10 Minutes With Shantha : Chapter 08 Summary - Theoretical Framework of Bharatanatyam

Narrated by Shantha Lakshmi

Chapter 8 of Shall We Dance explores the theoretical framework of Bharatanatyam, emphasizing the importance of understanding fundamental elements such as space, time, force, body, and form. These elements are crucial for mastering the art of Bharatanatyam, as outlined in A.G. Gilbert's Brain-Compatible Dance Education.

The chapter delves into the Natya Shastra, an ancient Indian text attributed to Sage Bharata Muni, which serves as the primary guide for Bharatanatyam, covering drama, music, dance, and gestures.

Key concepts include Adavus (basic dance units), Hastas (hand gestures), Abhinaya (expression), Nritta (pure dance), Nritya (expressive dance), and Natya (storytelling through dance). The chapter also discusses the traditions within Bharatanatyam, such as the Margi tradition, which adheres to classical practices, and the Desi tradition, which incorporates regional and folk elements.

The chapter underscores the significance of these theoretical principles in preserving Bharatanatyam’s cultural heritage and enabling dancers to convey its profound beauty and cultural essence.

Episode Transcript

(00:00):
Chapter 8 Theological Framework of Bharat Natyam

(00:09):
This chapter begins with the quote of Charles Kettering, emphasizing the importance of high
expectations in achieving excellence.
It references A. G. Gilbert's 2006 book, Brain-Compatible Dance Education, to outline
the fundamental elements of movement in dance, which include space, time, force, body and

(00:34):
form.
These elements form the foundation for understanding the theoretical framework of Bharat Natyam
and ancient Indian classical dance form.
Elements of movement in dance.
Space, where the movement is performed, distinguished by place, size, level, direction, pathway

(00:55):
and focus.
Time, when the movement is performed, including speed, fast or slow, and rhythm, beat pattern
and tempo.
Force, how the movement is performed, combining energy, sudden or smooth, weight, strong or
light and flow, free or bound.

(01:17):
Body, what is being used to perform, including parts, shapes, relationships and balance.
Form, the structure of the dance, based on developmental patterns such as breath, tactile,
core distal, head-tail, upper lower body, side cross lateral and pastibural, integrating

(01:43):
the brain and body.
The key components of the theoretical framework of Bharat Natyam, Natya Shastra, attributed
to Sage Bharat Muni, this ancient Indian text is the primary theoretical guide for Bharat
Natyam, covering drama, aesthetics, music, dance and gestures, which is Mudras.

(02:05):
It outlines the principles, techniques and philosophical underpinnings of the dance form.
Basic concepts of Bharat Natyam.
Adavus, basic dance units or steps forming the foundation of Bharat Natyam, including
combinations of movements, footwork patterns and hand gestures, Mudras.

(02:27):
Hastas, hand gestures, used to convey specific meanings, emotions and characteristics performed
with precise positioning and movement of fingers and palms.
Abhinaya, expression, the art of expressive storytelling through facial expressions i.e.
expressions, body language and gestures, enhancing dancers to communicate emotions and narratives

(02:53):
effectively.
Dritta, pure dance focusing on rhythmic footwork, body movements and geometric patterns, highlighting
technical provos, grace and agility without conveying specific narratives or expressions.
Nritya, combines elements of Nrita and Abhinaya, allowing dancers to depict stories, express

(03:19):
emotions and convey narratives through synchronized movements, expressions and gestures.
Natya, enacting of stories, characters and narratives through dance, music, facial expressions,
gestures and body language, incorporating storytelling, dialogues, Mudras, costume,

(03:40):
makeup, music and stage craft.
Rasa, aesthetic experience and emotional essence evoked in the audience exploring emotions
such as love, joy, anger, sadness, fear and disgust.
Tala, rhythmic cycles in Bharat Natyam involving understanding and executing specific rhythmic

(04:05):
patterns and beats to synchronize movements and expressions.
Bhava, an emotional expression and mood created by the dancer involving the portrayal of emotions
and sentiments resonating with the storyline or theme of the performance.

(04:26):
Traditions in Bharat Natyam, Margi traditions represents the classical and traditional
approach adhering to ancient texts and practices focusing on technical precision, traditional
repertoire, spiritual and devotional aspects and the concept of Rasa.
Desi tradition incorporates regional or folk elements into Bharat Natyam reflecting regional

(04:51):
styles, folk influences, local music and instruments, regional costumes and jewelry, folk and regional
themes and unique choreographic styles.
In conclusion, the theoretical framework of Bharat Natyam provides dances with the comprehensive
understanding of the art forms, aesthetics and techniques.

(05:13):
It serves as a guide for training, practice and artistic growth ensuring the preservation
and continuation of Bharat Natyam's rich cultural heritage.
By mastering these concepts, dancers can effectively convey the essence, beauty and cultural significance
of Bharat Natyam through their performances celebrating the diversity and regional variations

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within the dance form.