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PAPER 9
ALLARIPU, PUSHPANJALI ,
JATISWARAM
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National Mission on Education
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PAPER 9
MODULE 1
INTRODUCTION OF BHARATANATYAM
OPENING ITEMS AND JATISWARAM
Content Writer: Prof. Dr. Parul Shah
Principal Investigator:
Prof. Dr. Parul Shah
Content Reviewer:
Prof. Dr. Parul Shah, Dr. Ami Pandya
Paper Coordinators:
Prof. Dr. Parul Shah, Dr. Ami Pandya
Technical Team:
Video - Rekha Mistry
Graphics - Girija Kannal
Language Edit - Aman Chhabra
An MHRD Project under its
National Mission on Education
Through ICT (NME-ICT)
A Gateway to all Post Graduate Courses
Paper 9
Module 1
Introduction Of Bharatanatyam
Opening Items And Jatiswaram
PAPER 9
MODULE 1 Introduction to Bharatanatyam Opening items and
Jathiswaram
"Then, the tillana breaks into movement like the final burning of
camphor accompanied by a measure of din and bustle. In conclusion
the devotee takes to his heart the god he has so far glorified outside;
and the dancer completes the traditional order by dancing to a
simple devotional verse. "
"At first, mere metre (in alarippu); then melody and metre (in
jatiswaram; continuing with music, meaning and metre; its expansion
in the centerpiece of the varnam; thereafter, music and meaning
without metre (in padam); in variation of this, melody and metre; in
contrast to the pure rhythmical beginning, a non-metrical song at the
end (in tillana). We see a most wonderful completeness and
symmetry in this art. "
"To train the dancer in this art, melody and metre join together in
jatiswaram. The dancer takes leave of her subjective consciousness in
the alarippu and identifies herself with the universal consciousness in
the jatiswaram. Hereafter, she is ready to explore and express the
infinity varied nuances of the entire gamut of emotions and feelings
not in terms of her subjective self but in terms which bring out their
universal essence. "
"It is after mastering this discipline that she dances the varnam which
is a living river that holds together movement and interpretation. "
"It is after passing through his ordeal of fire that the dancer fully
qualifies herself to do abhinaya for the padams. "
"The dancer, who dissolves her identity in rhythm and music, makes
her body an instrument, at least for the duration of the dance, for
the experience and expression of the spirit. "
Singing of the set of five thodaya mangalam songs prior to the start
of a solo Sadir recital was still in vogue in the early decades of this
century. T. Sankaran, cousin of Balasaraswati, wrote in an article on
the Tanjavur Quartet in the Hindu of March 2, 1970:
PUSHPANJALI
ALARIPPU
JATHISWARAM
The meaning of Nritta, pure dance, is using the God given body and
limbs we create as many forms of beauty as possible through flow of
poses and movements connected together by rhythm and music.
Beauty and inner joy of dance is the only meaning of Nritta. It does
not have any particular mood or sentiment. It produces aesthetic
pleasure.
References