Maargam — a challenge for dancers
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The traditional Bharatanatyam format is structured like a great temple, said Balasaraswati. But how many dancers are committed to preserving that sanctity, wonders NANDINI RAMANI.
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The origin of dance can be traced to the precincts of temples.
THE TRANSFORMATION of Bharatanatyam from the premises of the temple precincts to the royal courts of kings and art-patrons, and then to the performance platforms, has been a process of beautiful evolution and synthesis of varied approaches at every stage, through technique and repertoire.
All through its eventful passage during the centuries, this dance tradition has retained its crucial basis — its traditional format or the Maargam (path) as it is known widely.
The Bharatanatya cutcheri, as quoted in the brochures of the dancers of the past and its pattern has thrived over the years, in spite of the changing scenario during the process of maintaining its importance, dignity, eternal grandeur and its continuity, though in fragments.
The traditional format is a rich, compact assembly of several aesthetic and psychological aspects that gives enjoyment, both to the creator (Kartaa) and the viewer (Sahrudaya).
That the dancer finds full self-satisfaction by adhering to the traditional format codified by the illustrious Thanjavur Quartet, through an aesthetic and spiritual path of fulfilment is an undisputed fact.
A beautiful synthesis occurs in the performance of the traditional format in its concept and execution. The sequencing of the items of the repertoire as prescribed in the format, allows the dancer to gradually blossom.
In the words of the legend T. Balasaraswati: "The traditional Bharatanatyam format is structured like a great temple; we enter through the gopuram, the outer prakara, that can be compared to the alarippu, cross the ardha mandapam or the mid-way hall, the jatiswaram, then the mandapam or the great hall, which would be the sabdam and enter the holy precincts or the Garbha Griha, of the deity in the varnam... "
Thus the dignity and perennial appeal of the traditional format of Bharatanatyam not only lifts the soul of the dancer to a spiritual plane altogether but also challenges the performer to prove her skill and grasp of the art in all its dimensions. However, it is becoming difficult for the Bharatanatyam artistes of today to adhere to the Maargam-based performance, in its full course.
It is rare to see a full Maargam concert — from alarippu to tillana as prescribed by the Quartett originally.
The famous dance duo — Tiruvazhahaputhur Sisters Rajalakshmi and Jeevaratnam.
Inclusion of Pushpanjali, Mallari, Kavutuvam, Mela Praapti, etc., from the temple repertoire, which were formulated specifically for the nritya upachaara of the divinity, have come to be identified with the Bharatanatya cutcheri in the last four decades to give a fresh thrust to the art form.
In this context, it would be interesting to read old brochures from the 1930s, which give details of items performed by some of the famed traditional dancers of the past.
In the present day, dancers are made to compromise on the Maargam presentation, due to various factors — peer pressure, parental pressure, the demands of the organisers for thematic-group productions, cross cultural ventures, joint efforts of solo dancers to remain in the scene, rising costs of the orchestra, and the much spoken, demonstrated need, "to go beyond or seek fresh horizons."
Often, the limited time duration, and the restlessness of the audience to watch a whole Maargam are cited as reasons for resorting to deviation.
Whatever may be the cause, it is becoming a matter of great concern, for all those engaged in the promotion and preservation of the art of Bharatanatyam and its authentic values.
Today's dance pattern is focused towards different goals. It revolves round the survival and the successful sustenance of the individual artiste. While aiming at this, the artiste has to take care of various commercial aspects of the art which serves as a " form of entertainment and a medium of communication."
It, therefore requires a great deal of commitment from the artistes at all levels, to keep up the traditional values of the Maargam in her chosen Sampradaya.
A desire and determination to foster one's dance heritage in all its pristine purity and glory is the need of the hour.
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