12. Prelude to Karanas – Audio

Narrated by Shantha

This chapter begins with a powerful quote by Martha Graham, “Dance is the hidden language of the soul of the body,” perfectly encapsulating the profound spiritual essence of Bharatanatyam. Shantha uses this quote to set the tone for an exploration of Bharatanatyam’s intricate connection between physical movement and spiritual expression, emphasizing how each gesture, rhythm, and expression serves as a medium to articulate the soul’s journey.

The Natya Shastra and the Foundation of Karanas

Anchored in the Natya Shastra, an ancient treatise authored by Sage Bharata Muni, the chapter delves into the foundational concept of Karanas—transitional movements that form the essence of classical Indian dance. Shantha explains that Karanas are more than physical sequences; they are deeply symbolic and represent Shiva’s cosmic dance as Nataraja, encapsulating creation, preservation, and dissolution.

The Natya Shastra is presented as an authoritative guide on aesthetics, dramaturgy, and the intricate interplay of:

1. Nritta: Pure, technical dance that highlights rhythm and form.
2. Nritya: Expressive dance that combines movement with emotional storytelling.
3. Natya: Dramatic expression that brings mythological and cultural narratives to life.

Through these components, Bharatanatyam emerges as a multidimensional art form that balances technical brilliance, narrative depth, and spiritual resonance.

Karanas in Temple Sculptures

Shantha transitions into a discussion about the depiction of Karanas in South Indian temple sculptures, particularly in sacred sites such as Chidambaram and Thanjavur. These sculptures are more than artistic achievements; they serve as visual documentation of the dance movements, preserving their essence for generations.

The chapter emphasizes how the Karanas in temple carvings:

• Integrate ritual, symbolism, and spiritual transformation, reinforcing the temple’s role as a cultural and spiritual hub.
• Showcase the technical precision and aesthetic beauty of Bharatanatyam’s movements.
• Act as guides for dancers, providing visual references for learning and performing the movements.

By intertwining art and spirituality, these sculptures reflect the holistic vision of dance as a medium for connecting the physical and divine realms.

Rasas and Abhinaya: The Emotional Core

A significant portion of the chapter focuses on the Rasas (emotional essences) and Abhinaya (expressive techniques) that breathe life into Bharatanatyam. Shantha explains how the Rasas—joy, sorrow, anger, fear, love, disgust, wonder, courage, and peace—are integral to the art form, enabling dancers to evoke deep emotional responses in their audiences.

The chapter further elaborates on the four types of Abhinaya:

1. Angika: Physical expressions through body movements and gestures.
2. Vachika: Verbal expressions, often conveyed through song and dialogue.
3. Aharya: Visual elements, including costumes, ornaments, and makeup.
4. Satvika: Subtle inner expressions that connect the dancer’s emotions with the audience’s experience.

Shantha underscores how Rasas and Abhinaya bridge ancient traditions with modern practice, demonstrating the timeless relevance of Bharatanatyam in expressing universal human emotions.

Karanas as a Sacred Blend

The chapter concludes with an in-depth discussion on the sacred nature of Karanas, describing them as a unique synthesis of:

• Artistry: Showcasing the dancer’s technical skill and aesthetic finesse.
• Narrative Depth: Conveying mythological and cultural stories with precision and emotion.
• Spiritual Elevation: Acting as a medium for divine connection and self-transcendence.

Shantha emphasizes that Karanas are not just movements; they are symbolic of the dancer’s inner journey toward unity with the cosmos. Each Karana is an act of devotion, embodying the philosophical and spiritual essence of Bharatanatyam.