11. Namaskar

In Chapter 12 Summary of  Shall We Dance, Shantha Lakshmi dives deep into the foundational elements of Bharatanatyam, unraveling the intricate layers of this classical dance form. Through detailed discussions on Namaskar, Adavus, postures, and movements, she highlights the discipline, symbolism, and artistry that underpin Bharatanatyam. The chapter not only celebrates the technical rigor of this ancient art but also its spiritual and expressive depth, making it accessible to both practitioners and enthusiasts.

Namaskar: A Gesture of Reverence

Shantha begins by emphasizing the significance of Namaskar, the traditional salutation in Bharatanatyam. This symbolic act is more than a ritual; it embodies humility, gratitude, and spiritual consciousness. Namaskar pays homage to:

• The Divine: Representing the universal energy and deities central to Bharatanatyam, particularly Lord Nataraja, the Cosmic Dancer.
• The Guru: Acknowledging the teacher’s role in guiding the dancer’s journey.
• The Earth: Showing reverence to the ground that supports the dancer’s every step.

Performed with a blend of symbolic gestures and bowed postures, Namaskar aligns the dancer’s physical and spiritual energies, creating a mindful start to every practice or performance.

Adavus: The Building Blocks of Bharatanatyam

Shantha transitions into an in-depth exploration of Adavus, describing them as the essential building blocks of Bharatanatyam. She explains how these basic dance units integrate:

• Posture: Establishing balance and symmetry.
• Rhythm (Tala): Synchronizing movements with the beats to create flow and precision.
• Hand Gestures (Hasta Mudras): Adding meaning and expression to the sequences.

Adavus form the foundation of choreography, enabling dancers to develop technical skills, grace, and coordination. Shantha elaborates on the importance of repetitive Adavu practice, which cultivates:

• Stamina: Preparing the dancer for demanding performances.
• Focus and Discipline: Essential for mastering complex movements and transitions.
• Rhythmic Precision: Ensuring synchronization with the accompanying music.

Postures: Samapadam, Araimandi, and Muzhumandi

Shantha highlights the role of postures in Bharatanatyam, explaining how they provide balance and visual appeal:

• Samapadam: A neutral, symmetrical stance that serves as the starting point for many movements.
• Araimandi: A half-seated position that reflects poise and dynamism, central to Bharatanatyam’s aesthetic.
• Muzhumandi: A full-seated position that showcases agility and control, often used in more intricate sequences.

These postures are essential for maintaining the visual symmetry and structural integrity of Bharatanatyam, ensuring that every movement is executed with elegance and precision.

Charis and Hasta Mudras: Enriching the Dance Vocabulary

The chapter moves on to discuss Charis (stylized walking movements) and Hasta Mudras (hand gestures), which expand Bharatanatyam’s expressive range:

• Charis: Stylized movements that add dynamic transitions and connect sequences, enhancing the overall flow of the performance.
• Hasta Mudras: Intricate hand gestures that convey emotions, actions, and narratives, forming the core of Bharatanatyam’s storytelling tradition.

Shantha explains how these elements, when synchronized with posture and rhythm, allow dancers to narrate complex stories and evoke Rasa (emotional essence) in their audience.

Technical and Expressive Nuances

Shantha concludes by emphasizing the interconnection of technique and expression in Bharatanatyam. The meticulous practice of Namaskar, Adavus, postures, and gestures lays a strong foundation for advanced choreography and storytelling. Together, these elements:

• Elevate the Art Form: Transforming it from mere movements into a medium of emotional and spiritual expression.
• Create a Harmonious Experience: Combining precision with artistry to captivate the audience.
• Preserve the Tradition: Ensuring that Bharatanatyam remains rooted in its classical essence while evolving for contemporary audiences.