COMPARISION BETWEEN BHARATANATYAM & MOHINIATTAM

In Indian mythology, there are three main gods: Brahma (the creator), Vishnu
(the protector) and Shiva (the destroyer). It is said that Shiva, who is also known
as the lord of dance, created Bharatanatyam. Bharatanatyam is considered as a
fire dance, manifesting spiritual element of fire inherent in human body to
celebrate the eternal universe. It combines feminine and masculine aspects that
are expressed through creatively choreographed movements accompanied by
music. Bharatanatyam is a traditional Indian dance from the temples of Tamil
Nadu in southern India. One of the most respected dance forms, a
Bharatanatyam dance tells a story. Bharatanatyam consists of three divisions:
‘Nirutham’, ‘Niruthiyam’ and ‘Natyam’. ‘Nirutham’ is movement of hands,
feet, head and eyes with no expression. ‘Niruthiyam’ has expressions while
‘Natyam’ is the combination of ‘Nirutham’ and ‘Niruthiyam’ with music.

COSTUMES

Bharatanatyam: The costumes consist of a dothi for both the genders. It is

basically embroidered brocade. It fits snugly above the ankles and is pleated
along the legs, which it encases. Over the dhoti, in the middle, is a pleated or
frilled cloth hanging from the waist to the knees. The upper part of the male
dancer’s body that is above the waist remains bare save for a necklace. And the
Women dancer put on a tight fitting choli of the same colour and material as the
dhoti.

Mohiniyattam:

JEWELLERY

Bharatanatyam: Bharatanatyam jewellery is popularity known as Temple

Jewellery. There are Jumka (Ear ornament), Oddiyanam (waist band),Nathni
(nose ring),Long Mala(long necklace) ,Short Mala (choker), Vaanki (arm
bands),Chudiya Matching colored bangles with dress), Ghungroo (musical
anklet with metallic bells), Mattal (forehead ornament), Surya (sun shaped hair
ornament) Chandra (moon shaped hair ornament)etc.

Mohiniyattam:

INSTRUMENTS
Bharatanatyam: The mridangam and a pair of cymbals are used. The other
instrument like Veena, Ghatam, Violin, Manjira. The musical instruments in
Bharata Natyam are the mridangam. Sometimes veena, (Nattvangan), Ghatam,
Tabala, and flute are also used. The vidwan (expert) sets the refrain, which is
repeated by the chorus. The cymbals provide the timing, while the supplies
fractional measures of the broad beats. The dancer follows the mridangam and
cymbals. A tambura is often incorporated in the orchestra to provide the scale
for the refrain.

In Bharatanatyam, dancers use their imagination to tell a story through dance

and music. There are four types of ‘abhinaya’ in dance, namely, ‘Anghika’ or
physical movement, ‘Vachika’ or song, ‘Aaharya’ or ornaments, ‘Satvika’ or
movements like trembling, tears etc. Performance of Bharatanatyam goes
through innumerable sections such as ‘Alaripu’,‘Kayuthuvam’, ‘Stuti’,
‘Koothu’, ‘Tillana’ and ‘Angikam’. They represent invocation to the gods,
praise of a deity, telling a story of lovers separated and reunited.

Dancers wear ‘temple jewelry’ such as rope or leather

anklets with copper bells during performance. Jewelry of

those who have better control and fluid movement do not

produce much sound and this is a criterion to judge their

talent and skill. In ancient times, dancers used costumes

that left parts of their bodies bare. Subsequently, they used

heavy ‘sarees’ which often affected their movement. At

present, they use lighter and symbolic costumes.

Before the dance can begin, dancers need to be wearing the

right clothes. The style has been passed down for

generations, and normally includes traditional Indian

clothes like saris or lenghas, which have pleats which flow

with the dancer's moves.

Carnatic music forms a vital part of Bharatanatyam. It is

played by south Indian instruments such as ‘Mridangam’,

‘Nathaswaram’, the Flute, Violin and ‘Veena’. Dancers

also wear a pair of leg bells known as ghungroos, which

create rhythmic sounds to go along with the dance. Makeup and accessories are
also used to capture the audience's

attention.

The dance usually begins with an opening routine called

the namaskaram. Dancers have to bang the floor to tell

Mother Earth they will be dancing on her, and also offer

prayers to her, the audience and guru. As the dancer begins

to move, she uses gestures to tell the dance's

story. Mudras, or hand gestures, can represent anything

from everyday objects and animals to emotions. Drishti

bhedas, the eye movements, help to convey meaning. And,

equally important, natya vardhini, or facial expressions,

help to capture the audience's attention.

Bharatanatyam is usually accompanied by the classical

music. It is practiced by male and female dancersThe costumes of Bharatnatyam

dancer are very bright and

gorgeous.
:

BHARATANATYAM

MUSICAL INSTRUMENTS:

ABHINAYA:

Bharata's Natya Shastra was the first book which gives the details about the
technique and forms of dance. 'Abhinaya Darpanam' was another book on
dance. It gives the fundamental principles for every technique.

Dharma means code. Natyadharma and Lokdharma are the principal codes of
the Indian dance-drama. Natyadharma: is a code or rule of conduct for the artist.
It teachers him deportment and how to create sincere appreciation in the
audience.

Lokadharma: This code exhorts the player to employ realism for the purpose of
swaying his audience. He is called upon not merely to feign sorrow but to work
up his emotions to a pitch that will produce genuine grief.

The chief difference between Natya Dharma and Loka Dharma is that the
former advocates imaginativeness and the latter realism.

CHATURVIDHA ABHINAYA:

There are four types of dramatic expression derived from the four Vedas and
based on the four planes. They are:
*Vachik Abhinaya or verbal expression such as dialogue in drama and has its
origin from Rig Veda or Book of Hymns and it is based on the plane audible.

*Sattwik Abhinaya or the interpretation of moods, which is originated from

Atharva Veda and is based on astral.

*Angik Abhinaya or bodily movements such as action and mime and has the
origin from Yayur Veda or book of sacrifices and is based on the divine.

*Aharyya Ahbinaya or decorative effect such as decor and lighting and has the
origin from Sama Veda or book of melodies and is based on the plane visual.

NATYA, NRITTA & NRITYA are three forms of abinaya:

(a) Natya or dance drama contains dialogue, interpretation of moods and

mime, music and decor. It covers all the four planes and cause a blend of
aesthetic and physical appeal. Only when the subconscious participation in the
drama has been evoked can natya be said to fulfill its rightful purpose.

(b) Nritta belongs to the realm of angik abhinaya alone and is thus on the
divine plane. It is a rigid stylization consisting of pure dance movements
evoking neither mood nor sentiment.

(c) Nritya is a combination of both rasa or sentiment and bhava or mood. It is

that which produces aesthetic delight in dance drama. It embraces the sattwik,
angik and to a lesser extent the aharya abhinaya on the astral, divine and visual
planes. The three chief features of nritya are the Sattwik abhinaya, the Angik
abhinaya and the Aharya abhinaya.Sattwik Abhinaya
SATTWIK ABHINAYA

The Sattwik Abhinaya consists of two elements complementary to each

other.They are the Rasa or emotional flavour and the Bhava or the mood to suit
a particular emotion. Rasa is the primary and most important requirement of
nritya which may be interpreted as emotional flavour or sentiment. The artist
must seek to arouse this ecstasy in the spectators so that his emotions and theirs
may fuse and become attuned to the spirit of the drama.

Bhava is the secondary and complementary features. Bhavas may be of four

kinds.

(a) VIBHAVA: which is again sub divided in to abalambanam and its accessory
Udipan. Love in the Radha Krishna dance may be expressed through the
former, while the latter helps the mood with the external aid of a moonlight
setting.

(b) ANUBHAVA: expresses the effect of a mood such as the ravages of anger
or sorrow, or the rapture of love.

(c) VYABHICHARI BHAVA: pertains to the temporary changes of settings

to fit in with the mood of particular scene.

Sattwikbhava consists of EIGHT standardized movement to express according

to natyasastra such emotions as joy, fear or disgust .They are;

1. SHRINGARA (Erpticism) __Rati Bhava (Love)

2.HASYA (Satire)__Hasya Bhava (Mirth)

3.KARUNA(Pathos)__Soka Bhava (Compassion)

4.VEERA (Valour)__Utasha Bhava (Bravery)

5.ROUDRA(fury)__Krodha Bhava (Anger)

6.BHAYANAK (Fear)__Bhaya Bhava (Fright)

7.ADBHUTA (wonderment)__Ascharya Bhava (Amazement)

8.BHIBHATSA (Disgust)__Jugupsa Bhava (Aversion)

The main difference between the RASA and BHAVA is that while rasa depends
purely on imaginative transfiguration, bhava is more earthy for it is concerned
with creating a mood through physical media. Rasas express the beginning of
a sentiment while bhavas complete or round it off either through the agency of
mana; the brain or of the sharira; the body or through an action such as the
throwing of a stone.

Every rasa has its accompanying bhava. There are Eight rasas with an equal
number of complementary moods.

ANGIKA ABHINAYA

The Angik abhinaya portray actions and reflect emotions through movements
of the three different parts of the body.

(a) ANGA: or major portions, including the hands, legs, head, hips and chest .

(b) PRATYANGA: or intermediate parts such as the neck, shoulders, back,

stomach, elbows, thighs, knees and ankles.
(c) UPANGA: or minor portions such as the lips, the mouth, the teeth, the
tongue, the nose, the cheeks, and the eyes.

The movements of these various parts are correlated.

There are three subdivisions of the angik abhinaya. They are;

(1) Ankur movements that include the rechaka (movements ) of the head, the
dristi or glances of the eyes, the movement of the eye brows and the eyelids,
the addiyam of the neck, the rechaka of the cheeks, the chin, the lips, the face
or movements of any of the intermediary parts of the body such as the
shoulders, the waist or the stomach. Positions of the feet are also included here.

(2)Nritta, or standardized movements and poses as the various postures for

deities to suggest meditation or spiritual calm. There are the the brahmani or
spiral movements, the utplavana or leaping movements and the chari and gati
or gait movements.

(3) Shakha or hand movements.

Hasta mudra or gestures of the hands play a very important part in Indian
dancing. They symbolize either an emotion, mood or a some object or an
animal or a person. The two most important varieties are

(a) Asamyukta or single -hand gestures

(b) Samyukta or double hand gestures

VAACHIKA ABHINAYA

Vācikābhinaya (वाचिकाभिनय) refers to the “verbal expression” and represents

one of the four kinds of abhinaya (“histrionic representation”) as used within the
classical tradition of Indian dance and performance, also known as
Bharatanatyam.—Vācikābhinaya is the art of verbal or vocal expression in
dramatic presentation. The combination of the dancer and the vocalist, the
vocalist and the instrumentalists, the instrumentalists and the dancer are very
important so that there is a perfect sychronisation among them. Thus one finds
that abhinaya in dance includes gīta or vocal music, vādya or instrumental
music and tāla or rhythm. Clarity is essential in abhinaya and vācikābhinaya
acts as a bridge between the spectator and the performer. Without
vācikābhinaya, the dance performance would remain incomplete.

Bharata speaks of vācikābhinaya and the rules needed for it in the Nāṭyaśāstra
chapters 15-20.The main subjects discussed cover speech, vowels, consonants,
recitation, prose, verse, metre, pause, pitch and many more aspects that are
needed for nāṭya. The thirty-six characteristics or lakṣaṇas for a dramatic
composition, the ten merits or guṇas, the ten demerits or doṣas in a poetic
composition, rules regarding the use of languages or bhāṣā-vidhāna and the six
embellishments or ornamentations or alankārās are discussed in detail.

Natyashastra (नाट्य स्त्र

स्
त्रशा
, nāṭyaśāstra) refers to both the ancient Indian
tradition (śāstra) of performing arts, (nāṭya, e.g., theatrics, drama, dance,
music), as well as the name of a Sanskrit work dealing with these subjects. It
also teaches the rules for composing dramatic plays (nataka) and poetic works
(kavya).
 ABHINAYA

Aharyya Abhinaya plays a secondary but important role in the dance-drama. It

aids the presentation of a performance with (a) Background or decor (b) Make-
up (c) Music.

BACKGROUND:

Decoration creates the right atmosphere for a dance number. It forges a link
between drawing, painting and the kindred arts, such as dancing and music. The
decor must be effective, but not so spectacular and obtrusive that it
overshadows the dancer. The purpose of the background is to indicate the time
and scene of the action, serving as an introduction to a spectacle rather than
being itself the main spectacle. A dark backdrop serves to bring into strong
relief the figure and costume of the dancer. A row of musical instruments at the
back is often employed, but it serves to break the simple line and should
therefore be avoided.

In nritya musicians are a part of both the audience and visual effects. As they
have to be seen, it is best to arrange them on one side, near the wings. They may
also be placed in two groups in the rear corners of the stage.

LIGHTNING:

Lighting is one of the most effective aids to illusion. It can make or mar the
spectacle of the dance. Flat lighting tends to create monotony and should
therefore be sparingly used. Lighting from different angles enhances the effect
of a number immeasurably, so care is taken to avoid ugly shadows on the
backdrop.
Arc lights covered with mica help considerably in heightening the illusory
effect if the mica is of a shade that fits in with the ensemble. Mixed white and
coloured lights help to produce gradations and combinations of colour that
evoke a variety of moods. A spotlight playing on a darkened stage is useful for
Indian dancers of a light nature not characterized by any technique in particular.

MAKEUP & ORNAMENTATION:

Other aids to illusion are make-up and ornamentation. Both play an active part
in nritya. Though ornaments of genuine worth such as gold or silver jewellery
may help a great deal, the average dancer has to content himself with cheaper
material. The Natya Shastra very sensibly lays it down that the ornaments
should be light so as not to interfere with the dancer's movement in any way.
Bharata's dance treatise prescribes certain ornaments for women and others for
men. Siddhi women must wear yellow robes with pearls or emeralds as
ornaments. Players appearing as apsaras or celestial maidens are exhorted to
wear gem-studded ornaments and to dress their hair in a bun crowning the head.
Women, appearing as gandharvas (musicians) must flaunt rubies and wear
gowns of a vivid red; they must also carry a veena. Vidhyadharis must be
depicted in white with pearls to adorn them. Black robes and blue stones fall to
the lot of the women who appear as female demons. Green drapery and pearls
are assigned to characters representing goddess. Milkmaids are required to don
blue costumes and to plait their hair.

Colouring served to differentiate between the characters. Thus Kshatriyas

(warriors) must appear painted in reddish tints and Vaishyas (merchants) and
Sudras (menials) in deeper hues. Spotless white is reserved for Brahmans.

Other aids to illusion are beards and moustaches. Here also colour is a
distinguishing factor. Men who refrain from sexual indulgence like the saints
and brahmacharis wear long white beards. The sensual and the rakish appear in
black beards, while kings and gods wear mixed black and white beards. Makeup
and its rules vary with the different schools of Indian dancing.
MUSIC:

Music helps to create the atmosphere for a dance performance. It can be treated
as a part of the visual plane of the aharyya abhinaya of nritya. The 'Abhinaya
Darpanam' lays down the rule that during a dance performance two cymbal
players must seat themselves on the right and two mridanga or drum players
must remain on either side of the stage, while a singer must be present with a
tambura or drone.

Indian music consists of an infinite variety of sounds, skillfully arranges.

Though based on melody, Indian music has innumerable variations so subtle
and with so many twists to each note that the inexperienced ear misses the
lightning changes. There are twenty two notes in Indian music and they glide
smoothly with silvery tones creating subtle moods and visions.

The Indian musicians has two bases on which to improvise. They are the tala
and the raga.

The tala governs the duration of a sound and is beaten out on a variety of drum,
each drum regulated to the dancers pace. It is the dancer who fixes the tala. The
drummer observes the speed set and meets the dancer at the climax of each beat,
in the process improvising various thekas or expressions with his palms, fingers
or sometimes even his elbows or with sticks. Two dozen talas are popular today,
each having from three to sixteen matras or sub divisions and in south Indian
music, as many as twenty nine.

The raga is a group of notes but not quite a melody. Ragas are meant to create
certain moods and are divided into male and female tunes. There are six ragas
or male tunes each accompanied by five raginis or female tunes and each
possessing eight putras or sons with a bharya or wife, a piece. In South Indian
music, there are seventy two major ragas and many minor ones.
When music, singing and dancing blend in harmony in an appropriate setting,
the aharyya abhinaya is complete for a nritya performance.