Tillana _ Margam Part 10

The word " Tillana" comes from the north Indian word "Tarana". Many say that the composition of Tarana in Hindustani or north Indian classical music is pretty similar to that of the Tillana of south Indian Carnatic music. Even though its similar, yet specific differences are visible. Common syllables (many of which have Persian influence) like "Odani" ,"Todani", "Tom","Dhrum", "Nam" etc are commonly used in both Tarana and Tillana.

Tillana is a rhythmic composition mainly consisting of Nrittya and a very small Abhinaya part. Tillana mainly consists of the following parts.....Pallavi, Anupallavi, Sahityam and Caranam. Each Tillana is dedicated to a particular deity or a king. Traditionally, the Pallavi and Anupallavi would be sung in 3 speeds (Vilambitaha, Madhyama and Dhrutam) and the performance would continue for around 20 to 25 mins. However in modern times due to time constraints, many tillanas are composed for around 10 to 15 mins, hence only sung in 2 speeds.The dance choreography is made interesting by putting in lots of Bhramari, Chari, Stanakas and Mandalas. Every tilllana, traditionally started with the attamis or the Greeva Sanchalan then moved on to the Mai adavus (in different speeds), which may or may not end with Tirumanam. only one or more Mai adavus can be used to enhance the choreography which is followed by the Korvais performed in Pallavi. After this comes the Perivay adavu during either the pallavi or anuvallavi. This again may or may not end in Tirumanam. After all these comes a small Sollu which is normally repeated thrice and is commonly known as Arudhi. Next comes Sahittam which consists of words or sabdha that is used for describing a deity or the king. Many tillana from the Tanjore style has sahitam sung in praise of a king and his kingdom. This is performed with the help of hasta mudra and facial expression. Tattimettu adavus or Jaati adavus are used here to bring in interesting rhythms. After this comes the most rhythmic part which consists of swaras and sollus to emphasis the beauty of the music composition. This too ends in Arudhi (repeating thrice) and the performer ends his or her performances.

Tillana is mostly the concluding item of a Bharatnatyam repertoire. Lots of experimentation has been done in modern times in regards to tillana. Tillanas became popular in the late 17th and 18th century. Tillanas over the period of time has been composed in different Talam and Ragam. The composer and the choreographers play with different calculations and emotions to bring out an interesting presentation. Traditional Tillanas as well as new compositions are equally popular. A performer needs lots of energy to perform Tillana properly, hence tons of practice is required. Sometimes a few still poses are introduced to allow the performer some breathing space in between the paras.

Note : We will soon post a Tillana video in our youtube channel. Please bear with us for the delay.

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