i here many styles.can anyone tell me the different styles in bharathanatyam and the majore differences in the adavus between them.
thanks in advance
can anyone tell me what are the different styles in bharatha
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gnjb
- Posts: 58
- Joined: 29 Aug 2007, 21:05
Hello Vandana.
I have heard of 3 major styles or baanis - Vazhuvur, Tanjore, and Pandanallur.
I don't think that the aduvus differ between these styles. It is just the way of dancing that is different. In vazhuvur for example, importance is given to grace and abhinaya rather than the jathis. All movements seem 'soft' and relaxed. Where as in pandanallur, importance is given to the jathis(however expressions are also deemed important). The jathis are expected to be perfectly rendered - they are expected to be precise and stiff in some way. In this style, I have noticed that dancers show a lot of precision and noting is let loose or taken easily. As for the tanjore style, I don't know how it differs from the other two styles but I know that it is taught at Shree Bharatalaya, Chennai.
I have also heard of the 'Kalakshetra' style - their style is closer to the pandanallur style in my opinion.
Any corrections/additions welcome...
gnjb
I have heard of 3 major styles or baanis - Vazhuvur, Tanjore, and Pandanallur.
I don't think that the aduvus differ between these styles. It is just the way of dancing that is different. In vazhuvur for example, importance is given to grace and abhinaya rather than the jathis. All movements seem 'soft' and relaxed. Where as in pandanallur, importance is given to the jathis(however expressions are also deemed important). The jathis are expected to be perfectly rendered - they are expected to be precise and stiff in some way. In this style, I have noticed that dancers show a lot of precision and noting is let loose or taken easily. As for the tanjore style, I don't know how it differs from the other two styles but I know that it is taught at Shree Bharatalaya, Chennai.
I have also heard of the 'Kalakshetra' style - their style is closer to the pandanallur style in my opinion.
Any corrections/additions welcome...
gnjb
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
My 2 cents: Additions/corrections welcome. Meena/Umesh please....
There is the vazhuvUr style - with stylized poses and jumps, rounded arms and curves rather than lines - I think of Smt Kamala Lakshman as the torch bearer of this style. A traditional mArgam usually starts with a kauttuvam dedicated to gyAnasabESar.
tanjAvUr style - I think Smt Vyjayantimala learnt this style from Sri Kittappa Pillai who was also Smt. Sudharani Raghupathy's guru.
padanallUr style - deep araimanDi, straight lines, phenomenal command over rhythm - weaving so many naDais in the jatIs - the janaka of the kalAkSEtra style (pandanallUr mInAkSi sundaram piLLai was Smt. RDA's guru)
kalAkSEtra style - similar to the pandanallUr style, with deep araimanDi and straight lines, but more austere, stylized entries and exits, and I think they really exploit the attami even in simple aDavUs.
kAncIpuram style - according to Umesh, the adavUs are different and unique.
mysUr style - hard to explain, but entry from around the orchestra (?)..
meLattUr style - you can see so many examples on youtube from sreedevi nrityalaya.
bharatanrityam - the style evolved by Dr. Padma Subramaniam - originally trained in the vazhuvUr style, her style now incorporates cAris, sthAnakas, rEcakas, and karaNas as a result of her in-depth research into the nATya SAstra.
The aDavUs do differ to an extent between styles, and even between teachers of the same style. However, if I understand it correctly, the tIrmAnams are unique, and stamp each style.
There is the vazhuvUr style - with stylized poses and jumps, rounded arms and curves rather than lines - I think of Smt Kamala Lakshman as the torch bearer of this style. A traditional mArgam usually starts with a kauttuvam dedicated to gyAnasabESar.
tanjAvUr style - I think Smt Vyjayantimala learnt this style from Sri Kittappa Pillai who was also Smt. Sudharani Raghupathy's guru.
padanallUr style - deep araimanDi, straight lines, phenomenal command over rhythm - weaving so many naDais in the jatIs - the janaka of the kalAkSEtra style (pandanallUr mInAkSi sundaram piLLai was Smt. RDA's guru)
kalAkSEtra style - similar to the pandanallUr style, with deep araimanDi and straight lines, but more austere, stylized entries and exits, and I think they really exploit the attami even in simple aDavUs.
kAncIpuram style - according to Umesh, the adavUs are different and unique.
mysUr style - hard to explain, but entry from around the orchestra (?)..
meLattUr style - you can see so many examples on youtube from sreedevi nrityalaya.
bharatanrityam - the style evolved by Dr. Padma Subramaniam - originally trained in the vazhuvUr style, her style now incorporates cAris, sthAnakas, rEcakas, and karaNas as a result of her in-depth research into the nATya SAstra.
The aDavUs do differ to an extent between styles, and even between teachers of the same style. However, if I understand it correctly, the tIrmAnams are unique, and stamp each style.
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Umesh
- Posts: 361
- Joined: 04 Jun 2006, 12:59
This question keeps popping up in dance forums. We've discussed it in some detail in this thread:
http://www.rasikas.org/forums/viewtopic.php?id=2403
Ravi, you've summed it up nicely once again. A few additions...
I believe the items in the margam are slightly different in the Mysore school. Tamil compositions take a backseat to Kannada/Sanskrit/Telugu works. And the performance begins with a "ranga pooja."
See http://narthaki.com/info/articles/art99.html
Also, I regard Pandanallur and Thanjavur (Tanjore) as one and the same, because disciples from the same guru (such as Kittappa Pillai) call it by either of the two names. And indeed, the Kalakshetra style we see today is a direct descendant of the vintage Pandanallur/Thanjavur style with some modifications (in both nrtta and abhinaya[srngaram]) by RDA.
http://www.rasikas.org/forums/viewtopic.php?id=2403
Ravi, you've summed it up nicely once again. A few additions...
I believe the items in the margam are slightly different in the Mysore school. Tamil compositions take a backseat to Kannada/Sanskrit/Telugu works. And the performance begins with a "ranga pooja."
See http://narthaki.com/info/articles/art99.html
Also, I regard Pandanallur and Thanjavur (Tanjore) as one and the same, because disciples from the same guru (such as Kittappa Pillai) call it by either of the two names. And indeed, the Kalakshetra style we see today is a direct descendant of the vintage Pandanallur/Thanjavur style with some modifications (in both nrtta and abhinaya[srngaram]) by RDA.
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Umesh
- Posts: 361
- Joined: 04 Jun 2006, 12:59
Many refer to it as the Dhandayuthapani Pillai style, as he was an innovator, especially in jathi choreography.
http://www.hindu.com/fr/2004/07/09/stor ... 320400.htm
http://www.hindu.com/fr/2004/07/09/stor ... 320400.htm