The second day of the Natya Darshan seminar featured a lec-dem on ‘The Manifold Expressions of Space in Classical Indian Dance’ by Mandakini Trivedi, noted Mohiniyattam exponent.
In a talk that outlined aesthetic, symbolic and spiritual dimensions, the artist dwelt upon dancers’ connect with their core energy. In martial arts, the all-important core is called hara . In Chinese medicine, it is known as the second brain. Natya acharyas express it in terms of helping the student ‘catch the core’. The core and the spine are considered significant, accounting for the emphasis placed on the navel region. There are two energy channels above and two below the navel, from which radiate 20 more. From these 24 channels, emerge 3,000 energy channels, the subtle network forming a configuration within the body, akin to the Sri Yantra.
In Indian classical dance, this is manifested as the basic triangular stance, outlining one triangle, with other grids of 3 and its multiples being housed within the body.
A dancer’s inner energy, explored through stances and adavus can reach outwards like laser energy. In terms of exterior space, a dancer is within a cube, which moves along with him/her during each movement. The entire body is contained within a compact external grid of 9 cubes (3x3) and within this, the dancer moves in perfect proportion. Any movement extending beyond the space inscribed by the cube appears incongruous, violating Nature’s geometry. This projection of inner space into an outer space forms a cosmic mandala which we call an aura. For instance, the Buddha’s aura is said to have extended across 40 miles.
Chakras are energy centres in the body. The specific origin point of mudras, their placement and trajectory in the external grid lends meaning to positions and directions, enabling levels in abhinaya for creation of rasa and bhava. While base emotions such as anger and greed originate from the lower chakras , middling emotions such as love and passion proceed from the central chakras and lofty emotions such as santam and renunciation arise from the higher chakras , expressed through mudras correspondingly positioned. For instance, the starting point of the mudra depicting the reference to oneself, i.e. ‘I’ differs from one role to another.
The natya of an earlier age was closer to the yogic tradition. In the Manipura chakra , the 10 fingers are connected to 10 petals of the lotus and hasta karanas in the Natya Sastra channelise this energy.
The artist demonstrated a segment from her on-going choreography of the invocatory verse from the Isha Upanishad ‘Om Purnamadah Purnamidam’. Her interpretation of the Shanti mantra radiated a serenity that reflected a sense of oneness with the self and the universe. The accompanying music featuring vocals, veena and ila thalam linked by a meditative thread, was a perfect complement.
A social anthropologist and Fellow at the NMML, New Delhi, Aarti Kawlra has had an extensive tryst with continuing craft traditions. Her illustrated talk on ‘Sari Design in Handloom Weaving: An Interpretation’ was based on her study of traditional handloom sari weaving practices in Kumbakonam, Swamimalai and Madras for two decades. Viewed as a symbol of auspiciousness, the sari is said to have rasi woven into it. Weavers adhere to strict rules of prescription, observing lunar and solar conjunctions specified in the Panchangam to ensure augmentation of well-being (nalla rasi). They believe that failure to follow guidelines may have inauspicious effects (ketta rasi) on both the weaver and wearer. Even the placement of the pit loom is in consonance with the weaver’s horoscope.
The human body is viewed in relation to its surroundings. Thus the sari warp extends along a vertical axis from the weaver’s navel, while the weft is the horizontal axis. The sari is seen as a three-part construct – karai (border), udal (body) and mundanai (pallu).
Colour, balance and rhythm are the three elements of design. Saris must have a border to be considered auspicious, as those without are considered as yardage. Korvai saris feature the body and border in contrasting colours and are predominantly woven in arakku , manjal and pachai hues.
Dual or tri-colour contrast schemes are common, while a shot colour in the udal uses one colour in warp and another in weft. Ornamentation represents rhythm through repetition of motifs and takes the form of raised patterns woven in gold, silver or plain thread.
Sari texture is defined by density; in turn determined by the quantity and quality of thread used. Density constitutes the element of balance.
Viewed as a whole, the design in front and back, top and bottom works on the principle of unity and opposition.
