(Jrt)
Bharata natyam
The bharata natyam is a form of Indian classical dance originating in the south of India. The origin of the name comes from Bharata natyam Bharata, the Indian name of India and natyam, the Tamil word for dance. This is one of the oldest Indian dance. She was fully reserved for men and was linked to religious practices at the outset. Over time, she was forbidden to men under the English domination, but allowed in counters french (south).
She was saved at the beginning of the twentieth century, an almost total oblivion. Rukmini Devi Arundale (1904-1986), which launched in 1936 the Foundation Kalakshetra near Chennai, has played a major role in safeguarding this art millennium.
The bharata natyam is a dance soloist whose learning is very difficult and long. Often taught to young girls today, it remained open to boys. Raghunath Manet now helping to disseminate throughout the world.
Ganapati Vandana
A traditional opening prayer to the god Ganesh, which avoids the obstacles.
Alarippu
A presentation of tala (rhythm), following syllables sung by the dancer. It is actually an invocation of the gods to bless the show. This dance represents the opening: the postures and movements increasingly complex symbolize the blossoming of a flower and art.
Jatiswaram
An abstract dance where the rhythm is punctuated by the drum. The dancer here shows his dexterity in the work of the feet and through movements of his body.
Shabdam
The dance is accompanied here by a poem or a song about a theme or devotional love. This dance speaks often of the gods. In the course of a recital is the first dance narrataive, using and developing parts of expressive dance.
Varnam
The centrepiece of the show. It is also the longest part that shows the movements of the most complex and difficult. The positions of hands and body tell a story, usually of love and desire.
Padam
Probably the most lyrical where the dancer expresses some forms of love: devotion to the supreme being, maternal love, love of lovers separated and then combined.
Tillana
This last part is an abstract dance where the virtuosity of the music finds its parallel in the work of feet and poses exciting of the dancer.
The show ends with the recitation of verses some form of religious blessing.
Music and instruments
It is in the Carnatic style of southern India, regarded by some as a more pure than the music of northern India.
The instruments used in all accompanying bharata natyam are more common in the south and in northern India, as mridangam (drum), nagaswaram (an oboe in the form suggestive body snake), the flute come, violin and vînâ (a stringed instrument, Indian lute).
The modern artists
Medha Hari, TMSridevi, Archana Raja, T. Sangeeta, Lakshmi Priya, A. Vandana, Raghunath Manet have popularized the dance throughout the world. Among the major teachers bharata-natya are: Minakshisundaram Pillai, Chokkalingam Pillai, Ram Goppal.
Raghunath Manet:
Dancer, choreographer, musician, composer, singer, Raghunath Manet is all at once.
Son spiritual Ram Gopal, Raghunath is regarded as one of the biggest Indian artists. It is appreciated for being innovators and first introduced the concept of choreography in bharata-nâtyam.
Student Ram Gopal, he revisited the Indian dance of southern India and has adapted to the morphology men.
Manet is also an outstanding player veena, the oldest instrument of South India, Dr. Balamurali Krishna, the greatest singer of India, said of him: "Sri Raghunath Manet is a great player and a veena wonderful dancer bharata-nâtyam. This is an artist of great calibre, the extraordinary talents. It mastering all the subtleties that requires Indian art. Undoubtedly, Raghunath Manet is the leader of the new generation. "
Raghunath Manet occurs on trays international (Opera-Bastille, Shakespeare's Globe in London, Theatre Olympico in Rome) and prestigious collaborations with Michel Portal, Didier Lockwood and Carolyn Carlson.
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