BHARATA MUNI’S IMPRESSION MANAGEMENT FOR EXECUTIVES

Prof.Chittoor Narayanan Namboodiripad

& Nimal C Namboodiripad

Abstract:

How to manage the impression people have about them is a matter of importance to

executives. The way people dress, the way they speak all have a major impact on how

others perceive them. But more important is their body language. Bharata Muni centuries

back have discussed these in his Natyasastra. Albeit for performing artists.In this paper

we look at how these aspects of the stage are applicable to the ordinary executive in his

day to day working existence.

Key words: Impression Management, Body Language, Bharata Muni, Natyasastra.

Introduction:

Impression management is an area discussed in detail by psychologists as far as

organizational behaviour is concerned. It also includes the games people play in order to

get recognition that they may or may not deserve in their respective companies. In this

paper we are discussing one of the more innocuous and legitimate ways of impression

management in a job situation.

Many things contribute to the impression that you have of any person you meet. But the

main one among them is the way he communicates. Not only verbal but also through his

body language. Some say the way you carry yourselves speaks more eloquently than the

spoken on written word.

There are a number of articles and books written on the subject of body language. But

although they explain to you what each posture and action means and communicates to

the person in front of you and also tell you what not to do, they don’t mention how

exactly to do it. We found that our ancient textbooks on Natyasastra has looked at the

same elaborately. This paper is an attempt to apply Bharata Muni’s theories to the way

executives can manage their image through taking care of their demeanour – especially

the body language. We will first look at Bharata ‘s view on Communication and then

study how it can be applied to the executive.

Communication – the Bharata way

The Indian performing arts looks at communication in a holistic way.

1. At the first level an actor can render the words in an ordinary dialogue or lyrical songs.

Indian system also adds an elaborate system of hand gestures for the actor for

communication

2. Flat words are colourless and ineffective. They come alive only through feelings and

emotions. An actor cannot recite the words I love you in an indifferent tone. He has to

convey the strong passion through facial expression and body language.

3. We do not merely communicate a set of ideas or emotions. We do something more.

We present a personality, character. How an executive conveys a special personality to

the person with whom he interacts decides the nature of the response. A Napolean can

command others through sheer force of personality. This psychological aspect of

communication is most important.

According to Bharata Muni there are two type of moods.

1. The sustaining mood (the Sthayi Bhava) Actually this defines the character of a

person, For eg. If a man suffers accidents and painful experiences one after the

other he becomes heartbroken. When he experiences this for long he gets into a

depression. Sorrow (Soka) and Anger (Krodha) are Bhavas. When an actor keeps

the sustaining moods for a long time it becomes a Rasa and the fans feel some

sympathetic vibration. Sorrow becomes heartbroken pathos (Karuna) and anger

rage (Rowdra). We have eight sustaining moods which become the nine Rasas.

2. The fleeting mood (Sanchari Bhava) which comes and goes in a split second.

It is a combination of the Sthayi Bhava, the other Bhavas that come and go periodically

and the Sanchari Bhavas that forms the personality of a character.

Bharata and the Executive: Words plus personality

The basic method of communication for an executive is without doubt the diction. But it

is not enough to pronounce the words: he has to do something more, he should stamp his

personality upon the audience. What he says is important and how he says it is even more

important. The crucial factor is bringing out the ‘who’ says it. Communicating an

efficient character is effective communication.

What should be the personality that the executive should present to the others? How will

he do it? Like we mentioned earlier it is the Sthayi Bhava that suggests the basic

personality of the man to the onlooker. The Sanchari Bhavas only define it more sharply.

If a man is always alert and enthusiastic people consider him a valorous hero. They

admire that character. Veera Rasa is what an executive should aim for as far as Sthayi

Bhava is concerned. The executive should play the part of a courageous, hardworking

and efficient man who is also gentle and diplomatic. He is polite and gentle normally and

explosively angry when the occasion demands it. Bharata Muni tells us how to keep the

sustaining mood of Enthusiasm to present a valiant personality. So the executive can

easily assume the body language of a heroic man even though he has to make minor

adjustments in his daily life.

But…the body language of a valiant man has a slight drawback. It makes the executive

rather unapproachable and less than friendly. Often people resent haughty characters. He

has to tone it down through a pleasant expression. This pleasing expression or Kantha as

Bharata calls it has a small dose of the Erotic (Sringara) Rasa. Of course, the executive

must avoid at all times overt sexual feelings but a pleasing or attractive face is desirable.

So then the executive assumes two moods.

Valaint or veera mood and its body language are the main qualities that an executive

should assume. He has to be enthusiastic. He presents these through body language

There should also be a faint touch of the attractive mood. As said before be pleasantly

polite unless he has to threaten under special circumstances. The experts in hypnotism

have a special word for such an expression – fascinate.

So the executive should be a straight backed unbending hero up to the neck and a

pleasant gentleman in the face.

The executive can act some of the other moods also. He can be calm especially when the

superiors and accidents threaten him. He can roar in anger but only when circumstances

warrant it. He can show a merciful sympathetic face to his labourers provided he keeps

up his body language. He should avoid moods like fear, surprise and revolting- they

destroy the effectiveness of the basic heroic pose. Above all never show sneering

frolicsome Hasya. An executive can advice or even shout at a subordinate. He will accept

it like a son, if it is justifiable. But poke fun at another person and you have a life long

enemy. Mahabharata shows how Panchali made Duryodhana her mortal enemy by

laughing at him. So the executive should always fear Hasya.

Bharata Muni gives thirty three fleeting moods (Sanchari Bhavas) that colour our

sustaining moods. Thus we feel jealousy, intoxication, weariness, idleness and others. A

stage actor has to learn all these but the executive need not worry about them. Most of

them are highly unsuitable for him. Perhaps they may affect him for a few minutes before

he comes back to the basic sustaining mood. Enthusiasm and the body language of the

valiant (Veera) makes him a warrior and an efficient boss.

An executive needs an excellent physical presence to make others notice him. Sure a

large body and broad face helps. But the classical theatre shows how one cam create it.

Through acting ability alone. We have a scene in Ramayana, where Hanuman gets ready

to jump from India to Sri Lanka. He assumes a large size without camera tricks. Kalyana

Sowgandhika has it in reverse. Hanuman assumes the posture of an old small monkey.

Even though we tend to speak of a three dimensional human body the breadth decides the

physical presence. So create an illusion of greater breadth. One can maximize the height

through an erect posture. That also helps.

One thing is sure. An executive can successfully use these stage tricks of Bharata Muni.

The Hows and Whats of Executive Body Language

Bharata Muni gives four aspects of communication.

1. Facial expressions and hand gestures, postures and body movements –

Angikabhinaya. The dancer acts with her whole body. From head to toes.

Sarvaangabhinaya, Bharata called it.

2. Words-Vaachikabhinaya. The actor can render the dialogue in prose or he can

have a specialist singer for that. Normal diction is easy to follow but music has

greater emotional appeal to the trained listener. Naturally music means also

various instruments like drums, cymbals, pipes and horns.

3. Costume – Aharyabhinaya. Costume shows character. Eg. The Kathakali actor

has very colourful but stylized costume. It is far different from the mundane dress.

He has to wear such costumes to present Gods, Demigods and legendary

characters.

4. Subtle factors(Sathwikabhinaya) like sweating and horripilation depend upon

psychological factors. On the other hand, we can argue that the mind controls the

whole body, both voluntary and involuntary muscles, and so is the number one

factor in communication.

Only if all these aspects are in sync does the communication becomes complete. But what

we have to understand is that people do not work in a vacuum. And they also have their

own moods and levels of enthusiasm which affects not only their performance but the

satisfaction levels of the consumer. This is especially true of the service industry. Again

Bharata gives us advice on this.

Bharata as applied to the executive

An ideal executive presents the posture and body movements of an efficient gentleman.

He creates an illusion of imposing physical presence as also enthusiastic diplomatic

skills. The ancient Indian theatre suggests such a hero in the mould of Arjuna-courageous

yet diplomatic. We have adapted the theories of Bharata Muni to daily life of the

executive. The following are the basic tenets that the executive would be well served to

follow:

1. Stand erect; always keep the body neck and head in a straight line.

2. Push the buttocks back. Never stand as though someone has kicked them from the

back.

3. Spread out the chest by pushing the two sides of the shoulders back.

5. Keep the neck erect, never bend it forward

6. Push back the head and chin to make it erect.

This corresponds to the Yogic posture of Bhagavad Gita. Do not bend the head and

the neck back or raise the chin. Those create a proud haughty personality. That

irritates others and so is not very desirable.

Such a posture makes the executive a calm and balanced personality as also an

efficient manager. Never assume an ape’s posture. The human frame is built to stand

straight. It has an added advantage in that it makes the digestive system work and

reduces what is popularly called “Gas trouble”. It relieves back pain also.

7. Keep the hands at the sides. Do not keep them in the lap while sitting. While

gesturing do that with hands slightly away from the body. This creates an illusion of

breadth and hence greater physical presence.

8. Keep the legs apart to evoke an impression of breadth and balance. Transfer the

body weight to the balls of the feet.

9. Keep the eyes well open but take care not to show the whites all around the iris.

Look at the face of others but do not stare hard. A haughty stare irritates others

especially superior officers. Better, look at the space between the eyes of others and

frequently look straight into the eyes.

10. Assume a pleasant expression around the mouth by slightly raising the corners of

the mouth. Need not smile broadly unless it is necessary.

11. Dress properly. Well groomed body denotes care and confidence. Full(long)

sleeves improves the illusion of breadth.

12. Talk slowly clearly. Error-free diction is highly impressive.

13. Never ever use the passive voice. It is passive, dead language. Always use the

active voice, the vibrant style.

Never use expressions like

It shall be done by me

You will be kicked out by me.

This letter will have to be send today itself.

This machine will have to be repaired by tomorrow.

Say: I shall do it

I will kick you out.

Please type this letter today itself

Please repair this machine by tomorrow.

14. Never use continuous tense. Never say

Will you be working today?

I will be coming tomorrow.

I will be slapping you

Say: Will you work today?

I shall come tomorrow

I will slap you

Avoid shall be, will be and ing

15. Do not mumble, do not shout either unless forced to do so. Do not use a flat

monotone. Stress the verbs slightly

16. Use the words please and thank you frequently but firmly

17. Be enthusiastic always. You can impart enthusiasm to others if you have it in

yourself. Enthusiasm is truly infectious.

Each of the above mentioned things by itself may seem insignificant. But it is the totality

that makes the difference. Also these may sound very simple and easy. But to put things

into practice it needs commitment and a fair amount of rigorous discipline.

Conclusion

The ancient text Natyashastra written by Bharata Muni still holds good in the modern era.

It is only a question of understanding the basics and using it in our daily life. If an

executive can assume the Sthayi Bhava of Veera with the other Rasas thrown in when

needed and he takes care of the areas mentioned above we are sure that he can be

successful in creating an impression of an efficient executive.

This study presents only an overall and general application of Natyasastra. It would be

interesting if these aspects were studied in detail and hopefully somebody would take up

the task.

Readings:

1. Prof.Chittoor Namboodiripad, Narayanan, Sarvangabhinayam (Mal), Current Book

House, Thrissur, 2004

2. Chakyar, Mani Madhava, Natyakalpadrumam, Sangeet Natak Academy, New Delhi,

1975

3. Appa Rao, Dr.PSR, Special Aspects of Natya Shastra, NSD Pub.,New Delhi, 2001.

4. Appa Rao,Dr.PSR, Abhinaya Darpana by Nandikeswara, Ed and Trans, Hyderabad,

1987

5. Ghosh, Dr. Manmohan, Natya Sastra: A Treatise on Indian Dramaturgy and

Histrionics, Ed and Trans, Asiatic Society, Calcutta, 1950

6. Ghosh, Dr. Manmohan, Nandikeswara: Abhinaya Darpana, Ed and Trans, Second

Revised Edition, Firma KLM, Calcutta, 1957

7. Nampoothtiry, Dr E E, Balarama Bharatam: A critique on Dance and Drama, S.K.

Publications, 1983

8. Vatsyayan, Kapila, Bharata: The Natyasastra, Sahitya Academy, New Delhi, 1996

About the authors: Prof.Chittoor Narayanan Namboodiripad is an acknowledged expert

and prolific writer on aspects pertaining to Indian culture, especially the esoteric aspects

of temple rituals. His book on Bharata Muni’s Natyasastra published by the Sangita

Nataka Academy is a work that is used as a reference book by many of the performing

artists. He formally trained in Kathakali under Kuttan Asan of the Unnayi Warrier Kala

Kendram in Irinjalakuda and regularly takes advice from the great masters of

Kalamandalam in matters pertaining to Natyasastra. Nimal C Namboodiripad is Account

Director, MAA Communications Bozell Ltd., Kochi, a leading national advertising

agency.