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Question

Which of the following instrument is used in Bharatanatyam?

This question was previously asked in
SSC Stenographer 2018 Previous Year Paper (08-Feb-2019) (Shift 2)
The correct answer is

Mridangam

Exploring Musical Instruments in Bharatanatyam

Bharatanatyam is a classical dance form originating in South India. The music accompanying a Bharatanatyam performance is an integral part of the experience, guiding the dancer's rhythm, mood, and expression. The traditional musical ensemble for Bharatanatyam typically includes several instruments, each playing a crucial role.

Traditional Bharatanatyam Ensemble Instruments

The core instruments in a Bharatanatyam performance often include:

  • A primary percussion instrument to keep the complex rhythmic cycles (Tala).
  • A melodic instrument to provide the musical scale (Raga).
  • A drone instrument for harmonic support.
  • A vocalist who sings the compositions.
  • The Nattuvanar, who is the conductor, often playing cymbals (Nattuvangam) and reciting rhythmic syllables (Sollukattu).

Analysing the Given Instruments

Let's look at the instruments provided in the options and their typical usage in classical Indian music traditions, specifically in the context of Bharatanatyam.

Mridangam

The Mridangam is a double-headed percussion instrument from South India. It is the principal percussion instrument used in Carnatic music, which is the musical system associated with Bharatanatyam. The Mridangam provides the rhythmic foundation for the entire performance, playing intricate patterns and supporting the dancer's footwork (Thattukazhi).

Its sounds, produced by striking the two different heads, are essential for conveying the diverse rhythmic structures and nuances required in Bharatanatyam.

Mandolin

The Mandolin is a string instrument typically associated with Western music, although it has been adapted for use in some Indian classical music contexts (particularly Hindustani music). However, it is not a traditional or standard instrument used in the classical Bharatanatyam ensemble.

Guitar

The Guitar is another string instrument originating from the West. Like the Mandolin, it is not part of the traditional instrumentation for Bharatanatyam music. Its timbre and playing technique do not align with the traditional soundscape of a classical Bharatanatyam performance.

Sitar

The Sitar is a popular plucked string instrument primarily used in North Indian classical music (Hindustani music). While it is a prominent instrument in Indian classical music as a whole, it is not traditionally used in Carnatic music or Bharatanatyam performances, which belong to the South Indian classical tradition.

Conclusion on Bharatanatyam Instruments

Based on the traditional musical practices associated with Bharatanatyam, the Mridangam is the instrument from the given options that is a fundamental part of the accompanying ensemble. The other instruments – Mandolin, Guitar, and Sitar – are not traditionally used in Bharatanatyam.

Revision Table: Instruments and Their Traditional Usage

Instrument Traditional Use in Bharatanatyam? Type Origin Tradition
Mridangam Yes Percussion Carnatic (South Indian)
Mandolin No String Western (adapted in some Indian contexts)
Guitar No String Western
Sitar No String Hindustani (North Indian)

Additional Information on Bharatanatyam Music

Understanding the musical accompaniment is key to appreciating Bharatanatyam. The performance is not just dance; it's a synthesis of Nritta (pure dance), Natya (expressive dance), and Abhinaya (acting), all set to specific musical compositions (Kritis, Padams, Javalis, Tillanas, etc.) and rhythmic cycles (Talas).

Other instruments commonly found in a Bharatanatyam orchestra include:

  • Violin or Flute (for melody)
  • Tambura (for drone)
  • Cymbals (handled by the Nattuvanar)
  • Sometimes Ghatam or Kanjira (secondary percussion)

The Nattuvanar plays a vital role, conducting the orchestra and guiding the dancer through rhythmic patterns, making the Mridangam's coordination with the Nattuvanar and dancer crucial.

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