Alarippu - How to see the blooming flower(09 March 2023)

 Alarippu 

Alarippu is an invocatory piece that is focused on pure “Nritta”. The repeated rhythmic pattern that varies in speed has a very meditative impact on the dancer. In the actual temple rituals, Alarippu is played before Mallari. Main instrument for Alarippu is Tavil when played in accordance to temple "Upachaarams" or rituals. Alarippu can be done in Tisra, Chatusra, Khanda, Mishra or Sankeerna Eka Thaalam. The word Alarippu means a blooming flower. A dancer performing Alarippu can be seen as going through the various phases of a blooming flower. Starting with a beautiful and subtle attami (greeva or neck movement), the dancer then progresses to opening up slowly with the arm movements. The dancer’s body is in “samam” or straight posture with only her arms and “shiro” or head moving to the rhythmic pattern. There is a slight forward thrust given to the whole body starting from the paada (feet) to the uro(upper body). Maintaining that posture with utmost stillness and at the same time maintaining the subtle Attami along with the arm movement, takes a lot of focus and strength. This first part is like the bud opening up slightly. The movement of the arms is intently followed by the eyes. As mentioned in the 37th sloka of Abhinayadarpana by Nandikeshwara

यतो हस्तस्ततो दृष्टिर्यतो दृष्टिस्ततो मनः ।

यतो मनस्ततो भावो यतो भावस्ततो रसः ॥ ३७॥    

Yatho Hastasthatho Drishtiryatho Drishtisthatho Manha: | 

Yatho Manasthatho Bhaavo Yatho Bhaavastahtho Rasaha : || 37 ||

Above sloka from Abhinayadarpanam captures the very important principle of eye, hand co-ordination that leads to a focused mind.

It says that : 

Where the hand (Hasta) goes, the eye(Drishti) goes 

Where the eye(Drishti) goes , the mind(Manaha) goes

Where the mind(Manaha) goes, the expression(Bhaava) is created

Where the expression (Bhaava) is created there the Emotion(Rasa) is created.

Though this principle is followed throughout the Alarippu, it is of utmost importance in this first part. This is the time where the dancer is trained to ignore all other distractions, all her inner thoughts and surrender herself to the rhythm of Alarippu. All movements are repeated to all three kaalams (speeds), setting her mind up to channel all her energies to her opening up into a fully bloomed flower. Very much like how a flower concentrates all its available energy into going from a bud to a half opened bud.

Thus this part tethers a dancer’s mind and helps to attain that single minded focus which is crucial for a well rounded presentation of the rest of the maargam.

Then comes the next part where the dancer is paying respects to the deity guarding the 8 corners of the temple, the Ashtadrikpalakars. With a subtle leap into aramandalam with one foot in agrathalasanchara (feet raised on the toe), her extended pathaka hasta are held with a bend (kuzhipathaka) and moved in a gesture depicting offering or respects to the Gods. It is important to note that this is done only after the mind is fully focused in the first half. This stems from the principle that any offering to a God must come from a focused and meditative mind. 

At this point the dancer is almost at the half bloom state. The dancer’s mind and body is in equilibrium and has become one with each other.

When the mind and body merge as one, the dancer is almost in an ethereal state. And in this state Laya takes over completely and Taala becomes a subconscious presence. A short jathi(group of dance steps)  is executed before the dancer goes into the next phase. Dancer moves into the muzhumandalam (full seated posture) and repeats the hand and neck movements in this posture. Staying in muzhumandalam in a balanced and ergonomically correct way takes a lot of focus and strength. Only a completely focused mind can maintain this with grace and in complete balance. At this point, the dancer is like a flower with all petals brimming with fragrance and beauty.

The dancer moves into the next phase where thattikudittumettu jathis are performed in all three kaalams (speeds). The body stretches beautifully and even does circular movements that gets the dancer’s body ready for the flourish of theerumaanam adavus to follow. A keen focus on the thaalam and layam is key in this stage. Completeness of the adavus is crucial for perfection of the execution at this stage of the Alarippu. The dancer moves from the thattikudittumettu adavus to the karthari mukha adavus. And that leads to the final part, the theerumaanam adavus. The beautiful “thahada jam thari tha” adavu followed by the “tha dhinghinathom” adavus is just the perfect conclusion to this beautiful piece. The dancer then does a brisk walk backwards accompanied by circular movement of the arms and comes to the final resting pose. At this point the bud has transformed into a fully bloomed flower and is at it the zenith of its beauty, ready to be offered to the Almighty.

The significance of Alarippu in a maargam should be looked at based on two aspects. The spiritual or mental impact and the physical impact. The practice of executing every movement in all three kaalams is important in instilling the concept of kaalapramanam in the dancer. This in turn has a notable impact in preparing the dancer physically for the rest of the maargam. And that definitely is an important material or physical impact Alarippu has on a dancer. The spiritual or mental impact comes from the mind absorbing the repeated rhythmic pattern and translating that into bodily movements. This process is almost meditative and brings the body and mind together as one. This connection with the mind is in fact the negation of the “I” within you and gives the experience of being one with a force beyond the self.

In conclusion Alarippu is an apt start to a maargam. It prepares the dancer mentally and physically for the journey through the rest of the maargam.