The post-modern alArippu

rshankar · Post by **rshankar** » 19 Sep 2009, 02:09

While the alArippu seems to have all but disappeared from the dance stage (except in some arangETRams), it occasionally makes an appearance packaged differently.

If I understand correctly, the purpose of an alArippu (in addition to the warm-up it provides) is to train the dancer to completely subdue her/him-self to the tALam (be ruled by the tALam), and that is why it was presented with to the stark absence of anything else but the recitation of the naTTuvanAr.

These days, alArippus are preceded by viruttams which is rather difficult for me to understand. In some instances the solkaTTus are sung, rather than recited - I can even buy that, but what I find defeats the purpose entirely is to have the vocalist sing some composition even as the naTTuvanAr intones the jatis.

Here is an example of what I talk about: http://www.youtube.com/watch?v=zbz4Jw28P6I

I want to emphasize that this is certainly not meant as a crtitique of the young dancer in the clip (who has done a commendable job), but a genuine enquiry.

arasi · Post by **arasi** » 19 Sep 2009, 02:32

Ravi,
What you say makes a lot of sense!
For the dance to begin with an invocation (viruttam) is fine. The vocalist sings two lines (or four at the most) of it (the orchestra part of the stage lit). The dancer stands with joined hands in prayer center stage (dimly lit). Then the jati--no singing.The light shines on the dancer now.
The singing during the jatis in this clip was like super imposing sound and it took away theimpact of the alArippu which can also help in making the viewer focus--get him ready for what comes after.

ganeshpv · Post by **ganeshpv** » 19 Sep 2009, 04:46

Ravi, my teacher taught us the alaripus while only saying the sollakattu. But on stage, almost always, singer also sang a song. As a dancer I quite enjoyed the singing part during alaripu. It adds a different dimension to me. For audience I guess it can be enjoyable or hindrance, depending on the taste of the audience. The songs may also serve in adding "spirituality" to alaripus?

Besides, teaching happens in class, not on stage, right? So there may not be much harm in having a song for alaripu on stage.

But by no means this is a new phenomenon. In MLV & DPP's recording (produced in 1972, I believe), Alaripu is sung by MLV instead of DPP saying just the sollakattus.

I am not sure about Viruttams before Alaripu. A lot of people do Alaripu right after Pushpanjali. It is also common to do "shlokas" right after Pushpanjali. SO perhaps these viruttams came between Pushpanjali and Alaripu?

What do you guys think of the new alaripu formats out there? I have seen a couple. Peacock moves for entire alaripu and such.

ardhanariswar · Post by **ardhanariswar** » 19 Sep 2009, 06:46

I can appreciate the traditional alarippus. To me, they aren't simply a dancer 'stretching their limbs' but rather a certain standard by which to judge how proficient a dancer is with thalam and grace. It's not about the guru's choreography since alarippus are very much cut and dry in terms of which adavus are employed. Because of this, it is easier for the audience to recognize an able dancer with good precision and thalam sense. Which is perhaps why arangetrams always include them, but most post-arangetram performances do not.

I also enjoy the new takes and interpretations. Rama Vaidyanathan's Peacock Alarippu is a really good example of this. Not only does she use the mayura hasta, but successfully mimics the dance of a peacock.

As for Alarippus with songs on top of them, I'm not quite sure. I've heard a couple songs (not allaripus) with sollu at the same time, and it adds a certain drama. Since for Allaripus its the other way around, I'm not sure if the same effect is there.

http://www.youtube.com/watch?v=xy0ZNbrDp70 (3:30) The pushpanjali is sung with a shlokam at the same time, which I really like. It really builds the anticipation of the dancer's entrance.

vasanthakokilam · Post by **vasanthakokilam** » 20 Sep 2009, 22:55

>rather a certain standard by which to judge how proficient a dancer is with thalam and grace

"judge" or "enjoy"?

Definitely not to nitpick but curious if the knowledgeable dance audience usually is in that 'judging' mode. By judging I mean looking for faults, geometric correctness etc. in addition to/instead of enjoying the dance.

On this jati+singing issue, my preference is slightly towards not to combine the two. Not that I am a knowledgeable dance rasika..... The thing that is jarring to me actually is the nattuvanganar's sruthi usually does not match the singer, violin or mridangam. In the link Ravi posted, I do not think there was any sruthi problem and I did not sense any sruthi issues when the jati is overlaid on top of the song. But if it is a male nattuvanganar and a female singer, do they take efforts to match the sruthi?

sathirdance · Post by **sathirdance** » 10 Oct 2009, 21:52

The sollus of alarippu were always sung by the nattuvanar and not recited. The tisra alarippu by MLV for KND Pillai is an example of that.

The singing along of Thiruppugazh's with the sollus started when dance teachers began reciting the sollus.

laya2 · Post by **laya2** » 16 Dec 2009, 02:58

Hi

Could you tell me what is Viruttams in dance. I am unable to follow this in your discussions.

thanks.

Nia Rmohan · Post by **Nia Rmohan** » 16 Dec 2009, 05:54

Rather than singing the alarippu outright, i have heard the violin and sometimes even the songer softly play/hum a little ragalarpana (usually nattai) in co-ordination with the speed of the dancer's feet. That is adding dimension. When the singer just starts singing something that has a power in itself while the dancer is exploring the field of rhythm, it is unorganized and can get messy. Here the nattuvanar is still the main source of beat but the music merely adds to the rhythm. That i find is a nice way of mordernizing thalam.

However i have seen wonderous experiments, where the alarippu was said properly, the dancer was imitating the movements of a peacock...

rshankar · Post by **rshankar** » 16 Dec 2009, 17:32

Nia Rmohan wrote:However i have seen wonderous experiments, where the alarippu was said properly, the dancer was imitating the movements of a peacock...

Yes - Smt. Rama Vaidyanathan's mayUra alArippu comes to mind: http://www.youtube.com/watch?v=j1GDzQMav6o

ksl · Post by **ksl** » 02 Feb 2010, 09:57

@rshankar

When the dancer dances like this, its better to have at least the singer sing something to distract, dont you think?

People want to sell. No matter what. No matter how.
I am so saddened by all these ill trained dancer with no stance and grace flooding sabhas and websites. It is like hearing a abhaswaram. I have to switch off immediately. But the poor dancer's friends and family need something to sit through this.
When the dancer is good, singing something like a tiruppugazh 'adds dimensions'...sometimes a mark of a over ambitious singer, sometimes the mark of a guru who wants to stand out...who dances for the sake of dancing? Everyone is performing! Standing out. Tradition is too boring. Austerity is out. Glamour is in. Dont dance when no one is watching is the motto. Everyone wants to be different! Why stand in one place when you can jump all around?!