints, a compulsion to be
able to teach and learn this art at a fast pace has become obvious. Is it possible to
assimilate all of this in a few years? There is an urgency to develop methods that
help instructing the students in the techniques and form and theory of art without
diluting the effectiveness of the form.

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The basic aim should be to spread the knowledge and technique of art, and to
create a knowledgeable audience for the art. A certain amount of awareness of
nature of classical dance and its historical background will help the artist and the
spectator to meet on the same plane. When one enjoys art in a harmonised manner,
rasa is experienced. The spectators get more interested to seek this unique
experience. This will create an interest in their minds to pursue the art and also to
create a presentation. Even a good dancer should learn to be a rasika, an involved
spectator first. All those who learn dance do not become performing artistes. Still
the children who become doctors and engineers or tread on other walks of life need
to know and be able to appreciate art in its totality for it is the arts that indicate the
culture of the nation. It is art which develops a benign race.
Present state of Bharatanatyam?
“There is one burning question however. Does classical dance, with its traditional
values, austere technique and sophisticated style, have a place in today's times? Do
the youth of India relate to classical dance? With modernization and westernization
entirely taking over our lives, how can Indian classical dance find a place in the
present day education system?”3 These questions are imperative today and need to
be answered. For this we have to assess today’s times and take charge to adjust our
traditions and methods to modern times in order to promote our art.

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The lives of the people change according to the country’s history, scientific
advancements and environment. As a consequence people are totally charged with
new ideas and feelings; and there arises the need to find new ways of expressing
emotions and feelings. They question the existing philosophies as they may get in
the way of their thinking, needs etc. Subsequently people tend to review their
philosophy of life. Thus philosophies get regularly reviewed to keep up the ideals
of life.
Similarly, the society changes according to the new ideas and visions of the people.
The scientific advancements make lives easy. The advancement in technology has
brought people closer to the views of people far and wide. Thus there is a lot of
confluence in the eastern and western ideas. Therefore we perceive frequent
changes in the habits, ideas and needs of the society. The confluence of ideas has
also brought atheist tendencies towards Hindu philosophy. The thoughts and
emotions of the people also change on continual basis; albeit the need of basic
emotions of love and affection remaining the same.
Due to all this, people have started moving away from classical dance. Even for
those few who continue, nowadays there is a wide gap between the rapport of the
audience and dancer. The spectators are not aware of the symbols of dance
language. Many a times the dancer himself is not aware of all the finer techniques
and significance of the dance form. Neither is the artist or viewer aware of the
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allegories of the Indian themes and is therefore unable to identify with the dance.
Thus the spectators and dancers are not able to understand the logic of the efforts
taken and are unable to identify themselves with the classical arts. Therefore the
significance and history of our heritage is getting forgotten and lost to the younger
generation.
New waves or breeze in the traditional form
Contemporary dancers have started innovative work in the dance fields. Some have
intermingled different classical forms and folk traditions in their presentation.
“Interaction with other arts, including the dance and music of other cultures, and
the visual media has changed the character of Bharatanatyam in the hands of some
avant- garde choreographers”.4 This has brought about a new type of classical
dance called contemporary dance.
They say it is experiments with content that have brought forth the changes. People
are questioning the use of classical dance as a medium to present themes of social
issues. They are doubtful about the ability to use the techniques of the traditional
dance form to present the issues of the society of the present world.
Sadly some even stress that content is important and the basics like araimandi and
angashuddham can be overlooked. Some even seem to militate against the very
foundations of the divine conceptualization of the art form. “The thematic content
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of a nayika waiting eternally for her Lord has acquired a déjà vu quality, and it has
been questioned by some dancers who are sensitive to the hiatus between their own
lives and what they perform on stage”5. But this is because they are not spiritually
inclined and “the spiritual meaning and philosophy of which Bharatanatyam is the
vehicle are not understood”6 by them.
Perhaps, due to lack of in depth knowledge of techniques and low ideologies,
artistes and choreographers are unable to keep hold of the traditional forms to
express their ideas. They are perhaps attracted or distracted by movements of
other genre of dances which cater to the taste of masses and not bound by
conventional rules.
One must remember that classical dances like Bharatanatyam are developed to lead
man’s consciousness towards higher values of life. The movements are selected
and eliminated with discretion and only those have been used that create a good
sense of being and will bring one closer to realizing one’s inner self. Here the
spectator is also active. Both, the artist and the spectator are involved in the idea of
presentation. “The message is not merely to the senses, but is to the soul of the
dancer and of the perceiver. Bharatanatyam is an art that is meant primarily for
spiritual expression.”7
Conformity to traditions
142
There should be no doubt that a traditional form is not sufficient to produce a
presentation with present social issues. Kapila Vatsyayan writes, “if the technique
did not provide scope for innovations and experimentations then these traditional
forms would not have been able to exist for 14 centuries in continuity” 8 which is
enough proof of the subsistence and dynamic quality of the traditional art form.
Artistes should be able to portray reality that is seen in present society. Social
issues like dowry death, female infanticide, and others can be presented in a fine
manner. Aspects of humanity or life should shine through the art presentation.
After all, according to Natyaveda, origin of all arts was to depict human feelings
and emotions, to reveal the spirit of man. It is the function of art to help spread or
reach the philosophies of life to the common people.
In fact, Bharatanatyam itself is a dance form that has its base in the Natyasastra of
Bharata. “It is amazing to see how limitless an art Bharatanatyam is. For, if one
can depict the Ramayana or the Mahabharata through Bharatanatyam, this means
that one can express all human emotion and thought through it, for these epics and
the other puranic stories portray every possible human experience………. Its
gestures, music, and rhythm are like a language which is meant for all time and
resembles poetry which is the realization of intense feeling through words.
Bharatanatyam is therefore, an art that gives spiritual beauty to the flesh and lifts
one from temporal to eternal values.”9

143
Responsibility towards maintaining purity of the traditional art form
Therefore there is a responsibility of passing the traditional form in its purity to the
new generation and let it try and understand for itself the beautiful tradition it has
inherited in its legacy. Let the students learn Bharatanatyam in its purity and then
according to their likes and dislikes and imagination create and evolve new styles
and techniques and present new versions of the dynamic form and add to the rich
tradition. It is like making a complex dish. One should first learn to make the
simple and traditional version of the dish, before starting to experiment on newer
and modern versions of the same. Contemporary dance style is always welcome. It
signifies the mix of modernity with tradition and evolution of new forms of
dancing. But it is not a substitute or cannot replace the splendour of the traditional
form. Any newly evolved dance form should have great values, shine in its own
way, and for a very long time too, to be accepted as classical and become a part of
our traditions.
Belief in the roots of tradition
When one understands the completeness of the traditional form in all its aspects,
the need to look for new techniques in other dance styles and western dance styles
will cease. Thus the dynamic art form can be used not only for entertainment, but
also to spread the spiritual and social values to the future generations.
144
To quote V P Dhananjayan, one of the greatest exponents of Bharatanatyam,
"Tradition is not a stagnant pond. It is an ever flowing, ever-renewing river like the
Ganga. These waters of today are not the waters of yesterday, yet it continues to be
the same river, the same Ganga, changing in contours but changeless in spirit.”10
S. Radhakrishnan writes, “Social and political conditions of the world depend, in
the final analysis, upon the philosophical and spiritual thought and ideals of the
peoples of the world. The future of civilization depends upon the return of spiritual
awareness to the hearts and minds of men.”11
We have inherited in our traditions and heritage, a great art form which upholds a
great ancient philosophy which speaks of the spirit of man. It is an art form that
can present the past and present to the people and guide the future of the country.
Now it is in our hands to safeguard it, propagate it, and also evolve it but with the
values of spirituality intact.
Notes to reference:

Performing Arts, Ahmedabad, Gujarat, India, Fourth edition, 1981, chapter 1, pg 7.
2. G.K. Bhat, Rasa theory, M.S. University of Baroda, Baroda, August 1984, chapter 1, pg
1.
3. Sandhyakiran, Aesthetics in education-Role of Classical Dance,
http://www.narthaki.com/info/articles/art240.html
145
4. Sunil Kothari, Bharatanatyam, Marg Publications, 1997, Mumbai, Preface, pg 8.

5. Ibid, pg 8.
6. Rukmini Devi Arundale, Bharatanatyam, edited by Sunil Kothari, Marg publications,
Mumbai, revised edition, 1997, chapter 2, pg 26.
8. Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts, Sangeet Natak
9. Rukmini Devi Arundale, Bharatanatyam, edited by Sunil Kothari, Marg publications,
Mumbai, revised edition,1997, chapter2, pg 27.
10. Sandhyakiran, Aesthetics in education-Role of Classical Dance,
11. A Source book in Indian Philosophy, edited by Sarvepalli Radhakrishnan and Charles A.
Moore, Princeton University Press, USA, 1957, General Introduction, pg xxxi.
146
Bibliography
1) A Source book in Indian Philosophy, edited by Radhakrishnan Sarvepalli & Moore A.

Charles, Princeton University press, USA, 1957.
2) The Natyasastra, English Translation by a Board of Scholars, Sri Satguru Publications,
Delhi, India, 1988.
3) Sangeetratnakara of Sarngadeva, Text and English translation, Vol. I, Shringy R.K &
Sharma Premlata, Munshiram Manoharlal Publishers Pvt. Ltd, New Delhi, 2007.
4) Nandikeswara, Abhinayadarpanam, edited and translated by Manmohan Ghosh, Manisha
Granthalaya Private Limited, Calcutta, 3rd edition, 1975.
5) Srimad-Bhagavatham, Subramaniam Kamala, Bharatiya Vidya Bhavan, Mumbai, 7th
edition, 1997.
6) Bernard Theos, Hindu Philosophy, Motilal Banarsidass publishers’ private limited,
NewDelhi, India, 1999.
7) Bhatia K.K. & Arora J.N., Methodology of teaching, Prakash Brothers Educational
publishers, 1981
8) Bhat G.K., Rasa theory, M. S. University of Baroda, Baroda, August 1984.
9) Hiriyanna M, The essentials of Indian Philosophy, 2nd edition, Blackie and son publishers
Pvt.Ltd. Mumbai, 1973.
10) Kohli A.L., Techniques of teaching English, Dhanpat Rai and Sons, Jullunder,
Delhi,1988.
11) Kothari Sunil, Bharatanatyam, Marg Publications, revised edition 1997, Mumbai, 1979.
12) Londhe Veena and Agneswaran Malati, Handbook of Indian Classical Dance
Terminology, Nalanda Dance Research Centre, Mumbai, 1992.
13) Pillai Kittappa & Sivanandam K.P, Tanjore Quartette, Aparna Printers, Chidambaram,
third edition, July 1992.
14) Samson Leela, Rhythm of Joy, Lustre Press Pvt., Ltd., New Delhi, 1987.
15) Sarabhai Mrinalini , Understanding Bharatanatyam, The Darpana Academy of
Performing Arts, Ahmedabad, Gujarat, India, fourth edition,1981.
16) Subrahmanyam Padma, Bharata’s Art- Then and Now, Bhulabhai Memorial Institute
Bombay, 1979.
17) Trivedi Mandakini, The Yoga of Indian Dance, Saraswathi publishers, Mumbai, 2011.
147
18) Vatsyayan Kapila, Indian Classical Dance, Publication Division, Ministry of Information
and Broadcasting, Government of India New Delhi, 1974.
19) Vatsyayan Kapila, Classical Indian Dance in literature and the Arts, Sangeet Natak
Akademi, New Delhi, second edition, 1977.
20) Quiz on Bhagavatham, Sri Sathya Sai Sadhana Trust, Publication Division, October
2010.
21) Walimbe Y. S., Abhinavagupta on Indian Aesthetics, Ajanta Books International, 1980.
22) Londhe Veena, Notes on Hindu philosophy, distributed in class.
23) Raman Lata, notes on Bharatanatyam for Nrityasudha fine art classes.
24) Raman Lata, P.U.C notes, Nalanda Nritya Kala Mahavidyalaya, 1982.
25) Raman Lata, B.F.A.notes, Nalanda Nritya Kala Mahavidyalaya, 1983-1984.
26) Shanmukha, Sri Shanmukhananda Bharatiya Sangeetha Vidyalaya, Sion (W), Mumbai,
Special Issue, Banis of Bharathanatyam and Recent Trends, Vol. XXXVI-No. 4, Oct-Dec
2010
27) A. S. Hornby, Oxford Advanced learner’s Dictionary of current English, 3rd edition,
Oxford University Press, London, 1974.
28) Balasaraswathi T, Dancer’s paradise,www.carnatica.net/dance/bhartanatyam1.htm.
29) Bharatanatyam and yoga, www.dhdi.free.fr/recherches/.../articles/bharatanatyayoga.htm
30) en.wikipedia.org/wiki/Vaisheshika
31) Sandhyakiran, Aesthetics in education-Role of Classical Dance,
32) Rajagopal Jayashree, Rasa theory with reference to Bharata’s Natyasastra,
http://www.shadjamadhyam.com/rasa_theory_with_reference_to_bharatas_natyashastra
33) Spirkin A., Man and Culture,
http://marxists.org/reference/archive/spirkin/works/dialectical-materialism/ch05-s08.html
34) http://en.wikipedia.org/wiki/Bhakti
35) http://en.wikipedia.org/wiki/David-(Michelangelo)
36) http://www.sparknotes.com/poetry/wordsworth/section8.rhtml
148

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Education In Spiritual Values through Bharatanatyam

Dissertation - Project work (written)

Tilak Maharashtra Vidyapeeth, 1242, Sadhashiv Peth, Pune-411030

This is to certify that the project entitled, “EDUCATION IN SPIRITUAL

Place: Name of Guide: Dr. Malati Agneswaran

Designation: Research guide,

I declare that the dissertation entitled, “Education In Spiritual Values Through

Name: Chandra Anand (PRN: 03710400471)

Address of Candidate: C/6-502, Pawanhans Juhu Hsg. Complex,

also their methods of teaching which was in my memory that inspired me to

Agneswaran for guiding me through this dissertation.

given me moral support.

The function of PERFORMING ARTS is to educate and uplift the SOCIETY

through entertainment. An education in the Indian classical performing arts

present in BHARATANATYAM and suggest various methods to cultivate these

values as an integral part of study of art form.

why I have a strong base in nritta.

impetus in the training efforts to teach dance.

to teach the dance form.

Chapter 1-Association of Hindu philosophy

with Indian Classical dance 18-38

Chapter 2-Philosophy of Margam 39-62

Chapter 3- Bharatanatyam and Yoga 63-70

Chapter 4-Codification of Adavus 71-83

Chapter 5-Art of teaching: Some methods and approaches 84-97

Chapter 6-Basic training 98-110

Chapter 7- Training of margam 111-121

Chapter 8- In second margam 122-130

Chapter 9- Summary 131-141

same time entertaining them.

An Indian classical performing art plucks at the heartstrings of spectators, by

presenting an emotional human experience that is universal in nature and makes

kama and moksha’1. Perhaps, in view of this, the rasa-experience is considered

akin to the supreme experience of moksha.

and the connected arts.

In Bharatanatyam, the margam which is the presentational repertoire is a

philosophy by itself as it embraces all concepts of human experience, religion and

other philosophical systems in its conception.

their base in the principle of yoga philosophy.

age, psychology and environmental background of the students.

Bharatanatyam in a shorter time duration, providing students with a harmonious

view of the traditional form.

Education in Indian Classical Dance (Bharatanatyam)

being is imparted knowledge and provided training in various skills leading to

development of moral character (good thoughts and feelings, diligence, self-

aesthetics.”2 Education in dance involves development of aesthetic sensibilities.

Education for aesthetic development

“Education for aesthetic development provides the young with emotional

experience and develops emotional stability in them. Emotions are to be well

trained to develop a balanced personality. Aesthetic development constitutes

reveals the human spirit”.3

creatively, to create a piece of art. Education in art helps in developing creativity

creatively. Students of art experience delight, in creating and appreciating beauty

own capabilities and temperament.

Indian Classical Art and its Connection to Spirituality, Philosophy and

“Spirituality is rather difficult to capture in a few words for it includes both

knowledge and experience of this knowledge. The word spirituality suggests a

It reflects a person’s state of mind or state of being. The concept of spirituality

the realms of religion and philosophy”.4 It is philosophy that gives knowledge of

“Philosophy, on the other hand, is an activity - an activity that seeks to understand

environment around itself. Answers to such questions are revealed through