Chapter 17 Summary

Shall We Dance : Chapter 16 Summary : Navarasas

Shantha eloquently describes the Navarasas as the essence of Bharatanatyam, weaving emotions into a visual symphony.

She explained how the nine rasas — Shringara (love), Hasya (laughter), Karuna (compassion), Raudra (anger), Veera (heroism), Bhayanaka (fear), Bibhatsa (disgust), Adbhuta (wonder), and Shanta (peace) — form the foundation of storytelling in this classical art form.

Shantha emphasized that these emotions allow the dancer to connect deeply with the audience, transcending language and cultural barriers. Through precise expressions and gestures, each rasa brings a unique shade of human experience to life.

She beautifully highlighted how the balance of these emotions creates harmony in a performance. “The Navarasas”.

10 Minutes With Shantha

Chapter Summary 15 - Hasta Mudras

Hasta Mudras are the soul of Bharatanatyam, where every gesture tells a story, holds meaning, and evokes emotion. These gestures form a unique language, allowing dancers to communicate the unspoken.

They are categorized as Asamyuta Hastas (single-hand) and Samyuta Hastas (double-hand), symbolizing everything from gods and nature to human emotions. Shantha often says that using mudras feels like painting vivid pictures in the air, immersing the audience in the narrative.

Each mudra harmonizes with the eyes, breath, and expressions to create rasa, the emotional essence of the performance. Without them, Bharatanatyam would lose its voice, for mudras truly make the art divine.

Chapter 14 : Adavus - Shall We Dance

In this Chapter Shantha explores and explains about Adavus, the fundamental steps in Bharatanatyam, combining rhythmic footwork, hand gestures, and body movements.

She explains that Adavus are the building blocks for choreography, enabling dancers to master balance, precision, and grace.

Practicing Adavus develops coordination, posture, and stamina, forming the foundation for advanced sequences like jathis and varnams.

Each Adavu is performed in specific rhythmic cycles, deepening the dancer’s understanding of tala (rhythm). They also improve focus and discipline, essential for expressing emotions (abhinaya) effectively.

Adavus connect technique with artistry, allowing seamless storytelling. Without Adavus, Bharatanatyam’s elegance and complexity would be incomplete.

They are crucial for transforming students into skilled performers.

This chapter delves into the significance of dance imagery in Bharatanatyam, focusing on the 108 Karanas, the foundational dance movements described in the Natya Shastra. These Karanas, created by Lord Shiva in his cosmic dance form, are believed to lead practitioners toward spiritual liberation.

The chapter explores the sacred origins of the Karanas, their role in purifying the soul, and their physical components, including specific arm, leg, and body movements. The chapter emphasizes the deeper spiritual and ritual meanings of dance sculptures in South Indian temples, particularly those with 108 Karana depictions, such as in Thanjavur and Chidambaram.

These sculptures are shown to symbolize ritual, transformation, and meditation, integral to Hindu worship.

In this Chapter, Shantha opens with Martha Graham's profound quote, "Dance is the hidden language of the soul of the body," underscoring the spiritual essence of Bharatanatyam. Anchored in the ancient Natya Shastra, it delves into the foundational concepts of Karanas—transitional movements embodying Shiva's divine dance.

Shantha then goes on to discuss about the Natya Shastra serves as an authoritative guide on aesthetics, dramaturgy, and the interplay of Nritta, Nritya, and Natya, showcasing technical brilliance, emotive storytelling, and dramatic expression. Temple sculptures vividly illustrate the Karanas, integrating ritual, symbolism, and spiritual transformation. The chapter highlights the emotional resonance of Rasas and Abhinaya, bridging ancient tradition with modern practice.

Ultimately, Shantha discusses about Karanas as a sacred blend of artistry, narrative depth, and spiritual elevation in Bharatanatyam.

Please enjoy this audio podcast for 6.30 mins

Shall We Dance - Chapter 11 - Namaskar

Narrated by Shantha Lakshmi.

This chapter explores the foundational elements of Bharatanatyam, focusing on Namaskar and Adavus as vital components.

Namaskar, a salutation rooted in tradition, signifies reverence to the divine, the guru, and the audience through symbolic gestures and spiritual consciousness. Adavus, the basic dance units, integrate posture, rhythm, and hand gestures, fostering technical skill and artistic coordination.

Various types of Adavus, such as Tatta, Natta, and Mettu, are described with their unique rhythmic patterns and movements. The importance of Anga Shuddha (body alignment) and Tala Shuddha (rhythmic precision) is emphasized.

Postures like Samapadam, Araimandi, and Muzhumandi provide balance and visual appeal. Stylized walking movements (Charis) and expressive hand gestures (Hasta Mudras) enrich the dance vocabulary. Overall, the chapter establishes a strong foundation for understanding Bharatanatyam's technical and expressive nuances.

Narrated by Shantha Lakshmi

Chapter 10 of Shall We Dance explores the intricate art of Bharatanatyam, emphasizing its synthesis of various fine arts, including music, poetry, drama, painting, and sculpture.

The chapter begins with a quote by Constanze Mozart, "Dancing is like dreaming with your feet," highlighting the expressive nature of dance. It discusses the universal instinct for dancing and how Bharatanatyam, rooted in the Natya Shastra, has achieved unparalleled technical excellence in India.

The chapter delves into the fundamental aspects of Indian dance—Nrittya, Nritya, and Natya—along with the vigorous Tandavam and graceful Lasya styles. It emphasizes the importance of Abhinaya (gesticulatory expression) in conveying the dance's meaning, dividing it into four types: Angika, Vachika, Aharya, and Satvika.

The traditional structure of a Bharatanatyam performance, including Alarippu, Jatiswaram, Shabdam, Varnam, Padam, and Tillana, is also outlined. The chapter concludes by highlighting the goal of evoking rasotpatti (aesthetic emotion) in the audience, achieved through the dancer's deep connection with the character and emotions portrayed.