Výuka tance Bharatanatyam v Praze od 24.10. 2012

Inspirace krásou indických žen

Medieval decline

Local kings often invited temple dancers (devadasi) to dance in their courts, the occurrence of which created a new category of dancers -- rajanarthakis—and modified the technique and themes of the recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.

The Natya Shastra-based margi elements, such as karanas, that were meant to spiritually enlighten the spectators, were gradually replaced by desi karanas which were later replaced by adavus. The Bharatanatyam recitals and ballets started more and more popularly viewed as a form of desi entertainment.

The quartet of Chinnayya Pillai, Ponniah Pillai, Sivanandam Pillai and Vadivelu Pillai of the Tanjore Court, during the rule of Maratha King Saraboji II (1798–1832), made a rich contribution to music and Bharatnatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various items. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatnatyam in Tanjore. Some of the well known Nattuvanars were Guru Meenakshisundaram Pillai, Guru Muthukumara Swami Pillai, Guru Ramaiah Pillai, Guru Kittappa Pillai, Guru Kubernath Tanjorkar, Guru Dandayudhapani Pillai and others. The fall of the Hindu kingdoms in the South marked the eventual decline of Natya, as the Muslum invasion in the North has completely wiped out Natya there. The sacred dance, one of the constituents of the Sodasa Upacharam, was replaced by rice offerings.

source: http://en.wikipedia.org/wiki/Bharata_Natyam

Spiritual symbolism

Bharatnatyam is the manifestation of the ancient idea of the celebration of the eternal universe through the celebration of the beauty of the material body. Some Bharatanatyam techniques can be traced back to the Kaisiki style. The Natya(I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".

Apart from the Kaisikii style, Bharatnatyam imbibed some others. These reflect other yogis of spiritual revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panca-kriya): creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (smhara); concealing, veiling, hiding the transcendental essence behind the garb of apparations (tirobhava); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in Tamil Muyalaka (PRIT) -- who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences.

source: http://en.wikipedia.org/wiki/Bharata_Natyam

Essential ideas

Bharatnatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi(element of water), Kuchipudi (element of earth), Mohiniattam (element of air) and Kathakali (element of sky or aether). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. Contemporary Bharatanatyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools (see Yoga and Dance).

Bharatnatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava Ananda Thandavam (Tamil) (the dance of Shiva), masculine aspect, which is identical to the Yin and Yang in the Chinese culture.

source: http://en.wikipedia.org/wiki/Bharata_Natyam

Dance tradition

Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam (தொல்கப்பியம்), as well as the later Silappadikaram (சிலப்பதிகரம்), testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. TheSilappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played a major role. But, we cannot be sure that these references are to "sadir."

In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharatnatyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatnatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.

In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti.Bharatnatyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharatnatyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya).

The Tamil country especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharatnatyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatnatyam in Tanjore. Originally, they formed a community by themselves and most of them were Saivite non-Brahmins.

source: http://en.wikipedia.org/wiki/Bharata_Natyam

Bharatanatyam II.

Chrámový tanec bharatanatyam je u nás novinkou, a teprve si hledá své příznivce a místo. Naopak v Americe, Anglii, Francii a dalších zemích si našel velkou oblibu u tanečníků, divadelníků, hudebníků a duchovních aspirantů. Ráda bych tímto seriálem přiblížila tento tanec s dlouholetou tradicí a jedinečnou technikou také našim lidem, jenž by se rádi dozvěděli něco nového na uměleckém poli tance. Jelikož literatura o tomto tanci u nás není, budu poznatky čerpat především z vlastní praxe a studia a z internetových stránek.            

Bharata Natyam

Bharatanatyam is a classical Indian dance form originating in the South Indian state of Tamil Nadu. This dance form denotes various 19th and 20th century reconstructions of Sadir, the art of temple dancers. Sadir in turn, is derived from ancient dance forms. Bharatnatyam is usually accompanied by the classical music. It has its inspirations from the sculptures of the ancient temple of Chidambaram. Bharatanatyam, as the name depicts is the combination of:

'Bha' - Bhavam (means expression), 'Ra' - Ragam (means music), 'Ta - Talam (means beat or rhythm) and Natyam (means dance) in Tamil.

Bharatanatyam is a reworked dance-form from the traditional "sadir" known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over the world.

source: http://en.wikipedia.org/wiki/Bharata_Natyam

Bharatanatyam - I.

Rozvojem technické, vědecké, ekonomické a sociální sféry přibývá příležitostí k rozvoji osobnosti v různých oblastech lidského bytí. V důsledku globalizace dochází k propojení mezi národy, a tím také k větší možnosti přijímat znalosti, dovednosti a hodnoty jiných kultur. Neutuchající touha po poznání smyslu lidského bytí v nás odedávna probouzí zájem učit se, poznávat a hledat něco, co by bylo zdrojem trvalejšího štěstí a míru. Jedním z takových zdrojů je i pohyb. Pohyb jenž je vykonáván vědomě a v souladu s tělesnými a pohybovými principy. Pohyb skýtající prožitek štěstí a harmonie k plnohodnotnějšímu naplnění života.

Dvoudílný seznamovací seminář s chrámovým tancem Bharatanataym

Ve čtvrtek 10.5.2012 a v pátek 11.5.2012 pořádáme v učebnách PEI AROS - 1. a 2. část seznamovacího semináře chrámového tance Bharatanatyam.

Vysvětlení základních údajů o tanci. Praktická část – výuka technického tance, výrazového tance a jejich kombinace. Cílem semináře je předat, jaké jsou možnosti vyjádření se v pohybu, skrze tanec.

Pouze 6 míst.

Kdy: 10.5.2012 a 11.5.2012

Čas: 18.00 - 19,30

Vyučující: Kripa Devi - http://kripa-devi.blogspot.com/p/kripa-devi.html

Přihlášky: e-mailem na kripadevi@seznam.cz nebo 777 100 695

Vhodné pro: všechny, kdo mají zájem pracovat se svými pocity a svým tělem

Cena: 360,-Kč za obě části semináře

Bharatanatyam 0. - mytologický původ tance

Už v nejstarší dochované učebnici divadelního umění Nátjašástře (2.stol.př.n.l.), připisované legendárnímu světci Bharatovi se vypráví o tom, jak proniklo toto taneční umění na Zem. Bůh Brahma stvořil divadelní umění na žádost bohů a lidí v době, kdy byl svět ve stavu mravní otupělosti (kalijugy). Použil proto části ze čtyř Véd (posvátných knih) a vytvořil text pátý, Védu o divadelním a tanečním umění. Přičemž právě kapitoly o tanci přenechal samotnému bohu Šivovi, který je Králem tance. Védu nazval Natjavédu a tu předal mudrci Bharatovi. Ten vytvořil pozemskou formu textu, jež je dnes známá jako Natjašástra, a šířil její vědění se svými sto syny, nebeskými tanečnicemi apsarami a gandharvy (božskými hudebníky). 

Bharata poprosil o pomoc i samotného Šivu, aby vyučoval svému tanci. Ten se pak se svou ženou bohyní Párvatí ujali výuky, vyškolili několik žáků, skrz něž se pravidla tohoto nebeského tance dostala až na Zem. Tento tanec byl plný kodifikovaných gest, pozic a pohybů. Ztvárňoval božský sňatek, individuálního já s kosmickým já. Mnohdy byl nazýván také natja jógou-taneční jógou. Šiva jako původce tohoto tance je nejčastěji zobrazován jako Natarádža nebo-li Král tance. V této podobě je symbolem věčného pohybu univerza. Skrze jehož rovnoměrný rytmus tance se dává univerzum do pohybu a začíná se manifestovat ve všech svých tvarech. Někdy bubnování přeruší, aby nalezl nový, lepší rytmus. Tehdy universum zanikne, aby s dalším tancem znovu vzniklo (Ravi, 2005, Soundararajan, 2005).

Tanečník Natarádža se ukazuje opět v nespočtech podobách. V jemnější ženštější podobě např. jako Vínadhára (hrající na vínu) a mužštější podobě např. jako Apasmara (Šivův tanec vítězství nad nevědomostí v podobě trpaslíka Apasmara). V tanci se těmto dvěma principům říká lasja a tándava, tanec Párvatí a Šivy.