Spotlight
Balasaraswati on Bharatanatyam

(T. Balasaraswati was born on 13 May
1918. We reproduce interesting excerpts from her Presidential Address at the
33rd Annual Conference of the Tamil Isai Sangam, Madras, which was published in
March 1984 (Sruti 5).
The Bharatanatyam recital is structured like a great temple: we enter through
the gopuram (outer hall) of alarippu, cross the ardhamandapam (half-way hall)
of jatiswaram, then the mandapa (great hall) of sabdam, and enter the holy
precinct of the deity in the varnam. This is the place, the space, which gives
the dancer expansive scope to revel in the rhythm, moods and music of the
dance. The varnam is the continuum which gives ever-expanding room to the
dancer to delight in her self-fulfilment, by providing the fullest scope to her
own creativity as well as to the tradition of the art.
The padam-s now follow. In dancing to the padam-s, one experiences the
containment, cool and quiet, of entering the sanctum from its external
precinct. The expanse and brilliance of the outer corridors disappear in the
dark inner sanctum; and the rhythmic virtuosities of the varnam yield to the
soul-stirring music and abhinaya of the padam. Dancing to the padam is akin to
the juncture when the cascading lights of worship are withdrawn and the drum
beats die down to the simple and solemn chanting of sacred verses in the
closeness of God. Then, the tillana breaks into movement like the final burning
of camphor accompanied by a measure of din and bustle. In conclusion, the devotee
takes to his heart the god he has so far glorified outside; and the dancer
completes the traditional order by dancing to a simple devotional verse.
* * *
The greatest blessing of Bharatanatyam is its ability to control the mind. Most
of us are incapable of single-minded contemplation even when actions are
abandoned. On the other hand, in Bharatanatyam actions are not avoided; there
is much to do but it is the harmony of various actions that results in the
concentration we seek. The burden of action is forgotten in the pleasant charm
of the art. The feet keeping to time, hands expressing gesture, the eye
following the hand with expression, the ear listening to the dance master’s
music, and the dancer’s own singing — by harmonising these five elements the
mind achieves concentration and attains clarity in the very richness of
participation. The inner feeling of the dancer is the sixth sense which
harnesses these live mental and mechanical elements to create the experience
and enjoyment of beauty. It is the spark which gives the dancer her sense of
spiritual freedom in the midst of the constraints and discipline of the dance.
The yogi achieves serenity through concentration that comes from discipline.
The dancer brings together her feet, hands, eyes, ears and singing into a
fusion which transforms the serenity of the yogi into a torrent of beauty. The
spectator, who is absorbed in intently watching this, has his mind freed of
distractions and feels a great sense of clarity. In their shared involvement,
the dancer and the spectator are both released from the weight of worldly life,
and experience the divine joy of the art with a sense of total freedom.
Posted by Sruti Magazine May 17, 2012
By Sruti