They sound like palindrome in the lexicon of classical performing arts: Swarajati and Jatiswara! For the uninitiated, they convey no singular impact than reversal of words for the same subject. At the very outset, we should know that both are individual domain names — one belonging to Carnatic music and the other to south-Indian classical dance. And what more, they are the fundamental yet significant part of a repertoire for learners of dance and music. If we look into the etymology of the word, well it more or less means the same: Swara stands for solfa syllables; jati for rhythmic syllables. In one, the solfa syllables get more accentuated while the other lays stress on the rhythmic notes. The connotation of the term ‘jati’ denotes that they were part of ‘nritya’ (dance) originally and even now, though Swarajati has been associated with vocal/music now while the Jatiswara is essentially dance-based. In a word, both are indispensable parts of dance repertoire, and are taught in early stages of learning.
The fundamental structure of Swarajati and Jatiswara are similar but with a big difference! The former has sahitya (lyrical composition) as its integral part while the latter has only syllabic utterances. They comprise is a pallavi (first part), followed by an anu pallavi (optional) and then charanam (verses). Swarajati is performed first to slow tempo and later takes on to fast cycle of speed. Here its text and tone play an equal role. It has scope for abhinaya since it is embedded with a meaningful song. On the other hand, a Jatiswara is a ‘musical composition sans sahitya wherein the melody becomes more complex walking along with rhythm as it progresses’. Like its sister it comprises pallavi, anu pallavi and one or more charanam all of which are sung to jati or sollukattu (dance syllables) and solfa patterns. This is called pure dance (nritta/footwork with gestures). It is capable of generating highly aesthetic joy though it does not speak of a mood or sentiment.
Melattur Veerabhadraiah’s (18th century) Swarajati in Husseini raga is the earliest in the genre. Hailing from a Bhagavatha mela village (dance form), he can easily be called the architect of Swarajati. The famous Tanjore quartet (four brothers/gurus of Bharatanatyam), were known for their Jatiswara compositions which were replete half aavarthanam (measured count) of jati and half aavarthanam of solfa syllables!
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For most part, the Swarajati in dance recitals has now been replaced by the more complex and sophisticated Varnam. But it had achieved a dimension from being in Primer of Carnatic music/dance (a pre-Varnam exercise), to a rich legacy with the advent of Shyama Sastri. One among the Trinity of music, he raised the Swarajati to the altar of concert singing (katcheri) with his immemorable compositions set to complex tala structures and resonant raga like the ones in Bhairavi, Yadukula Kambhoji and Ananda Bhairavi. devoted to mother goddess. He literally invested the raga he chose with a divine/human form with his phrase-oriented approach. He endowed it with a rigid structure that cannot be tampered with, much like the Varnam. Swarajati, unlike Varnam does not sport ‘muktayi swara’ (ending solfa) or ‘muktayi swara sahitya’ (lyric set to solfa). Instead it comprises solfa syllabic notes (swara patterns) mingled with sollukattu (rhythmic syllabic utterances) without lyric. With Shyama Sastri, it is mandatory to sing every line first to the syllabic pattern and follow it by the lyric proper set to the syllabic pattern (swara). Suffice to say, that rhythm forms a vital part of this genre, be it in music or in dance.