https://en.bharatpedia.org/w/index.php?action=history&feed=atom&title=Melattur_style 2026-09-25T04:13:47Z Revision history for this page on the wiki MediaWiki 1.43.6 https://en.bharatpedia.org/w/index.php?title=Melattur_style&diff=148342&oldid=prev 2020-07-06T18:32:39Z

<p>image-&gt;file; en-IN</p> <p><b>New page</b></p><div>{{Unreferenced|date=October 2011}}<br /> {{Use dmy dates|date=July 2020}}<br /> {{Use Indian English|date=July 2020}}<br /> The &#039;&#039;&#039;Melattur style&#039;&#039;&#039; of [[Bharatanatyam]] dance was developed largely out of the [[devadasi]] traditions and Melattur [[Bhagavata Mela]] by [[Mangudi Dorairaja Iyer]] (1900–1980), a sanyasi following [[Srividya Upasana]]. [[File:Classical-indian-dancer-bharatanatyam-sridevinrithyalaya-8.png|thumb|right|250px|Bharatanatyam dancer of Melattur style]] He re-established the [[Suddha Nrittam]] from [[kuchipudi]](intricate tapping footwork that explores different time measures in different tempos), [[Bhattasa Natyam]] and [[Perini Shivatandavam|Perani Natyam]] (dance on the clay pot). Mangudi became interested in Shuddha Nrittam after watching a performance by devadasi of Cheyyur Sengalvarayar temple, who performed it along with other 71 types of items (e.g. [[Kavita]], [[Nritta]], [[Vadya]], [[Sangeeta (music)|Sangeeta]] and others).<br /> <br /> ==Themes==<br /> <br /> Unlike other Bharatanatyam gurus, Mangudi avoided the items which glorified the poet&#039;s human patrons, as performing such items would be inconsistent with his adherence to spiritual practices of [[Srividya Upasana]]. It is only the deities or the great rishis who were deemed worthy of such glorification. Thus, the repertoire of a Melattur style dancer consists mostly of the ancient items performed in the temples.<br /> <br /> ==Footwork==<br /> <br /> The Melattur style discourages stamping the feet hard against the floor. Instead, the dancer is expected to use the salangai (ankle bells) in a more sophisticated manner that produces a richer variety of sounds and highlights the rhythm. <br /> <br /> Another distinctive feature is the presence of [[pancha nadais]] and extensive use of [[gati bhedas]]. For instance in [[varnam]] there would be [[gati bhedam]] in every [[jati (music)|jati]]. There is a special emphasis on crisp adavus, fluid variations or patterned korvais.<br /> <br /> ==Abhinaya==<br /> <br /> Due to the Melattur [[Bhagavata Mela]] influence, the style makes extensive use of the dramatic elements, i.e. characterisation, which requires highly expressive and intricate [[abhinaya]]. Unlike other Bharatanatyam styles, the facial expressions in of the Melattur style dancer are not rigidly defined, are neither theatrical nor understated, which requires a high degree of introspection and individual improvisation. Due to the devadasi influence, there is an emphasis on [[sringara]] [[Rasa (aesthetics)|rasa]], rather than on a neutral [[bhakti]]. <br /> <br /> The [[nritta]] abhinaya is different from most other styles in the sense that each body movement is to be reflected in a different facial expression in a spontaneous manner.<br /> <br /> ==Other distinctive features==<br /> *The dance movements are supposed to be performed with a larger amplitude on a wide scale of tempos, making it physically the most demanding style of Bharatanatyam.<br /> *The application of [[loka dharmi]] and [[natya dharmi]] is different from other [[Bharatanatyam]] styles.<br /> *The Melattur style dancers wear a special protective cotton belt around their waist.<br /> <br /> [[Category:Bharatanatyam]]</div>

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