-J.B, NC, USA

You can refer the book, 'Madura Margam' which has compositions of Madurai N. Krishnan, with the translation and transliteration of the verses in English. To buy this book, you can contact, Karnatic Music Book Store, Madras. Their e-mail: kmbc@eth.net

Having watched Bharathanatyam recitals for several years now I can't help but wonder if it's time for the long versions of varnam to become a thing of the past. Not only is it taxing to the dancer but also to the audience. Does it have a purpose that cannot be achieved by a shorter version of the same?

-Meera

The varnam is the most important item in a Bharatanatyam recital. It is a balanced item. It has an equal length of nrtta and abhinaya. It tests the dancer's and the choreographer's capacity. The varnam becomes long when there are more sancharis and long theermanams. Well, it can be done for 20 minutes or for two hours.

What is the difference between Jatiswaram and Tillana?

-Bibna

Jatiswaram is usually the second item to be performed in a Bharatanatyam recital and the thillana is the concluding piece. A jatiswaram begins with a jati (performed to sollukattu) followed by the swarams. A thillana begins with a mei adavu followed by the korvais performed to the song. It does not have a jati performed to sollukattu.

I thoroughly enjoy reading your most informative column. I have learnt Suddha Nrittam and know that it is pure nritta to the accompaniment of mridangam alone. Is there a historical background to it that I am not aware of - for eg. was it only performed for certain occassions, by males only etc. How can I explain Suddha Nrittam to the audience? Is it similar to Perini natyam? Can it be performed instead of a thillana? Please explain. Also, is there a simplified version of Natya Shastra available with easy to understand illustrations/flow charts?

-Chandrika, USA

It was Mangudi Dorairaja Iyer who made Sudha Nrittam popular. You can contact dancer Revathi Ramachandran (e-mail: kalasadhanalaya@hotmail.com) who is his student and who has worked extensively on this.

With regard to a simplified version of Natya Shastra, you can refer the book Laghu Bharatham - Vol 1 and 2, which offers and easy understanding of the theory of dance, with verses, translation, transliteration, flowcharts, illustrations and photographs. Contact Karnatic Music Book Store, Madras. Their e-mail: kmbc@eth.net

I am intersted in composing a 1-hour length dance production on a buddhist theme. It is based on a book in English and has a strong story line. How do I go about recording the music as I have no lyrics or music to start with? can I get someone to compose lyrics according to the story? or do I have to source lyrics from religious texts? Please give me suggestions of artistes/composers who would be working in this line in Madras or Bangalore.

-Anju

You can get in touch with Mr Subramaniam of Ottawa who has worked on Buddhist themes and has also composed the music. The Dhananjayans have produced Sangamitra and guru U.S. Krishna Rao of Bangalore had once produced 'the 'Temptation of Budha'. You can contact them for more.

I have several questions about dance:

-Alona H., Athens, Greece

1. The famous, "senior" dancers say that it is easy for any gifted youngster to get recognition and sponsorship nowadays. However, most of the young dancers complain that it is easier to become the PM of India than to be noticed by the audience, to be supported by sponsors and promoted. What is the real situation now, in large cities like Chennai, and in the smaller towns?

Dance cannot be done before the mirror. It is the responsibility of the dancer to hold the audience. So, that explains it. Now, the situation is improving. There are a lot of opportunities. For example, the 'Thaka Dhimi Tha' series on a Jaya T.V. has provided opportunities for hundreds of young dancers / students. Opportunities are expanding through T.V. and the sabhas.

2. There are only one or two dozens of famous names that we hear every day. 99% of young dancers who get promoted are the disciples of these famous schools and masters. It looks as monopolized as the Indian car market, doesn't it? I am sure there are hundreds of top-standard but inexpensive schools with extraordinary teachers and extraordinarily talented but financially poor students who are too shy to push for a promotion, or who just do not have the "connections" or sponsors. How can I find such inexpensive but top-rate schools in Chennai or the rest of Tamil Nadu, among thousands of mediocre ones?

Nothing comes cheap. Everything in the world has a price.

3. Many dancers hold their arangetrams by the age of 13, then slow down the intensity of their training, forget what they learnt, and continue the advanced courses in dance at the age of 19 or later. Can such dancers really perform professionally? For how many years do the top dancers train (and how many hours a day?) in order to reach the level of, say, Balasaraswati?

In any field, its constant pursuit and perseverance that can get one to the top. More so, for a dancer who needs constant criticism and evaluation of standard. As E. Krishna Iyer said, "If one wants to reach the top, one has to breathe dance, eat dance and sleep dance...". The various 'theermanams' you learn should be on your finger tips. Its just like how you collect stamps. You should collect theermanams too. And slowly your sense of 'laya' and the technique of performing improves.

4. About parampara. Many teachers claim that they were the best ("senior") disciples of certain famous teachers. In reality, most of such claims are ungrounded. Where can I obtain such information? Is there a comprehensive register?

Well, it is heartening to know that each one claims that she is the best. That kind of self-confidence is required to reach the top. Only the audience can tell whether the dancer can sustain in the field.

5. I heard that arangetrams cost up to 1 lakh in Chennai but are less expensive in the smaller towns. It looks as if 99% of children have never been able to pay for it. And, without arangetrams, they will never have a professional dancing career, will they? What is your personal view regarding the solution of this problem? Can an arangetram be held in a small, inexpensive dancing hall with few spectators, even without a live orchestra?

Arangetrams can be held in a simple manner. I'd like it to be held in the temple, say at Chidambaram, Perur, Dharasuram, Kumbakonam, Thiruvarur or at the Kapaleeswarar temple in Chennai, for a small audience. It gives an opportunity for the local people to witness a recital and at the same time gives a certain sanctity too.

I am a Bangalorean. I am a student of dance. I would like to know whether a student of dance should be taught how to do natuvangam or not. The problem is though I am learning Bharatnatyam under an able guru, I am not taught the "Boles" (whatever it is called). It is only through counts that I practise daily. Even the song is not made known to me. What is important? Pls give me suggestions regarding this.

-Uma Subbaramaiah, Bangalore

Nattuvangam is not difficult. You should know how to recite the sollukattu to the talam and the theermanams by heart. You should also know the song and the meaning, to be able to perform.

Could I get meaning for the Ashtapati Lalita Lavanga and Divyanama Kriti/Todaya Mangalam Jaya Janaki Ramana please. Also please do let me know where on the internet site I can find meaning for Sanskrit words and Purandara Dasa Kriti meanings?

-Lakshmi Kommineni

You can try the book 'Amarakosham', Sanskrit dictionary for the meanings. Contact the Karnatic Music Book Centre in Madras for the books. E-mail: kmbc@eth.net

I would like to know some adavus that use the 'Muckal Mandi' (position of knee between Stanaka-Samapadam- and Aramandi) and 'Kal Mandi'(position of knees between 'Aramandi' and 'Muzhu Mandi')

-Liza

There may not be adavus but some of the poses of Devi and Shiva, as seen in sculptures, use the postures you mention.

I live in Malaysia. I have learnt dance under the Dhandayuthapani school for 20 years. Ddue to health reasons I could not continue my dance career. Now for the past 2-3 yrs I have been practising at home just doing some items to keep in touch with the art. Now lots of people here want me to teach dance. Although I know how to do all the adavus I am not sure of the order they come . All the articles on Bharathnatam refer to the 10 types of adavus but do not go in detail about them. Could u please provide information on that for me please?

Secondly I am staying in a place where there is no access to cassettes /books especially on Bharathanatyam.

-Jayashree

You can refer the book, 'Laghu Bharatham - Vol III' for a detailed explanation on the adavu series. You could try 'Madura Margam' a book containing compositions of Madurai N. Krishnan, that has songs with English transliteration and translation. Cassettes are also available. Contact: Karnatic Music Book Centre in Madras for the books.
E-mail: kmbc@eth.net

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