MARGAM
The format and sequence of dance numbers for a Bharatanatyam recital form the graded structure of the concert called Margam. Items within the recital are traditionally arranged with increasing intensity for an experience akin to entering a temple and progressing from the entrance to the Sanctum Santorum. This format was formalized by the Tanjore Quartet Chinniah, Ponniah, Sivanandam and Vadivelu who were musicians in the court of Kings Serfoji of Tanjore and Swati Tirunal of Travancore about 200 years ago.
Silambam Phoenix's first full length production was titled Margam. The production was a thematic representation of the items formalized by the Margam tradition and followed the sequence outlined by the Tanjore Quartet.
In the traditional Margam sequence outlilned by the Tanjore Quartet, the opening numbers of a recital are usually a Thodayamangalam, pushpanjali and alarippu. Silambam Phoenix dancers began the recital with a Thodayamangalam in praise of Lord Rama. Thodayamangalam literally means auspicious beginning and is uaually in praise of a particular deity. They followed this with a Tisra Alarippu. Alarippu means that which blossoms and gives joy. This pure dance number provides a crisp introduction to the basic grammar of Bharatanatyam. Alarippu can be thought of as an entry into the gopuram (outer hall) of the temple.
The Jatiswaram is a beautiful dance number that brings out the pure dance aspect of Bharatanatyam as a visual interpretation of the patterns of musical notes.The dancer crosses the Ardha-mantapam or
the half-way hall with the Jathiswaram. The evening's jatiswaram was set in the Poorvikalyani ragam.
A Sabdam or Kauthuvam is usually performed next in the sequence. These pieces involve both pure dance and mime. They are usually in praise of a deity or a king. In the temple analogy, the sabdam
or kauthuvam brings the dancer to the Mantapa (great hall).
The Varnam is the piece-de-resistance of a Bharatanatyam recital. The Varnam is a perfect balance of pure dance and the emotive aspects of Bharatanatyam. The varnam usually has a slower first half leading to a brisk second half. Varnam has a series of pure dance sequences that are alternated with gestural interpretation of the lyrics of the song. The varnam is usually the longest item in a dance performance and is akin to entering the holy precinct of the deity in a temple. The theme of a
varnam is usually based on either Shringara (love of a lady for her beloved) or bhakthi (devotion). The varnam is the perpetuity which gives ever-expanding room to the dancer to delight in his/her self-fulfillment, by providing the fullest scope to her own creativity as well as to the tradition of the art.
Dr. Mohan performed the main pieces of the margam during the recital. The main piece was in praise of the MotherGoddess. The varnam describes Her as the embodiment of Shringara (beauty), Shruti (sound), Laya (rhythm), and Bhava (emotion). The piece ends with the dancer/devotee
requesting the Mother to protect him and bestow him with happiness.
A Padam is a song of devotion. It is of a slower tempo and has meaningful words set to a raga or melody. This is best defined as an interpretive dance of a lyrical passage set to music. The padams offer an uninterrupted opportunity for mime (abhinaya). In dance, a padam is usually a love lyric, where the human-being is the lady-love waiting for union with the Divine, visualized as the lover. The pieces therefore can be interpreted secularly or religiously. In the temple analogy, the dancer has entered the sanctum and is at the juncture where she experiences the solemn chanting of the
sacred verses. The evening's padams were in praise of Lord Shiva and Lord Krishna.
A Javali is a musical composition which is performed towards the end of a dance recital. The Javali is quicker in tempo and the music is attractive and adopts a lighter style where the language is colloquial and themes are centered on love. The chosen javali Sako Ninna Sneha presented a heroine who is angry with her lord for he has been with another woman. She is jealous and asks him to leave.
The concluding item in a dance recital is a Thillana or a dance of joy. It is short and crisp and is essentially a pure dance number. The Thillana breaks into movement like the final burning of
camphor accompanied by the ringing of the bells in the temple. The Mohanam thillana featured fast footwork and sculpturesque poses.
