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1465541038P14M17TEXT.Pdf PAPER 14 KIRTANAM and TILLANA MODULE 17 Tillana, the Dance of Joy, its special importance in Bharatanatyam Tillana A word ‘Tillana / ति쥍ऱाना’ indicates a special, typical dance which is one of the vital compositions of Margam / मागगम of Bharatnatyam dance form. It sequentially begins with Alaripu / अऱाररऩू. Then slowly it moves on towards Jatiswaram/जतिवरम, Varnam / वर्गम which is the heart and soul of the dance. Finally it reaches the long awaited highest peak which is popularly adored as Tillana. That means Tillana is such a composition which is usually perform at the end of repertoire. Tillana is a pure dance i.e Nritta. Nritta means a pure dance which has prominence of Taala / िाऱ and Laya / ऱय and does not convey any meaning i.e. abhinaya / अभिनय. It comprises of technical steps i.e. Adavus / अदावुस (the basic steps of Bharatanatyam dance) composed in various ways. Thus, it is a blending of different Adavus set in particular Taala. The Adavus are set in such a rhythmic pattern that creates a beautiful geometrical figure on the stage. These set Adavus are performed very gracefully. Initially it was performed amateurishly but in due course of time it is nurtured as a well established classical dance. In the past and presently too this dance recital is the expression of ecstasy through sprightly movements. Thus, the main aim of Tillana is to bestow blissful, spiritual joy which is described as Chidananda or Brahmananda As mentioned above Tillana is a composition mostly related with Taala. It reflects in the composition of Tillana. The Words or shollus like Ta / िा, dhi / धी, tom / िम, nom / नम, tat / िि, dhit / धधि, tanom / िनोम, dirana / ददराना, dhim / धधम, nadir / नाददर, jham / झाम, tajham / िझम, taka tajham / िक िझम, kitataka / ककििाक, tomdir / िोम्ददर, dhalanga / धऱंगा, etc. are used. These shollus are composed in a particular raaga in such a way that it creates a beautiful composition. Bharatanatyam is one of the classical dance styles in India. Other Indian classical dance styles also follow similar form of Tillana in their own conception. The Kathak dance style has Tarana in place of Tillana. Similar kind of shollus or bolas are used in their compositions of Tarana and at the end the speed of the dancer is increased in its highest point. Both these Kathak and Bharatnatyam dance forms have resemblance though the first is originated in the North India, where as the latter in the South. Like these two we have another classical dance style from Eastern India. This style is known as Odissi which belongs to Orissa. In this style, there is a composition called Tarjan which is similar to Tillana. One more classical dance style which is known as Kuchipudi, belongs to Andhra Pradesh. In Kuchipudi dance style, a composition similar to Tillana is known as Tarangam / िरंगम. The composition of Tarangam also has the similar Shollus like Tillana. The Composition of Tillana can be studied in two ways 1. Its musical structure and 2. Its dance structure. Tillana’s musical composition has Pallavi, Anupallavi, Sāhitya and Charanam and Charanaswaras. Pallavi denotes the very first line of Tillana which is sung repeatedly with variations. It is followed by Anupallavi which is a second line of Tillana. It is a small piece of Shollus sung in an attractive manner. After Anupallavi again Pallavi is repeated. Then comes Sahitya that is Literature which is sung in praise of the Deity or the king. The greatness and beauty of the Deity or the king is expressed and usually the composer or devotee surrenders himself at the feet of God. Sahitya is followed by charanswaram / चरर्वरम. It is a combination of swaras and shollus woven intricately and beautifully. After Charanswaram again pallavi is sung once. This is a musical composition of Tillana in carnatic music. The dance composition of Tillana is done in almost 10 pieces or parts. It starts with Attami /अ絍िमी i.e. Greeva or neck movement which is followed by Mai / मई Adavu. Mai Adavu consists of beautiful body movements or graceful movements. It has three speeds i.e. Vilambit / ववऱंबिि, Madhya / मध्य, and Drutkalam / धिमृ . It may end with Tiramanam. These Mai Adavus can be one or more in numbers. Mai Adavus are performed on Pallavi i.e. first line of Tillana. It is followed by Korwai’s. Korwai’s are also performed on Pallavi. Korwais can be three to five in numbers. If they are Pancha Jaati Korwais / ऩंच जािी कोरवाई then the number is 5. Pancha Jaati Korwai means each Korwai is set to one particular Jaati. In Carnatic Taal system there are five Jaatis. They are Tishram / तिश्रम-3 beats, Chatushram / चिुश्रम-4 beats, Khandam / खंडम-5 beats, Mishram / भमश्रं-7 beats, and Sankeernam / संकीर्गम -9 beats. One Jaati in one korwai means all the Adavus used in that korwai are set in one particular jaati and then Tirmanam or Tihai / तिहाई is also set in that particular Jaati. This is a mathematical calculation with the help of units i.e. minor scale of taal. Setting dance in these Korwais is very difficult and intricate. It shows the dancer’s command on the Taal. After these Korwais comes Periya Adavu. Periya means to cover space. In this piece the Adavus which can cover the entire stage are used. Periya adavu is also based on the line of Pallavi, which is followed by Anupallavi. It is the combination of many Shollus sung in different patterns of Taal, so the Adavus can be set accordingly. Anupallavi also ends with Tirmanam. At the end of all these Korwais, Periya Addavu and Anupallavi, a small piece of Shollus is repeated thrice which is called Arudhi / अ셁धध. Arudhi gives a very effective fine ending to every piece. As Anupallavi gets over Sahitya is displayed in a different manner. It is a lyrical piece in which use of Hastamudras / हिमुद्रा and Abhimanyu / अभिनय is essential to convey the meaning. Line repetitions can vary from artist to artist. Sahitya continues with Tattimetta that means these Hastas are joined with footwork. After Sahitya, there comes the last piece of Tillana. This is known as Charanam / चरर्ं or Charanswaram / चरर्वरम. It is a combination of Swaras and Shollus set beautifully with the help of Jaatis in a particular Taal. This piece too, ends with Arudhi and the dancer steps off the stage elegantly. Tillanas are composed in many Ragas and different Taalas. Commonly used Taal is Aaditaal i.e. 8 Matras / मंत्र, Laghu-drut-Laghu / ऱघु-द्रिु -ऱघु i.e. 4+2+2. Then we have Tillanas set in Rupaka / 셂ऩक Taal i.e. 6 matras i.e2+4. Also there are Tillanas in Mishra Chapu tala / भमश्र ऩचा ू िाऱ i.e. 7 matras., and Khanda Ekam / खंड एकम Taal i.e 5 beats Some are in Mathya Taal / मठय िाऱ also i.e Laghu-Drut- Laghu i.e. 4+2+4. We have Tillanas in Atta Taal also i.e Laghu-Laghu- Druta-Druta i.e. 4+4+2+2. We use Aaditaal Trisha Gati or Nadai also. The raga used for Tillana are Paras / ऩरस, Hindolam / दहंडोऱं, Kedar Gaula / केदार गौऱा, Bhinna shadja / भिन्न षडज, Bageshri / िागेश्री, Vrindavani / वदृ ावनी, Todi / िोडी, Khamaj / खमाज, Kadankutuhalam / कदंकु िुहऱम, Revati / रेविी, Bhairavi / िैरवी, Chandrakauns / चंद्रक㄂स, Shankara / शंकर, and so on. Tillana is that all Adavus go with the meter of the song. The choreographer should set or compose the steps which will match the song. It enhances beauty of that composition. So, any Tillana performed in this manner gives immense joy to the audience as well as the dancer. Dancer or artist needs a lot of stamina to perform and present Tillana. As it is nritta or a pure dance it’s a continuous process of footwork which should have perfection in Adavus, rigorous practice and ease in presentation. Sometimes artist takes a liberty to add some ‘still poses’ to enhance the beauty of the dance. Through these ‘still poses’, the dancer becomes sculpturesque and gets some breathing space and energy for the next piece of the recital. All these Tillanas are traditionally composed in carnatic music. All the famous composers take pride in composing Tillanas and have a number of compositions to their credit. Some of them are mentioned as follows. Tanjore brothers who are known as Tanjore Quartet. They were in 17’Th century at the court of King Sarfoji. Maharaja Swathi Thirunal who was a king of Trivendrum and his Naam-mudrais Padmanabha is yet another great composer. Other composers are Vidwan Dandayudhpani Pillai, Madurai T Shriniwasan, Lalgudi Jayaramann, Madurai R Muralidharan, Oothukadu Venkat Subbier, and Madurai N Krishnan. T.K. Rangachari, Thirugkarnam Subbier. Patanam Subramanya Iyer. Kittappa Pillai, Dr. Balmurali Krishanan. All these composers originate from South India and their compositions are in Carnatic style of music. But we also have Tillana compositions in Hindustani style of music. The noteworthy among them is Dr. Anjani Arunkumar. Being a dancer and Hindustani vocalist she has composed many Tillanas making use of Hindustani music. They all are melodious and eye catching. A number of artists are taking interest and trying to compose new Tillanas on a large scale. .
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