One of the important aspects of choreography is to understand rhythm, through which one can choreograph dance to either musical patterns or beat patterns.
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Gitam Vadyam Thatha
Nrityam Sangeetham Treyam Ucchyate.
Gitam – Music, Vadyam –Instruments, Nrityam -Dance, all three together combined to be termed as Sangeetham. Thus, the Sanskrit word Sangeetham meant more than music in the narrow sense as we understand it today. It implies a close relationship of music with dance and theatre.
These words are from the Upanishads of India written around 1000 BCE. What does this statement made more than 3000 years ago or even more, have relevance for the dance art form bharatha natyam today? Well, the Upanishads had already recognized the movements in between musical swaras melodic notes, called gamakas the musical movement itself in gitam -song has a vast field of expression as the movements of beat and shift in tempo.
To quote the words of the noted French historian, intellectual, musicologist, and Indologist, Alain Danielou. Among the important contributions of India to the music of the world, the most astonishing is probably in the field of rhythm. No country ever created a rhythmic art so elaborate and so complete. None ever evolved a notation of rhythm that can compare with the Indian system.
The Puranas and Sanskrit literature played an important part in preserving the notated versions of the rhythmic structure, as in any Puranas the norm was to dedicate a whole chapter to music and only then would it count to be called a Purana in literary standards established by the great sages. So, what is rhythm?
Rhythm by itself is not only sound or beats with symmetry, marked by the regulated succession of fast and slow tempos, (tempo -Kala pramanam) but also with colour and line, has a pattern and design, a visual presentation, as a timed movement through space.
Since dance has both music and rhythm, Bharathanatyam is based on the Carnatic style of music, raga and thala, it is but necessary for us to understand the carnatic music of India with its 72 melakarta ragas and 108 thalas., the ability to count and musical depth and understanding of the Carnatic system is important for choreography in Bharathanatyam.
In Carnatic Music, there are five categories of tempo-Kala, namely - Chauka (1 stroke per beat), Vilamba (2 strokes per beat), Madhyama (4 beats per beat), Dhuridha(8 strokes per beat), Adi-Dhuridha(16 strokes per beat). But, although the tempo changes, the fundamental rhythm does not when established in a given Tala.
There is also another world of rhythm besides counting, these are the yatis, jathis, korvais, theermanams, kalams and along with the Tala dasa pranas. One shall also learn about Azhuttam(accents) on yedams(points) similar to stressing on beats not accented by the thalam(counting). Gati Bedhams(different permutations of counting and rhythmic laws governing them), additive and divisive, various approaches to counting for choreography.
The dancing at times is demanding in its insistence on variations and detailing, yet, it also has the quality of greatness which is solely associated with the individual brilliance of the Vidwan(maestro) or Acharya, Guru (master teacher).
It is worth noting that the music system Bharathanatyam is based upon is close to 3500 years old and has a unique and great tradition still followed by various banis, and styles of presentation.
Thus, the system of rhythm in Carnatic music is one of the greatest contributions of India to the world of music and dance.
Author : Harikrishna Kalyanasundaram, Director, Sri Rajarajeswari Bharatha Natya Kala Mandir
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