In the end, the dit dit tai adavus are used once to finish the shabdam After this, the second line of the sahityam is done in abhinaya. Earlier they were composed in Kambodi, now Ragamalika Shabdams are danced to.Īfter showing the abhinaya, at the end of each line in the sahityam, striking the foot to “Takita takadhimi” followed by Tat tai ta ha once, followed by the jati “tari taki nanaka tadhi mi dhi mi ki ta” is used. Dasavataram, Ramayana, Gajendra Moksham are some themes explored in Shabdams. In general, Shabdams describe the hero’s qualities, for the scope of abhinaya other Bhavas are introduced. This is the reason, why Shabdam were also known as Salamu. For eg: “Prathapa Simma Bhopala Salamure” and “Padhmanadha salamure” are present in Shabdam in praise of Tanjavur king and Trivandrum Padmanabha swamy, respectively. In this context, shabdams exist that end with Salamure. Making this word more pristine to kausthubam is wrong, not correct.
This is seen in Kathak and similar compositions in Kathak is called kavitham or kavithavam. Such words filled with praises is called Shabdam. In praise of a god, in the temple or in a procession, or a king/ruler, pointing to them and praising their qualities is called Yasogeethi. That is meaningful words that make a story are shown for the first time. In her book “Bharatanatyam” published in 1958, Balasaraswati adds: (I have translated from Tamil to the best of my knowledge) In the shabdam, emotions are withheld at the beginning thereafter, when the dancer has clarified herself, they are released in a measured and disciplined manner. Refined in the crucible of alarippu and jatiswaram, the dancer potrays the emotions of the musical text in the shabdam in their pristine purity. Then the thillana breaks into movement like the final burning of camphor accompanied by a measure of din and bustle.Īt first, mere metre, the melody and metre continuing with music, meaning and metre its expansion in the centerpiece of the varnam thereafter, music and meaning without metre in variation of this, melody and metre in contrast to the pure rhythmical beginning a non-metrical song at the end. Dancing to padam is akin to the juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of the sacred verses. The BN recital is structured like a Great Temple: we enter through the gopuram of alarippu, cross the ardhamadapam of jatiswaram, then the mandapa of shabdam, and enter the holy precinct of the deity in the varnam…The padams follow…cool and quiet of entering the sanctum from its external precinct.
It is here that compositions, with words and meanings, which enable the expression of the myriad moods of BN are introduced.
Jatiswaram bharatanatyam song update#
If I find anything different or in detail then the ones given here, I will update this document.īalasaraswati says in her presidential address of Tamil Isai Sangam’s conference in 1975, where she gives the temple entering analogy. There are other sources, which I have not come across, yet. After reading all this, you can see at the end my responses to each of the questions raised like a 2-mark answers 🙂 I have not cherry-picked these since they agree to the previous statement, rather picked the entire passages that talk about Sabdham. Another reason is that Sabdham has some flexibility that can be seen after reading the following passages.
So, read it and then come to some conclusion. The main reason is one should read the source and then interpret it on their individual basis. On the outset, I want to say that I am profusely quoting from dancers and scholars from the sources I have/read.
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