10. Nritta, Nritya, and Natya

In Chapter 10 of Shall We Dance, Shantha delves into the foundational elements of Bharatanatyam as codified in the Natya Shastra by Bharata Muni. The Natya Shastra, often referred to as the “Fifth Veda,” places Bharatanatyam at the intersection of art, culture, and spirituality, emphasizing its significance as a medium of storytelling, emotional expression, and spiritual connection.

Through a detailed discussion of Nritta, Nritya, and Natya, Shantha unpacks how Bharatanatyam blends rhythmic movement with emotive storytelling to create a holistic and immersive artistic experience.

Bharatanatyam: The Fifth Veda

Shantha begins by explaining the origins of Bharatanatyam in the Natya Shastra. Created as the “Fifth Veda,” Bharatanatyam was designed to make the spiritual and philosophical teachings of the Vedas accessible to all, regardless of caste, language, or education. By combining dance, music, and drama, it transcends linguistic and cultural barriers, becoming a universal art form.

The chapter emphasizes how Bharatanatyam serves as a bridge between the material and spiritual worlds, inviting both performers and audiences into a shared space of aesthetic and emotional resonance.

The Three Pillars: Nritta, Nritya, Natya

1. Nritta (Pure Dance):
   • Shantha describes Nritta as the abstract, rhythmic aspect of Bharatanatyam.
   • It focuses on precise footwork, intricate patterns, and graceful movements, showcasing the dancer’s technical prowess.
   • Nritta is devoid of storytelling or emotion, serving as a celebration of rhythm and form.
   • Example: Movements in Jatiswaram highlight the beauty of Nritta, with no lyrics or narrative attached.
2. Nritya (Expressive Dance):
   • Shantha explains that Nritya combines rhythm with expression, allowing the dancer to communicate emotions and stories.
   • Through the use of gestures (Mudras) and facial expressions (Abhinaya), the dancer conveys a narrative, evoking emotions in the audience.
   • Example: The emotional depth of Padam performances, which often explore themes of love or devotion.
3. Natya (Dramatic Dance):
   • Natya integrates drama and dialogue with dance, presenting mythological or spiritual stories in a theatrical format.
   • It involves a deeper narrative structure, often portraying characters, conflicts, and resolutions.
   • Example: The dramatic enactment of epics like the Ramayana or Mahabharata.

Shantha emphasizes that these three pillars, when combined, create the unique identity of Bharatanatyam, blending precision with emotion and narrative depth.

Tandavam and Lasya: Contrasting Dance Styles

The chapter introduces the two contrasting styles of Bharatanatyam:

• Tandavam:
  • Characterized by vigorous, dynamic movements, representing the masculine energy of Lord Shiva’s cosmic dance of creation and destruction.
  • Shantha highlights its role in showcasing strength, power, and intensity in Bharatanatyam performances.
• Lasya:
  • A graceful, gentle style associated with Parvati, representing feminine beauty, compassion, and nurturing energy.
  • Shantha explains how Lasya softens the performance, balancing the intensity of Tandavam with elegance and fluidity.

Together, these styles encapsulate the duality of energy in Bharatanatyam, reflecting the harmonious interplay of opposites in the universe.

Abhinaya: The Art of Expression

A key highlight of the chapter is Shantha’s discussion on Abhinaya, or the art of gesticulatory expression. She explains the four types of Abhinaya:

1. Angika (Physical Expression): Body movements, gestures, and postures.
2. Vachika (Verbal Expression): The use of song, dialogue, or recitation.
3. Aharya (Visual Expression): Costumes, ornaments, and makeup that enhance character portrayal.
4. Satvika (Inner Expression): The dancer’s ability to internalize and project emotions authentically, connecting deeply with the audience.

Abhinaya is presented as the heart of Bharatanatyam, allowing the dancer to transcend mere movement and evoke Rasa, the emotional essence of the performance.

Structured Performance: Evoking Rasotpatti

Shantha explains the traditional sequence of a Bharatanatyam performance, which is meticulously designed to build and evoke Rasotpatti (aesthetic response):

1. Alarippu: Opening piece, preparing the dancer’s body and mind.
2. Jatiswaram: A non-lyrical, rhythm-based piece showcasing Nritta.
3. Shabdam: Introducing lyrics and basic expressions, blending Nritta and Nritya.
4. Varnam: The centerpiece of the performance, combining all elements—Nritta, Nritya, and Natya.
5. Padam: Focused on Abhinaya, often exploring devotion or love.
6. Tillana: A lively, rhythmic conclusion.

This structure is designed to immerse the audience in a progressive emotional journey, culminating in a state of spiritual and aesthetic fulfillment.

Cultural and Expressive Dimensions

Shantha concludes the chapter by emphasizing how Bharatanatyam, through its intricate balance of Nritta, Nritya, and Natya, becomes a medium of cultural preservation and spiritual expression. It is not merely a dance form but a living tradition that continues to inspire and connect with audiences across generations and geographies.