Starting from Tolkappiyam 2300 years ago, tamil sanga literature texts like Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance. ‘Pancha Marabu‘by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya,kooththu,,naatyam.It also describes the letters to be used for jathis-tha,thi,tho,ki,k. Then there is ‘Kooththa nool‘ authored by Saaththanaar. This is the oldest available text on the grammar of classical dance.‘Kooththa Nool’ has two sections, ‘Suvai’ and ‘Thogai’ with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord. It also says that ‘Om’ is the beginning and the end for everything. The author seems like a good psychiatrist, philosopher and most importantly an intellectual. The link between human life and the Nava Rasaas have been described in detail by the author. Here is a verse form Koothanool. Tastes emerge from the feelings within and these are expressed as dance. Feeling is the soul, Taste is the Mind, and expression is the body’. அகம்உயிர் ஆகச் சுவைஉளம் ஆக இழைஉடல் ஆக இயல்வது கூத்து. It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now. And this is applicable to any art form. However, ‘Silappathigaaram‘-one of the five major epics in Tamizh-is considered to be a complete book on classical dance. ‘Silappathikaaram’ gives a perfect description about Classical Dance and Music. Though there are lot verses, I am giving below one sample verse that speaks volumes about the quality of the work. It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’ ஆடலும் பாடலும் அழகும் என்று இக் கூறிய மூன்றில் ஒன்று குறைவு படாமல் ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில் சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி. However, it is the description about Classical Dance in ‘Silappadhigaaram’ that calls for special mention and appreciation. Ilango adigaL must have been a perfectionist. The author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’. He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists. What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated.
Good introduction.. She is so soft -well spoken, it's a delight to watch her speak and difficult to switch the video. south India /ns- I LOVE it's traditions and Everything IN ABOUT it!
Thank You! I wanted to learn more about this beautiful art form. When she gave some attributes of dancers of years past it reminded me of the Japanese Maiko of times long ago. The art of being well versed, conversation, art, knowledge, dress and DANCE! I wish art was valued more.
Bharathanatiyam is a name coined recently when the art form was taken over from the Tamil communities dedicated to the temples art activities from ancient times. It was called as Sathirattam and after all the Tamil kingdoms had their downfalls to Telugu and other North Indian powers. The music especially language used in the art form were taken to other languages that were promoted by the rulers. At the same time the art form was pushed into a situation that misconstrued the communities involved in the art form to a caste system used in North Indian kingdoms as “Devadashi”. When all the Tamil language and art forms were demonized by the Sanskritization both lingually and socially - the British period helped the revival of the art form - when Telugu and other Brahminical North Indian powers were brought under the British. Rukmini Devi Arundale is the pioneer in reversing that social discrimination and help raising the current versions of Bharathanatiyam art form.
Only bharatnatyam, mohinyattam and odissi are the dances that evolved from temple dancing traditions. She did not mention that. And also when she said dances from vedic and epic periods she did not mention what dances existed those times because there is no evidence as such. All these temple dance traditions existed only in southern part of India then how come it was mentioned in the vedas and epics.
She said it developed from those. After the establishment of solid cultural contact between Tamizkam and North at around 4th century BC much of the ideas many of which were vedic and Natyashastra written a century or so before propogated and established the culture of Tamil Nadu which was refined by the Sangam Age. So it's not a surprise that the dances were vedic derived because Natyashastra in itself has its roots in Sam Veda (book that joins rhythm to Rig Vedic rituals)
But, Odisha, Assam and Manipur are not part of South India, heck they are not even North Indians too. Therefore, Odissi, Sattriya, Manipur rasleela and Kathak has no Dravidian influence;)
இப்படிதான் இவங்க ஆதாரம் தராமல், வேதத்தில இருக்கு, அங்க இருந்ததுதான் தமிழ் நாட்டுக்கு வந்தது என்று சொல்லிக் கொண்டே இருப்பார்கள்! இதுதான் இவர்களுக்கு வாடிக்கை!
BHARATANATYAM.HAS NOTHING TO DO WITH VEDAS. Tamil culture of Iyal, Isai and Natakam has been stolen or copied or plagiarised and named as Bharatanatyam and Carnatic musics with sanskritised names! Is it not amazing that somebody in the Tamizh land defined all these as early as the 5th century? ‘Tholkaappiyam‘, the authentic work on Tamizh Grammar that was written in 500BC by Tholkaapiyar mentions a lot about classical dance. Other Tamil texts Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance. ‘Pancha Marabu‘by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya, kooththu, ,naatyam .It also describes the letters to be used for jathis-tha,thi,tho,ki,k. Then there is ‘Kooththa nool‘ authored by Saaththanaar. This is the oldest available text on the grammar of classical dance. ‘Kooththa Nool’ has two sections, ‘Suvai’ and ‘Thogai’ with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord. It also says that ‘Om’ is the beginning and the end for everything. Here is a verse form Koothanool: அகம்உயிர் ஆகச் சுவைஉளம் ஆக இழைஉடல் ஆக இயல்வது கூத்து. It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now. ‘Silappathigaaram ( Ilango Adigal 400-500CE; 1500 yrs old even before Parpanans migration to South India) gives a perfect description about Classical Dance and Music. It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’ ஆடலும் பாடலும் அழகும் என்று இக் கூறிய மூன்றில் ஒன்று குறைவு படாமல் ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில் சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி. Ilango adigaL author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’. He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists. What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated.e எழுகோல் அகலத்து எண்கோல் நீளத்து ஒருகோல் உயரத்து உறுப்பினது ஆகி உத்தரப் பலகையொடு அரங்கின் பலகை வைத்த இடை நிலம் நாற்கோல் ஆக ஏற்ற வாயில் இரண்டும் பொலியத் தோற்றிய அரங்கினில் தொழுதனர் (gives the desired dimensions of a stage), தூண் நிழல் புறப்பட மாண் விளக்கு எடுத்து ஆங்கு ஒருமுக எழினியும் பொருமுக எழினியும் கரந்து வரல் எழினியும் புரிந்துடன் வகுத்து (talks about the lighting). In just one verse, he gives the names of the seven swaras as per Tamizh PaN. குரலே, துத்தம், கைக்கிளை, உழையே இளியே, விளரி, தாரம் என்றிவை எழுவகை இசைக்கும் எய்தும் பெயரே சவ்வும் ரிவ்வும் கவ்வும் மவ்வும் பவ்வும் தவ்வும் நிவ்வும் என்றிவை ஏழும் அவற்றின் எழுத்தே ஆகும் Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam. In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale. Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam. In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale. ‘MaNimekalai’ (400 to 600 AD) written by ‘Seeththalai Saaththanaar’, the text mentions about Tala Aruthi, the eleven different forms of dance-as already mentioned in detail in ‘Silappathikaaram’-the two forms of ‘Kooththu’ and the existence of a grammar book on ‘Bharatam’.
Bharatanatyam.is a sanskritised plagiarism of Tamilar Chaturattam. Read history of iyal isai natagam of tamil culture reveals all so called bharatanattyam and carnatic music are stealing tamil culture and naming them with sanskrut words ...Bharatanatyam is mainly famous in Tamil.Nadu not in Hindi belt.. what these parpanarkal did was to brand " Isai vellalar the original custoduans of Nattyakalai and isai and natagam as " devadasis ( still in tirunelveli they are badly called as devidya pillaimar near Nellaiappar temple) ..then parpanarkal learnt from Tamil isiavellarkal and now sanskritised them. Nattya peroli Padmini, Ragini susters were taught by Thanavore Isaivellalars ...same is the mumoorthys Shyama, thiyagaraja and Dishit only borrowed tamil isaisai and added sanskrit flavours to make them appear " made in agraharam " . Plagiarism is congenital disease of parpanism.. Puranas are the entry point for brahmins to fraudulent stealing of or plagiarize others work...The 11th century Kashmiri poet Bilhana compares plagiarists to daityas (anti-gods) and their attempt to steal amrita (the nectar of immortality) during the churning of the ocean. His anxiety shows through as he writes: "साहित्यपाथोनिधिमन्थनोत्थं काव्यामृतं रक्षत हे कवीन्द्राः यदस्य दैत्या इव लुण्ठनाय काव्यार्थचौराः प्रगुणीभवन्ति ।। १.११ Listen lords of poets! Save this nectar of the ears that has arisen from the churning of the treasures of the ocean. Plagiarists, like Daityas, are smoothing it over for looting."
Starting from Tolkappiyam 2300 years ago, tamil sanga literature texts like Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance.
‘Pancha Marabu‘by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya,kooththu,,naatyam.It also describes the letters to be used for jathis-tha,thi,tho,ki,k.
Then there is ‘Kooththa nool‘ authored by Saaththanaar. This is the oldest available text on the grammar of classical dance.‘Kooththa Nool’ has two sections, ‘Suvai’ and ‘Thogai’ with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord.
It also says that ‘Om’ is the beginning and the end for everything.
The author seems like a good psychiatrist, philosopher and most importantly an intellectual.
The link between human life and the Nava Rasaas have been described in detail by the author.
Here is a verse form Koothanool. Tastes emerge from the feelings within and these are expressed as dance. Feeling is the soul, Taste is the Mind, and expression is the body’.
அகம்உயிர் ஆகச் சுவைஉளம் ஆக
இழைஉடல் ஆக இயல்வது கூத்து.
It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now. And this is applicable to any art form.
However, ‘Silappathigaaram‘-one of the five major epics in Tamizh-is considered to be a complete book on classical dance. ‘Silappathikaaram’ gives a perfect description about Classical Dance and Music.
Though there are lot verses, I am giving below one sample verse that speaks volumes about the quality of the work.
It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’
ஆடலும் பாடலும் அழகும் என்று இக்
கூறிய மூன்றில் ஒன்று குறைவு படாமல்
ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில்
சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி.
However, it is the description about Classical Dance in ‘Silappadhigaaram’ that calls for special mention and appreciation.
Ilango adigaL must have been a perfectionist. The author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’.
He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists.
What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated.
அழகா சொன்னீங்க.
அவங்களும் அழகா சொன்னாங்க.
🙏
Good introduction..
She is so soft -well spoken, it's a delight to watch her speak and difficult to switch the video.
south India /ns-
I LOVE it's traditions and Everything IN ABOUT it!
Very well explained. Wish to see more such things in real life as well. Thanks for making the video.
I am a bharatanatyam dancer . You clearly explained well .super
Thank You! I wanted to learn more about this beautiful art form. When she gave some attributes of dancers of years past it reminded me of the Japanese Maiko of times long ago. The art of being well versed, conversation, art, knowledge, dress and DANCE! I wish art was valued more.
Thank you so much ma'am for giving us such a wonderful knowledge.🙏🙏🙏🙏🙏🙏🙏
Very well explained!
I have learned about the great history of BHARATNATYAM. I thank her alot and I would also want every one to say so.
Thank you for explaining so clearly mam hope the culture still exists in the form of some persons
Well said Mam. This helped me.🌹🌹
JAYANTHI Akka thanks for keeping the audience enlightened..about BharathaNaatya
Great ma'm.... Excited to know more
Good explanation I am feeling to become a classical dancer
Very decently explained.
Ok
Bharathanatiyam is a name coined recently when the art form was taken over from the Tamil communities dedicated to the temples art activities from ancient times. It was called as Sathirattam and after all the Tamil kingdoms had their downfalls to Telugu and other North Indian powers. The music especially language used in the art form were taken to other languages that were promoted by the rulers. At the same time the art form was pushed into a situation that misconstrued the communities involved in the art form to a caste system used in North Indian kingdoms as “Devadashi”. When all the Tamil language and art forms were demonized by the Sanskritization both lingually and socially - the British period helped the revival of the art form - when Telugu and other Brahminical North Indian powers were brought under the British. Rukmini Devi Arundale is the pioneer in reversing that social discrimination and help raising the current versions of Bharathanatiyam art form.
She was to the point, in her words.
Mam, namaskar
Please don't take my words other wise.
You and your soul so beautiful .
first song: natesha kauthuvam :D
😉
Only bharatnatyam, mohinyattam and odissi are the dances that evolved from temple dancing traditions. She did not mention that. And also when she said dances from vedic and epic periods she did not mention what dances existed those times because there is no evidence as such. All these temple dance traditions existed only in southern part of India then how come it was mentioned in the vedas and epics.
She said it developed from those. After the establishment of solid cultural contact between Tamizkam and North at around 4th century BC much of the ideas many of which were vedic and Natyashastra written a century or so before propogated and established the culture of Tamil Nadu which was refined by the Sangam Age. So it's not a surprise that the dances were vedic derived because Natyashastra in itself has its roots in Sam Veda (book that joins rhythm to Rig Vedic rituals)
But, Odisha, Assam and Manipur are not part of South India, heck they are not even North Indians too. Therefore, Odissi, Sattriya, Manipur rasleela and Kathak has no Dravidian influence;)
இப்படிதான்
இவங்க ஆதாரம் தராமல், வேதத்தில இருக்கு, அங்க இருந்ததுதான் தமிழ் நாட்டுக்கு வந்தது என்று சொல்லிக் கொண்டே இருப்பார்கள்! இதுதான் இவர்களுக்கு வாடிக்கை!
can you please tell me the name of the song and the singer which is playing in the background..please help me..I really need to know this song.
Have you found the link ,please share
BHARATANATYAM.HAS NOTHING TO DO WITH VEDAS. Tamil culture of Iyal, Isai and Natakam has been stolen or copied or plagiarised and named as Bharatanatyam and Carnatic musics with sanskritised names! Is it not amazing that somebody in the Tamizh land defined all these as early as the 5th century?
‘Tholkaappiyam‘, the authentic work on Tamizh Grammar that was written in 500BC by Tholkaapiyar mentions a lot about classical dance. Other Tamil texts Pancha Marabu, Kooththa Nool, Bharata Senapathiyam have defined the grammar of classical dance. ‘Pancha Marabu‘by Arivanaar-which was also written almost the same time as Tholkaapiyam - describes in detail about music and dance. It talks about various hand gestures,abhinaya, kooththu, ,naatyam .It also describes the letters to be used for jathis-tha,thi,tho,ki,k.
Then there is ‘Kooththa nool‘ authored by Saaththanaar. This is the oldest available text on the grammar of classical dance. ‘Kooththa Nool’ has two sections, ‘Suvai’ and ‘Thogai’ with 153 and 162 verses respectively and says that the sound, the letters and the music emanated from the Dance of the Lord. It also says that ‘Om’ is the beginning and the end for everything. Here is a verse form Koothanool: அகம்உயிர் ஆகச் சுவைஉளம் ஆக இழைஉடல் ஆக இயல்வது கூத்து. It is a cryptic verse with very deep meanings but what was written nearly 2500 years ago holds good even now.
‘Silappathigaaram ( Ilango Adigal 400-500CE; 1500 yrs old even before Parpanans migration to South India) gives a perfect description about Classical Dance and Music. It says ‘One must start learning classical dance at the age of five without any compromise on Musical, Dance and Aesthetic Elements, practise rigorously for seven years and perform at the age of twelve.’
ஆடலும் பாடலும் அழகும் என்று இக்
கூறிய மூன்றில் ஒன்று குறைவு படாமல்
ஏழு ஆண்டு இயற்றி ஓர் ஈர் ஆண்டில்
சூழ் கழல் மன்னற்குக் காட்டல் வேண்டி.
Ilango adigaL author elaborates on the qualifications of a Dance Teacher, Percussionists,Vocalist,Flautist, and the person(s) playing the ancient instrument ‘Yaazh’. He deals with each and every aspect of dance starting from the vocalist, the lyricist, the percussionist, the instrumentalists. What amazes one is the way he has defined the structure of the stage. Not only has he given the dimensions of a stage but also that he has mentioned about the lighting, and the way the stage has to be decorated.e
எழுகோல் அகலத்து எண்கோல் நீளத்து
ஒருகோல் உயரத்து உறுப்பினது ஆகி
உத்தரப் பலகையொடு அரங்கின் பலகை
வைத்த இடை நிலம் நாற்கோல் ஆக
ஏற்ற வாயில் இரண்டும் பொலியத்
தோற்றிய அரங்கினில் தொழுதனர் (gives the desired dimensions of a stage),
தூண் நிழல் புறப்பட மாண் விளக்கு எடுத்து ஆங்கு
ஒருமுக எழினியும் பொருமுக எழினியும்
கரந்து வரல் எழினியும் புரிந்துடன் வகுத்து (talks about the lighting).
In just one verse, he gives the names of the seven swaras as per Tamizh PaN.
குரலே, துத்தம், கைக்கிளை, உழையே
இளியே, விளரி, தாரம் என்றிவை
எழுவகை இசைக்கும் எய்தும் பெயரே
சவ்வும் ரிவ்வும் கவ்வும் மவ்வும்
பவ்வும் தவ்வும் நிவ்வும் என்றிவை
ஏழும் அவற்றின் எழுத்தே ஆகும்
Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam. In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale. Sa-Kural; Ri-Thuththam;Ga-KaikkiLai;Ma-Uzhai;Pa-ILi;Dha-ViLari;Ni-Tharam. In another verse, he says PaNs(Ragams) are obtained by arranging the 12 Kovais(swaras) in a specified structure in the ascending and descending scale.
‘MaNimekalai’ (400 to 600 AD) written by ‘Seeththalai Saaththanaar’, the text mentions about Tala Aruthi, the eleven different forms of dance-as already mentioned in detail in ‘Silappathikaaram’-the two forms of ‘Kooththu’ and the existence of a grammar book on ‘Bharatam’.
Very good explanation, Sir
Bharatanatyam.is a sanskritised plagiarism of Tamilar Chaturattam. Read history of iyal isai natagam of tamil culture reveals all so called bharatanattyam and carnatic music are stealing tamil culture and naming them with sanskrut words ...Bharatanatyam is mainly famous in Tamil.Nadu not in Hindi belt.. what these parpanarkal did was to brand " Isai vellalar the original custoduans of Nattyakalai and isai and natagam as " devadasis ( still in tirunelveli they are badly called as devidya pillaimar near Nellaiappar temple) ..then parpanarkal learnt from Tamil isiavellarkal and now sanskritised them. Nattya peroli Padmini, Ragini susters were taught by Thanavore Isaivellalars ...same is the mumoorthys Shyama, thiyagaraja and Dishit only borrowed tamil isaisai and added sanskrit flavours to make them appear " made in agraharam " . Plagiarism is congenital disease of parpanism..
Puranas are the entry point for brahmins to fraudulent stealing of or plagiarize others work...The 11th century Kashmiri poet Bilhana compares plagiarists to daityas (anti-gods) and their attempt to steal amrita (the nectar of immortality) during the churning of the ocean. His anxiety shows through as he writes:
"साहित्यपाथोनिधिमन्थनोत्थं काव्यामृतं रक्षत हे कवीन्द्राः यदस्य दैत्या इव लुण्ठनाय काव्यार्थचौराः प्रगुणीभवन्ति ।। १.११
Listen lords of poets! Save this nectar of the ears that has arisen from the churning of the treasures of the ocean. Plagiarists, like Daityas, are smoothing it over for looting."
Yes