ssionist seated to the right of the nattuvanar who plays on a drum called the mridangam. Either flute, violin, veena or all three accompany the singer. To the right of the stage there usually is a statue of God Nataraja, the presiding deity of dance. The dancer enters from the right and performs the 'namaskaram' or salutation to the gods, the stage, the presiding deity, the musicians and the audience. The first item in the dance recital is an introductory piece called, thodaya mangalam in praise of different deities or pushpanjali, in which floral tributes are offered. This is followed by alarippu a pure dance or nritta item. Jatiswaram is the next piece where the dancer performs to a song of melodic patterns (swaras) and complex rhythmic syllables (jatis). Each of these items is usually around ten minutes long. This is followed by shabdam. This is an important turn in the recital because from here the expertise of the dancer is at test. The shabdam is a narrative piece. The lyrics of the song are enacted through mime-like gestures. Next either a kriti or a padam is performed (Koirala, 2). This is an abhinaya or an expository piece where the dancer's histrionic talents are exhibited. These items build up to varnam, the centerpiece of the recital and the most difficult piece of all. Few people understand the tremendous emotional and physical exertion that this item demands. The first half of the varnam is slow in pace and has abhinaya alternated with rhythmic syllables (jatis), which are carried out in complex patterns. The second half of the varnam is performed at twice the pace of the first, and has abhinaya alternated with melodic patterns (swaras). Every aspect of the dancer's training and preparation (speed, control over rhythm and depth of expression) is on display in the varnam. The theme is sringara bhakt' or worship through love. The richness of Bharata Natyam in expressing philosophical concepts is shown in this item. The last ...
