10 Minutes With Shantha : Chapter 12 Summary - Prelude to Karanas

In this Chapter, Shantha opens with Martha Graham's profound quote, "Dance is the hidden language of the soul of the body," underscoring the spiritual essence of Bharatanatyam. Anchored in the ancient Natya Shastra, it delves into the foundational concepts of Karanas—transitional movements embodying Shiva's divine dance.

Shantha then goes on to discuss about the Natya Shastra serves as an authoritative guide on aesthetics, dramaturgy, and the interplay of Nritta, Nritya, and Natya, showcasing technical brilliance, emotive storytelling, and dramatic expression. Temple sculptures vividly illustrate the Karanas, integrating ritual, symbolism, and spiritual transformation. The chapter highlights the emotional resonance of Rasas and Abhinaya, bridging ancient tradition with modern practice.

Ultimately, Shantha discusses about Karanas as a sacred blend of artistry, narrative depth, and spiritual elevation in Bharatanatyam.

Please enjoy this audio podcast for 6.30 mins

Episode Transcript

(00:00):
The chapter opens with a quote from Marthagrahaam.

(00:07):
Dance is a hidden language of the soul of the body,
emphasizing the deep connection between dance and the human spirit.
It explores the foundational concepts of Karnas within the context of Bharat Natya,
grounded in the ancient text, the Natya Shastra.
The overview of Natya Shastra says, an ancient and authoritative treatise on Indian aesthetics,

(00:32):
dramataggi and dance consisting of 36 chapters covering dance, music, theatre and stage craft.
It provides a detailed guidelines for performers on body movements, hand gestures,
facial expressions, vocal techniques, costumes make up and stage design.

(00:53):
The key elements of Bharat Natya as per Natya Shastra are
Dhrita which is a rhythmic dance movements.
Abstract and rhythmic dance focusing on intricate footwork, body and limb movements.
The purpose of it is, it highlights technical skills, rhythmic expertise and mastery of patterns

(01:15):
without conveying specific meaning or narrative.
The execution, it involves performing other moves which are predefined steps
and movements executed in rhythmic patterns.
It serves as a foundation of Bharat Natya, showcasing the dancer's agility, control and technical provos.

(01:36):
The second one is Dhritya which are expressive dance.
It combines rhythmic elements with expressive gestures to convey emotions and stories.
It utilizes footwork, mudras, body movements and rhythmic patterns to create a captivating visual display.
The training, it requires rigorous practice to develop strength, flexibility and coordination

(02:03):
enabling dancers to execute complex patterns with finesse.
Third one is Natya which is dramatic elements and storytelling.
It integrates dance, music, mind and theoretical techniques to communicate narratives and evoke emotions.

(02:24):
Abhinaya, the expressive component comprising Angika, Vachika, Aharya and Satvika.
The expressions utilizes facial expressions which are bhavas, hand gestures which are mudras
and body movements to convey a wide range of emotions and characters.

(02:45):
The music's role, it enhances and supports the expressive elements creating harmony between movement and sound.
It engages viewers emotionally transcending language and cultural barriers.
The Karnas, the 108 key transitional movements in Bharat Natya

(03:06):
depicted in temple sculptures and performed by dancers to express the divine dance of Shiva Nataraja.
The origin and technique is defined in the fourth chapter of Natya Shastra which is Thandava Lakshana
combining as Thana which is the posture, Achari, a leg movement and Andrita Hastha which is the hand gesture.

(03:30):
It serves as the foundation for the classical style aiming to spiritually enlighten spectators.
Karnas in temple sculptures.
Symbolism, it represents the dynamic movements performed by Shiva expressing his power, energy and five functions
which are creation, preservation, destruction, concealment and grace.

(03:56):
Notable temples, examples include the Chidamaram temple in Tamil Nadu which features 108 Karnas carved on its walls.
The function not merely decorative but convey deep ritual mythic, mythic and yogic meanings.
The dance imagery in temples are the integration, dance sculptures, dance pavilions and employment of dancers reflect the significance of dance in temple culture.

(04:28):
The function and meaning dance imagery serves as agents for visualizing core aspects of Hindu worship such as ritual transformation and meditation.
The structure of Karnas terminology, each Karna consists of an initial, intermediate and final position akin to a meaningful sentence in verbal communication.

(04:56):
The combination, Karnas form larger dance formations through specific combinations enriching the dance repertoire.
The influence and practice, regional variations, different styles of Bharat Natim, example Kalakshetra, Pandanalur, Valhur, Tanjau, interpret and reconstruct Karnas.

(05:18):
The social contributions, notable dancers and scholars like Padma Subramanyam have researched and authored works on Karnas based on temple sculptures and scriptures.
Emotional and symbolic representation, rasas, the 9 primary emotions, Sringara, Hasya, Karuna, Raudra, Veera, Bhayanaka, Bhibhasta, Adbhuta and Shanta are evoked in the audience through performance.

(05:48):
Abhinaya, the art of communication through gestures, facial expressions and body language integral to conveying the essence of the dance.
In conclusion, the chapter emphasizes the importance of understanding the theoretical and practical aspects of Karnas in Bharat Natim.

(06:09):
It underscores their role in preserving the dance's rich history, profound symbolism and diverse practice.
Karnas are not just technical steps but are integral to the narrative and communicative aspects of the dance, enhancing its spiritual and emotional impact on the audience.