Q. I was going through a poll on a website and someone said, "I like Pada Varnams". In fact, there was a separate category on Varnam. From the definition of Pada Varnam that I have just read and reflecting on what I have learnt from you, have you taught us all Pada Varnams? Why do we just call it Varnam and not categorise it? Or does each fall under a different category, like Pada Varnam, Taana Varnam? Thanking you for your patience, awaiting your reply, Mrudula
Guruji answers: First understand what Varnam-s are... they are songs that have a set format, i.e. Pallavi, Anupallavi, followed by Chittaswaram, then comes Charanam. In Charanam, there are two or three Swaram-s of one avartanam, one Swaram of two avartanam-s and finally one Swaram of four avartanam-s. The two Varnam categories are Taana Varnam and Pada Varnam. Pada Varnam-s are suitable for choreography in Bharatanatyam and mostly, only these are used. When a Taana Varnam is used, special mention is made.
Pada Varnam: This has Saahityam for all Swaram-s. They are fairly slow paced. In the Bharatanatyam margam, only one Varnam is taught, since they are very elaborate. In earlier times, only Sringara-based Varnam-s were used in dance. This gradually gave way to Bhakti and soon Bhakti-based Varnam-s came into vogue. Today, we have many Pada Varnam compositions for Bharatanatyam.
Taana Varnam: This does not have Sahityam for Swara-s. Usually, the speed is such that it suits Duritha Kaalam and Tisra Gati. Students of Carnatic music learn at least twelve Taana Varnam-s. Most of the compositions are Sringara based.
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Q. What is the difference between the Tanjavur (Tanjore) and Pandanallur Bani?
- Maya Rao
Guruji answers: According to our Purana-s (religious texts), Bharata Muni and Nandikeswara have each written only one Sastra (treatise) on Dance. So the basics are the same for any Bani or style of Bharatanatyam. One can go even further... Natyasastra sets the same basics for all Indian dance forms.
The advent of the Tanjore Quartette comprising Chinniah, Ponniah, Vadivelu and Sivanandam marks a new era in the history of Bharatanatyam, as it led to the introduction of the present pattern of a recital. They set the Margam that is followed today.
Pandanallur Meenakshi Sundaram Pillai learnt the art from the four brothers and later became the son-in-law of one of them. After completing his formal learning, he moved away and started teaching. He made some changes and variations in the presentations, since he interpreted some songs a bit differently. The Sastra remained the same, of course.
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Q. Is there a fixed pattern in which Jatiswaram should be performed / choreographed? Can there be any variations to it? Does the dance style make any difference to how a Jatiswaram is performed?
- Mrudula Naveen
Guruji answers: Jatiswaram-s do have a set pattern. Usually set to Rupakam, there is always a Pallavi, followed by Swara-s. Swaram is sung and jati-s are performed to it. Swarajati-s have lyrics and swaram can be done without singing jati. (i.e. for example, you can sing sa, sa da pa ga ri sa ri da sa... and do the jati, without saying tam ta jam, ta ka na ka ta ka ja nu...) This was the pattern not so long ago. But now, the Jatiswaram pattern is set and is the same in any dance style. By 'Dance Style", I think you mean Pandanallur, Tanjavur etc. dance schools.
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