Improvisation and Creativity in Bharathanatyam

Written by: Durga Mani Maran

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Manodharma, a concept from the Natya Shastra(500 BCE to 500 CE)), refers to the improvisational elements in performance, particularly witnessed in Bharathanatyam through the poetic text (padam) which allows dancers to interpret poetry with movement and human expressions. This improvisation requires technical skill and deep emotional engagement (Soneji, 2012). The dancer instead of performing choreographed and rehearsed steps, improvises her movements based on the text instantly on stage. Here dancers can showcase their creativity and nuanced understanding of the music and text through a spontaneous performance. In the performance of the Padam, the dancer engages in dialogues with her lover (lord). Set to a slow tempo, the music allows for a detailed exploration of emotions. Each line of poetry is interpreted in multiple ways through statements, questions, or memories. The dancer conveys complex states of mind during the dialogue, moving between past, present, and future. She uses similes and metaphors through movement to achieve this. Her aim is to evoke deep emotional resonance, transcending language barriers by universalising the portrayal of human feelings.

Although the Natya Shastra has established guidelines for movement, gestures, and expressions, Manodharma acts as a recognized avenue for individual creativity. It highlights the balance between structured tradition (margi) and creative freedom (desi) (Gaston, 1996). Scholars argue that this element of improvisation is what keeps Bharathanatyam vibrant, enabling performers to reimagine traditional works in ways that connect with modern audiences (Meduri, 2004). The Rasa theory, rooted in the Natya Shastra and expanded by Abhinavagupta (10th–11th century CE) highlights the dancer’s goal of evoking aesthetic emotion (rasa) in the audience through stylized expressions in Bharathanatyam. Creativity here, is seen as the ability to express complex emotions while adhering to traditional techniques (Vatsyayan, 1996). Abhinavagupta’s concept of sadharanikarana, or universalization, emphasizes that personal emotions are transformed into a collective aesthetic experience (Schwartz, 2004). Hence, creativity in Bharathanatyam involves moving beyond individual emotions to connect with a collective emotional experience.

Traditional Bharathanatyam teaching, rooted in the teacher-student lineage (guru-shishya parampara), emphasizes strict adherence to established forms, which can limit creativity and improvisation among students. This hierarchical approach prioritizes technical precision, often at the expense of creative exploration (O’Shea, 2007). Critics like Chandralekha (1984), Sunil Kothari (2009) and T M Krishna (2018) advocate for reforms that encourage creative interpretations while honoring tradition. Recent developments, such as formal training and interdisciplinary collaborations, are beginning to challenge this traditional model, fostering greater artistic expression within the dance form (Pillai, 2017).