Mavin Kho on why Varnam is more than just a ritual

Mavin Khoo | Photo Credit: Vedhan M

Varnam offers a universe of possibilities to musicians and dancers. Popular forms of varnam format are Pada varnam, Tana varnam, Daru varnam and Swarajathi. These contain a common rule set which is based on a theoretical framework. They are defined through the distinctiveness of the sahitya (lyrical) structure between the first and second parts of the composition, the possible existence of solukattu (rhythmic singing) within the composition, and other theoretical or personal artistic choices. Further artistic choices that are made based on rigor of diction, kalapramanam (tempo) and musical intent may allow interpretive prescriptions for the aesthetics of varnam.

Traditionally, within the Carnatic Kachhari format, the varnam is presented as an opening piece, giving the musician a clear structure to warm up to in the programme. Nowadays there are rare musicians who use varnam as the main work of the evening. This is usually when there is a possibility of discovering that particular varnam, its structure and the raga underpinning it.

In the context of Bharatanatyam Margam, details of the role of the varnam within the form are detailed in each program booklet or through hands-on-mic moments by the dancers. Phrases ranging from ‘pièce de résistance’ to ‘the central part of the dance’ are commonly expressed. However, I would like to share more personal insights in terms of my relationship with Varnam.

Through age and experience my entry point has increasingly become threefold: composition, music and emotion/makeup. These three elements are integral in facilitating a type of ritual that is at the same time bound by rules that, through the experienced performer, can be limitless in its possibilities for play and improvisation.

I have always been fascinated by ritual. It demands a disposition that focuses on determining what constitutes a disjointed series of events. As a dancer, completing the initial Trikala Jathi (the pattern of steps that integrates three different tempo variations) is a momentary sense of accomplishment before humbly facing the marathon ahead that leads to the completion of the other four or five Jathi (or More) which does not involve further pure excellence of dance through swaras. Acting is not mentioned through literary passages. It is a codified structure of outlines – all of which create a journey where body and mind collaborate to serve a series of prescribed rituals through musical format.

Music has always been my foundation in understanding where to place the sthira bhava (primary or stable bhava). The proposal of glory that lies in Shankarabharanam is different from the romance of Khamas or the tension and austerity of Thodi. What the raga proposes in terms of its emotional coloring has the potential to provide a strong supporting hand – an intangible but very present invisible partner.

The third element is arguably one that is constantly open to discussion. The presence of makeup as the driving force of intention. During my years as a Bharatnatyam soloist, I have grown up through its sanctification, its gender-specified appropriation, and even indifference to it, with its attention less toward impressive athleticism and less toward emotional intent. All of these have found their place in shaping the aesthetics of the more contemporary composed characters created for Bharatanatyam today.

Yet, it is the ambiguity of this very human life theme of unrequited love that fascinates me as an artist. It proposes the multi-layered pluralism that love, desire, and the body offer, all while submitting to the prescribed rules and prescriptions of academic grammar. There is an almost anarchic defiance in the interrogation of the personal and physical embodiment of desire determined to end the 45-minute marathon through this gem of a composition – Varnam.

And perhaps, it is the demands of this threefold entry point proposed as a landing point at the end of the final vocal cycle that most appeal to me. A commitment that pushes the physical and emotional body to the limits of movement and stability. No one can truly predict the level of exhaustion that presents itself as reality. The ego of ‘showing’ was broken. The need to ‘hold’ the body has increased – love has turned into hope – devotion emerges as an experience.

Mavin Khoo is a renowned international dance artist