Natya aficionados might have found that during my presentations, new terms are used for traditional items of the repertoire. Here is the explanation:
Varnam or Nrityopahaaram (an offering of dance and mime) is the judicious combination of nritta, nritya and naatya, expounding the deep-rooted technique of physical, mental and spiritual background of Bharatanatyam. This can be called the quintessence or epitome of a technique. The present day ‘Varnam’ format in a solo Bharatanatyam performance has the time and space for a dancer to showcase her or his technical virtuosity and sustain the interest of the audience, irrespective of the length of delineation. The success and failure of a Bharatanatyam artiste depends on how well he/she presents ‘Nrityopahaaram.’
The term ‘Varnam’ has been in vogue for long as a warming up exercise in Carnatic system of music. But it never was a main item in the padhathi. Usually a ‘taana varnam with ‘gamaka’ exercise is sung as an opening song and then followed by a song on Vigneswara.
But in the Bharatanatyam repertoire, a Pada-varnam occupies the central space, the word loosely translated as a colourful item. So I coined the word “nrutyopahaaram — nruthya (dance combined with expressions) + upahaaram (offering). Actually the function of this unique piece is expressive musical raga construction with good lyric and meaningful communicative content. This elaboration may be construed as “colourful or various hues of expressions.” (Justification) .
But when artistes take up compositions such as the Pancharatnam of Tyagaraja or Bhavayamiraghuramam of Swati Tirunal as the main piece in place of the Padavarnam, it may not be appropriate to call them Varnam, as such songs are not in the musical format of a Taana Varnam or Padavarnam. The Sanskrit word, “nritya-upahaaram or nrityopahaaram overcomes this catch.
It was in 1974 that I first used the term and consulted several Sanskrit scholars before doing it. And that came to stay. I announce it as Nrithyopahaaram based on the so and so Padavarnam of so and so composer.
I coined the word “Nrittaangahaaram” (garland of body movements) for ‘Tillana’ (this name is found in the Natya Sastra for the composition of two or more nritta karanas in a chain of sequences). The word ‘Tillana ‘ might have been derived from the Hindustani music “Taraana” and later on changed to ‘tillana.’ According to Dr. Raghuraman, it could have been a Tamil word, ‘Tiralaana’ meaning fast movement. Whatever the etymology, ‘Nritta angahaaram’ suits the finale of a Bharatanatyam performance, which literally is a garland of body movements. I announce this as Nrittaangahaaram based on the tillana music composition of so and so.
The new name for Jatiswaram is Nritta-swaraavali — doing nritta compositions for ‘swaraavali’(composition of musical notes). Except a small Jati Tirmanam in the beginning, the compositions or korvais are set only to musical notes.
In the Kuchipudi natya tradition, actual “Jateeswarams’ are performed and as far my knowledge goes, there is one real ‘Todi Jateeswaram,’ a composition of the Thanjavur Quartet. Padma Subrahmaniam has taught it to her niece Mahathi Kannan, who performs it exquisitely.
Is it a sacrilege to rename traditional items? Not really. Changes have taken place periodically, not only in the Bharatanatyam repertoire, but the other performing art forms as well. The name Bharatanatyam itself came into vogue after replacing the old names such as Chinnamelam, Sadirattam and Dasiaattam.
I have not patented these new names. Any one, who thinks these names are more appropriate to Natya presentations are welcome to use them.