Warli Painting/Bharatanatyam PDF

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Warli Painting
Styles Of Bharata Natyam
Bharatanatyam...

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Warli Paintings:-

Evolution of Warli Paintings About Warli Tribes: The Warli Tribe is an indigenous tribe, found in Western India. Portions of mountainous as well as coastal regions of Maharashtra-Gujarat border are inhabited by the Warli/Varli tribes. A few points to be noted about this tribe are: 1.

Important Locations where the Warli tribesmen are found: o

Maharashtra – Districts of Jawhar, Mokhada, Dahanu and Talasari talukas of the northern Palghar, parts of Nashik and Dhule.

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Gujarat – Districts of Valsad, Dangs, Navsari and Surat.

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Dadra, Nagara, and Daman and Diu Union Territory.

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The language spoken by Warli tribe: Varli language is in an unwritten form which is used by Warli tribes. It is classified as Konkani language. (Note: Varli is classified under Marathi by Grierson (Grierson’s Linguistic Survey of India) as well as A.M. Ghatage (Warli of Thana, vol. VII of A Survey of Marathi dialects). Part of IndoAryan languages. Traditionally, they were a semi-nomadic tribe. They started with hunting. The tribe is usually led by one head. Presently, the tribe is found in agriculture and many of them grow crops like rice and wheat. They also sell toddy, mahua and fuelwood. They worship nature. Tarpa dance is associated with the Warli tribe. The Warli art paintings also depict Tarpa dance. Warli Revolt:

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It took place in 1945 in Maharashtra (Zari village of Talasari taluka.) The revolt was against the exploitation the tribes suffered at the hands of landlords. Many tribal women of Warli participated in the revolt. Godaveri Parulekar (Godutai) was the then Kisan Sabha leader, who supported the Warli women revolt.

History of Warli Art Warli art is often spelt as Varli art. Candidates should not get confused with different spellings. Warli/Varli or Warli paintings/Varli paintings are the same. The term ‘Warli’ is derived from ‘Waral’ which means a small piece of tilled land. The Warli art is inspired by the tribes’ coexistence with nature and the forests. The exact origin of the Warli art paintings is debated but as it is considered to be one of the oldest paintings in India; it is reported to originate in 10t century AD or before.

Salient Features of Warli Paintings/Warli Art The main features of the Warli art paintings are: 1. 2. 3. 4.

It originated in Maharashtra. The warli paintings are related with the daily events that are common to the tribes. Most Warli art themes revolve around people dancing in spirals, and in open-ended circles. Originally, the paintings were done on walls but gradually warli art was drawn on various other objects like: o

Bamboo

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Cloth

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Mud pots

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Dried bottle gourd

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Earlier only two colours were used in the Varli paintings:

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Earth brown White by rice paste; but with time, the background colours of the Warli art also include — Henna, Indigo, Ochre, Black, Earthy mud, Brick red. Initially, only Warli women called Savasini used to do the Varli paintings, however, gradually it was shifted to men folks too and they also began Warli painting. No mythological stories are depicted in the Warli Art of Warli paintings. Warli paintings can be categorized into four groups:

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The Gods – The warli paintings related to this category revolve around the old folklores of the Warli tribe. Through this warli art, the tribesmen show their history that they believe in.

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The People – Through these warli paintings, they depict good and bad deeds by the people.

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The Animals – Many animals that were in their surroundings, are depicted in these Warli paintings. Tiger is the famous animal painting in Warli art.

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Rights and Ritual – The most prominent of all the categories is the Warli paintings depicting rights and rituals. The joy, happiness, celebration, day to day activities are depicted under this category.

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One of the most famous paintings is ‘Chawk’ where married women paint on their kitchen walls with white color. A rectangular space with Goddess Palaghat (A fertility God) is painted in the center. Around the Goddess; trees, men performing daily activities, dancers, objects used by women for many activities, and animals are also painted. Basic Geometric Shapes used in the Warli wall paintings: Triangles

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Circles

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Squares

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Dots

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Dashes

Significance of Warli Art The different Warli art forms by the tribesmen depict the basic life they lived. It is often concluded seeing the Warli art that the tribes believed in the time cycle as is depicted in their spherical paintings. Through Warli art, it may also be concluded that Warli tribes believe in joy, dance and celebrations as is shown in the Warli dancer’s paintings. It is stated the Warli women used to paint their walls during the marriage to reflect on happiness and celebrations. Warli wall paintings are considered to be auspicious. The Warli Art is close to a natural life as is reflected in the designs of flora, fauna, and celebrations. The Varli art inspires to look back at prehistoric paintings as those were in a similar rhythm. Over a period of time, the Warli art has become so famous that these are drawn on papers and sold across the country. Same warli art is drawn on cloth and paper. Jivya Mashe was a Padma Shree Awardee (2011) who popularized the Warli tribal art form. Modernization of Warli Art With time, the objects depicted using warli paintings like trains, aeroplanes, rickshaws etc show the versatility of the Warli artists while keeping the traditional art form alive. Beyond mural paintings, Warli art is also depicted on cloth, paper, clay pots, and other objects.

Bharata Natyam:Bharata Natyam and its styles is a much-debated topic in the field of art and culture. In this issue of IIN, we discuss the different styles and variations of Bharta Natyam. It’s a misconception, that every Bharata Natyam recital looks same. Over the years many debates and discussions have given the clarity of how each style differs in its own way.

What is Bharata Natyam?

Bharata Natyam is an age-old art, which is over two thousand years old. The art form originated in the ancient temples of Tamil Nadu. Subsequently, Bharata Natyam spread its branches to the neighbouring states and cities of India. There are four major styles of Bharata Natyam from ancient times, with each of them named after the place of their origin, except the last one which is named after the institution established by Rukmini Devi Arundale. Irrespective of the style, the three major aspects of Bharta Natyam remain the same.

Important features of Bharata Natyam The three important features of Bharata Natyam are: Nritta The pure rhythmic aspect of dance. It consists of ‘Adavus’, which includes a different pattern of footwork, hand and body movements, and the movements of minor limbs such as head, neck and eyes. Examples of Nritta dances – Jathiswaram and Thillana. Natya This comprises of hand gestures (hastas) and facial expressions. This is used to convey forward an emotion and also the meaning of the lyrics of a song. Example of Natya dances – Padam, Shabdam and Jawali. Nrithya The combination of Nritta and Natya dance sequence. The blend of rhythmic dance and dramatic expression of emotion presented in a particular way. Example of Nritya dances – Pada Varnam, Swarajathi.

Major Styles of Bharata Natyam The major styles of Bharata Natyam are: 1. 2. 3. 4.

Pandanallur style, Vazhavoor style, Melathoor style, and Kalakshetra style.

Pandanallur Style  

This is credited to Guru Sri Meenakshi Sundaram Pillai (1869–1964), who lived in Pandanallur, which is situated in the Thanjavur district, the Indian state of Tamil Nadu. Guru Sri Meenakshi Sundaram Pillai belonged to the family of nattuvanars and was a decedent of the famous Thanjavur brothers: Chinnaiah, Ponniah, Sivanandam, and Vadivelu.

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After Guru Sri Meenakshi Sundaram Pillai, his son-in-law Chokkalingam Pillai (1893–1968) became the next veteran teacher of the Pandanallur style.

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Later his son Subbaraya Pillai (1914 to 2008) went on to become the next leading teacher of Pandanallur style with training in Pandanallur under his father and grandfather.

Mathematical importance: This is something one should mainly look for while watching the Bharata Natyam recital in traditional Pandanallur form. The Pandanallur form mainly emphasises on liner geometry, i.e. every hand and leg movement makes corresponding angles with each other at 45 ◦, 90 ◦, 180 ◦ etc. Understatement of Abhinayam: Underplay of Abhinayam is seen in the Pandanallur style, in contrast to the other forms, where Abhinayam is given more importance than Adavu (basic dance steps). The expressions are not exaggerated and are very subtle to make it look more natural and real. Choreography:

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The Pandanallur style is renowned for its choreography, which consists of unique adavu choreography for Swaram patterns by Sri Meenakshi Sundaram Pillai and Muthu Kumara Pillai. It also includes highly regarded pieces as the Nine or Ten Tanjore Quartet pada-varnams.

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These works feature choreography by Pillai, who named the dramatic choreography “hands,” and was also responsible for the adavu choreography for the Swara passages.

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Part of their heritage is the valuable jatiswarams (in ragams Vasantha, Saveri, Chakravakam, Kalyani, Bhairavi), which incorporate abstract adavu choreography.

Vazhuvoor Style 

Vazhuvoor Ramiah Pillai was a revered guru. He directed with passion and devoted himself to Bharatha Natyam. Vazhuvoor Ramiah Pillai was born in Isai Vellalar, clan of conventional dancers and musicians.

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The shrine at Vazhuvoor village is dedicated to Lord Siva, under the name of Gannasabeshan (lord of the stage), and to this day, the pupils of Vazhuvoor school, pay homage to the idol Gannasabeshan in the form of Thodaya Mangalam as an invocatory piece.

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Ramiah Pillai has also disciplined famous dance teachers, such as Thiripurasundari Cumarasamy who is the first student to fly from Jaffna, Srilanka; others like Kumari Kamala, actress Vyjayanthimala, Padmini, Padma Subramanyam who are from India and various exceptional dancers of today. The Vazhuvoor style was proceeded by his son Vazhuvoor R. Samaraj who lived in Mylapore, Chennai.

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This prosperous Bani (tradition) concentrates on the artistry of movement, elegant poses mingling with an alluring technique that delivers visual delight. The Vazhuvoor Bani is entrusted with bringing in the aspect of arriving from the wings on stage.

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The dance-steps are brisk and intricate but mixed with grace and fascinating eye movements.

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Poses are often introduced in the fragments especially in the final dance (Thillana) to add space in time. The jatis (Rhythmic patterns) or nritta entities have more korvai is (A korvai is a sequence containing many different adavus) or gaps than usual, to add a sense of time being suspended, giving the dance an impressive quality. The body from the waist up is slanted slightly forward to give more dimensions to the body.

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The adavus or dance units are done evenly without too many jerky movements to give an impression of naturalness and dignity.

 Graceful leaps are present in every jati. Choreography and Abhinaya:   

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In this style, one can see a broad range of dancing pace. The adavu stream fluently, with rare unexpected movements, excessively elaborate movements, deep sitting positions, an assortment of positions on the floor. Abhinaya or anecdotal expression is subtle with more natyadharmi or typically formalized expressions and there is no obviousness in the production. The hands, eyes, and expressions are used in concordance to express eloquently. Lasya, or grace, is prevailing in this style. Popular dancers, such as Vidhya Subramanian, along with Kamala Lakshman, Padma Subramanyam, Chitra Viswesvaran have strengthened the disclosure of this style.

Melattur Style 

The Melattur Bani of Bharta Natyam dance was expanded largely out of the devadasi practices and Melattur Bhagavata Mela by Mangudi Dorairaja Iyer, a saint following Srividya Upasana.

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He renewed the Shuddha Nrittam from Kuchipudi which involves the sophisticate tapping footwork that scrutinizes different time measures in distinctive tempos, Bhattasa Natyam similar to Kalaripayattu and PeraniNatyam, a dance on the clay pot. Mangudi became interested in Shuddha Nrittam (a pure dance) after attending a concert by devadasi of Cheyyur Sengalvarayar shrine, who performed shudda nrittam along with other items.

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Unlike other Bharta Natyam gurus, Mangudi sidestepped the items which glorified the poet’s anthropoid patrons, as performing such items would be incompatible with his faithfulness to spiritual practices of Srividya Upasana. He believed, it is only the divinities or the great saints who were worthy of such apotheosis.

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Thus, the repertory of a Melattur bani consists essentially, the ancient dance piece performed in the temples.

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Choreography and Abhinaya:    

The Melattur bani depresses stamping the feet hard against the floor. Rather, the dancer is foreseen to use the anklets in a more delicate manner that produces a range of sounds and highlights the rhythm. Another singular feature is the presence of Panchanadai and extensive use of Gatibhedas. For example, in Varnam there would be Gatibhedam in every Jati. There is exclusive attention on brisk adavus, fluid variations or patterned korvais.

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Due to the Melattur Bhagavata Mela influence, the style composes large-scale use of the dramatic aspects, i.e. characterization, which requires eminently expressive and delicate Abhinaya.

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Unlike other Bharta Natyam bani, the facial expressions of the Melattur style dancer are not rigidly represented. They are neither exaggerated nor downplayed, which requires a high degree of contemplation and individual spontaneity.

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Due to the devadasi impact, there is a stress on Sringararasa, rather than on a neutral Bhakti rasa.

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The Nrittaabhinaya is contrasty from most other styles in the impression that each body movement is to be echoed in a distinctive facial expression automatically.

Kalaskshetra Style Kalakshetra Foundation, erstwhile Kalakshetra, is an Indian art and cultural institute committed to preserve and promote conventional values in the field of Bharta Natyam. Stationed in Chennai, the institute was established by Rukmini Devi Arundale and her spouse George Arundale. Under Arundale’s direction, the foundation accomplished national and international recognition for its unique style and perfectionism.  

Rukimidevi Arundale studied the Pandanallur style for three years, under the revered of Pandanallur style of Bharta Natyam. Subsequently, she brought in group performances and staged various Bharta Natyam-based ballets.

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Choreography and Abhinaya: 

The Kalakshetra Bani is noted for its angular, straight, ballet-like kinesthetics, and its restriction of Rechakas and the uninhibited movement of the limbs.

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Compared to other styles, the Kalakshetra style does not use a wide range of adavus.

Bharatanatyam UPSC Notes:Bharatanatyam is one of the 8 forms of dance recognized by Sangeet Natak Academy (National Level Academy for Performing Arts set up by Government of India). It expresses spiritual ideas pertaining to Vaishnavism, Shaktism and Shaivism.

Bharatanatyam – Origin & Evolution

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Bharatanatyam is an important classical dance form in India. It originated in the temples of South India, particularly, Tamil Nadu. It used to be performed by Devadasis, thus it was also known as Dasiattam. Believed to be about 2000 years old, information about Bharatanatyam can be found in many ancient texts including Bharata Muni’s Natya Shastra. The main source of study for the techniques of body movements in this dance form is Abhinaya Darpana by Nandikesvara (4th – 5th century BCE). There is a lot of visual evidence of Bharatanatyam in the stones and pillars of ancient temples. o

The Gopurams of the Chidambaram temple contain many poses of Bharatanatyam.

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The precursor dance form to Bharatanatyam is called Sadir. Historical representations of this dance is available from Sangam works like Silappatikaram and Manimekalai. Bharatanatyam dance was kept alive by the Devadasis, who were girls dedicated to temples. The Brihadeeswara Temple at Thanjavur has been a centre for Bharatanatyam since 1000 CE. Many important early artists and gurus of this dance form came from Devadasi families. During the British Raj, many colonialists accused the tradition of temple dancing as a front for prostitution. Traditional Indian dances were discouraged and an anti-dance movement was launched supported by Christian missionaries, who had their vested interests. Lawyer and freedom fighter E Krishna Iyer fought for the revival of Bharatanatyam, and challenged this cultural discrimination by the British government. He was arrested on charges of nationalism. The government banned Hindu temple dancing in 1910. But, instead of declining, the dance form was revived thanks to the tireless efforts of many artists and activists. Artists such as Bala Saraswati, Rukmini Devi Arunadale, etc. revived it and brought it outside the temple as well. Their work made the art form ‘respectable’ and spread it outside the traditional dancing community. A point to be noted here is that the art form was, in ancient India, treated with great respect, and the association with courtesans began around the 16th century. It further fell to disrepute owing to the colonial government’s attitude.

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Bharatanatyam – Important Features 1. 2. 3. 4. 5.

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The three important features of Bharatanatyam are Nritta, Natya and Nritya. This dance form is performed by both men and women. The costumes worn are bright coloured. Women wear saris and men wear dhotis. There is a lot of make-up and bright ornaments used, which accentuate the facial expressions and gestures of the performers. The music used in Carnatic classical music, accompanied by instruments such as flute, violin and the Mridangam. There are generally two vocalists, one to sing the song, and the other (generally the Guru of the performer), to recite the rhythmic patterns (Nattuvangam). Gestures used in Bharatanatyam are called Hastas or Mudras. There is a lot of symbolism in this dance form. The dance also includes many asanas found in Yoga. Poses of Bharatanatyam are called Karanas.

10. Ekaharya – solo artist in Bharatanatyam 11. A traditional Bharatanatyam recital involves a series of presentations, and the whole set is called a Margam.

Bharatanatyam – Current State of Affairs 1. 2. 3.

Bharatanatyam is now very popular all over the world. Many children in India learn this art form, and dance schools thrive in every part of the country. A few of the most popular contemporary Bharatanatyam artists are listed below

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Mrinalini Sarabhai, Shobhana,