MARGAM
Margam is a concept, a framework, a basic idea or one can say it is a well-thought-of plan to approach any Bharatanatyam recital with the sole intent of creating the Rasa. The Margam is relative and subjective, flexible enough to incorporate a variety of dance compositions set in the Bharatanatyam movement vocabulary. Of course the innovations should be effective enough to solve the purpose of any recital i.e Rasanishpatti.
So, the Margam is not merely a rule wherein one has to only perform the items as mentioned by the great Tanjore Quartette. They must've meant much more by defining the Margam and one has to understand it in-depth to realize its relativity and subjectivity so as to apply it in a perfectly balanced manner depending on so many factors like, the dancer herself/himself, the kind of stage, the kind of spectators, the occasion, the duration of a performance, technical side etc.
So, Margam (in my view) is an eternal concept, never to die, so that the dancer does not perform the dance items in a random manner. Simply to have a standard sequential rendering of any Bharatanatyam performance and to condition the mind of spectators/rasikas who are at the receiving end in a particular manner, to make the performance more meaningful.
- Priyanka Lalsare, Mar 15, 2012 (Source:https://narthaki.com/info/rt/rt47.html)
MY MARGAM
Margam means a path or a course followed. It is the traditional sequence of dances that is practiced in Bharatanatyam. After learning the entire margam, the dancer is equipped with the basic knowledge of the dance form. The sequence of the margam show cases each skill in order: preciseness, expression, and endurance. The performances that are included are Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Tillana and Shloka or Verse.
Natesha Kauthuvam
A kauvutum, typically a solo piece performance in Bharatanatyam, Kauvutums can be characterized by intricate footwork (adavus) and eloquent hand gestures (hastas), and expressions (abinaya). Kauthuvams are crafted in diverse languages such as Tamil, Telugu, and Sanskrit. Additionally, they are significantly used to portray mythological tales, devotional motifs, and elements of nature.
Natasha Kauthuvam is a hymn in praise of Lord Natesha/Nataraja, Shiva, which translates to "King of Dancers" in Sanskrit. Lord Shiva's dance represents the eternal cycle of creation, preservation, and destruction. The Natesha Kauthuvam is considered a sacred and iconic representation of Lord Shiva's cosmic dance, symbolizing the interplay of energy, creation, and transcendence. It is a popular motif in Indian art, particularly in the southern state of Tamil Nadu, where Lord Shiva's cosmic dance is highly revered.
Allarippu
Allarippu is a term employed in Bharatanatyam to refer to a customary opening composition performed at the commencement of a recital. Originating from the Tamil language, "Allarippu" combines "Alla," denoting rhythm or beat, with "Arippu," signifying the act of forming or establishing. The primary objective of presenting Allarippu is to establish a rhythmic foundation and create the overall tempo for the entire performance. It aids the dancer in preparing their body and mind, while also serving as a means to express reverence to the divine and seek blessings prior to commencing the dance recital. During Allarippu, the dancer follows a methodical and organized approach, executing a sequence of rhythmic syllables, hand gestures (mudras), and footwork patterns (adavus). These movements progressively escalate in intricacy and velocity, demonstrating the dancer's technical prowess and aptitude for harmonizing with the accompanying music. In conclusion, Allarippu, as a vibrant introduction to a Bharatanatyam performance, effectively establishes the tone for the rest of the repertoire, immediately captivating the audience's attention and setting the stage for subsequent items.
Shabdam
Shabdam is a dance form in Bharatanatyam, the classical dance of India. It is a short dance piece that is typically performed at the beginning of a recital. Shabdams are typically 5-10 minutes long and are composed of a variety of dance movements, including abhinaya (drama), nrutya (pure dance), and padam (lyrics). The lyrics of a shabdam are usually in Tamil or Sanskrit and tell a story about a god or goddess, a hero or heroine, or a historical event. The dance movements of a shabdam are used to express the emotions and ideas of the lyrics. Shabdams are a challenging but rewarding form of dance and require a high level of skill and artistry. The word "shabdam" comes from the Sanskrit word "shabda," which means "word." Shabdams are typically set to music in a slow tempo and use a variety of mudras, or hand gestures, to convey the meaning of the lyrics. The dance movements of a shabdam are typically simple and graceful, and the dancer uses her facial expressions and body language to bring the story to life. Shabdams are a popular form of dance in Bharatanatyam because they are a beautiful and expressive way to tell a story. They are also a challenging form of dance, and require a high level of skill and artistry.
Varnam
Varnam is a long and complex dance form in Bharatanatyam, the classical dance of India. It is usually performed at the beginning of a recital and is considered to be the most important part of the performance. Varnams are typically 20-30 minutes long and are composed of a variety of dance movements, including abhinaya (drama), nrutya (pure dance), and padam (lyrics). The lyrics of a varnam are usually in Tamil or Sanskrit and tell a story about a god or goddess, a hero or heroine, or a historical event. The dance movements of a varnam are used to express the emotions and ideas of the lyrics. Varnams are a challenging but rewarding form of dance and require a high level of skill and artistry.
Padam
Padams are a type of dance in Bharatanatyam, the classical dance of India. They are typically short, lyrical pieces that are set to a slow tempo. Padams are often used to express emotions such as love, longing, and devotion. The word "padam" comes from the Sanskrit word "pada," which means "foot." Padams are typically performed with abhinaya, or storytelling through dance. The dancer uses her facial expressions, body language, and mudras (hand gestures) to convey the meaning of the lyrics. Padams are a popular form of dance in Bharatanatyam because they are a beautiful and expressive way to tell a story. They are also a challenging form of dance, and require a high level of skill and artistry.
Thillana
In Bharatanatyam, the Thillana is a concise rhythmic piece of music that lasts an average duration of 10 minutes. The Thillana tends to mark the end of a dancer's performance, or Margam, and variations of the dance can be seen to exist in other classical Indian dance forms as well. Originating from the Telugu language, the term "Thillana" denoted a type of musical composition in Carnatic music. However, in Bharatanatyam, Thillana refers to a dance piece set to a Thillana composition known for its repetitive rhythmic syllables and structure. There are many essential characteristics of Bharatanatyam that a dancer must develop and master to adequately perform Thillana. This includes exemplary skills in rhythm, timing, synchronization, graceful body movements, and components of Abhinaya (expression).
Mangalam
Mangalam signifies the auspicious conclusion to the arangetram margam. The dancer expresses her gratitude to the Arangam (the stage), Lord Nataraja, her guru, the accompanying musicians, and the audience.