There is a special relationship between Tamil music and Bharatanatyam. I consider it a great privilege to have this honour conferred on me in this year of the 600 th anniversary of Arunagirinathar, who sang the praise of Arumugan (Lord Muruga), the darling deity of Tamil Nadu. I am sincerely grateful to the Tamil Isai Sangam for giving me the honour of presiding over the Conference this year. Reproduced here is a translation of Balasaraswati's Presidential speech at the Tamil Isai Sangam on the occasion of her receiving the Isai Perarignar award. It was left to others to fight prejudices and stupidity, do research, delve into the past, give the dancer's profession respectability and so on.". Balasaraswati made the public aware of Bharatanatyam, not by deliberate efforts as a reformer, but by the beauty and the eloquence of her dancing. Outside the pale of the temple and court there were hardly any public performances. Bharatanatyam to the public until then was an esoteric art practised for the pleasure of a few connoisseurs and dilettantes.
The jatiswaram then becomes a dance where the dancer presents as much of pure dance as she can with a wide range of improvisation both in terms of the adavu sequences as well as rhythmic patterns."No dancer captured the public imagination as Balasaraswati did in the thirties and forties. In the second portion, there is a note to note synchronisation of the movements with the swaras.
Hence, it is observed, that in the first portion, there is general synchronisation of the dancers movements and the swaras of the song. The cross rhythms and non- synchronised patterns of the dance when the dancer deliberately does not execute a note to note synchronisation, is equally governed by the musical melody and the metrical cycle (talam). It is noticed here that while composing for each of these melodies, the dancer has to bear in mind that the dance patterns are governed by the musical patterns.
#Jatiswaram bharatanatyam song full
In the second half or anupallavi, the dance cadences are also set to the full line of the note (swara) and combination of different swaras. It may be set to any of the jaatis of the tala, i.e., to beats of 3, 4, 5, 7, or 9. The dance choreography relates to the melodic line, sometimes through a note to note synchronisation, at other times, through syncopation. In the pallavi, to the repetition of the sung melody, the dancer weaves different rhythmic patterns from the primary adavus. The jatiswaram follows the rules of the swarajati in musical structure and has three parts – pallavi, anupallavi and charanam.
It is distinguished from other musical compositions like gita, sabdam or varnam by having no lines of poetry. Unlike alaripu, where the dance is performed to mnemonic syllables, in jatiswaram another element of melody is introduced. It is so named on account of the fact that it is consists of jatis set to the swaras. Just like its name, it is executed to the tune of a combination of swara passages in a particular raga and tala. Jatiswaram is an example of a pure dance or nritta sequence in which the performer weaves several patterns on a basic musical composition. Today I thought of writing about the concept, the rules it follows and its structure, though most dancers would already be familiar about it. In the past we have uploaded many dance items from various shows on our website, face book page as well as the you tube channel, Jatiswaram being one of them.
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