Bharata Natyam

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A male Bharata Natyam performer

A female Bharata Natyam performer

Bharata Natyam (Tamil: ) is a classical Indian dance form that is popular and nurtured in the Indian
state of Tamil Nadu.[1][2][3][4][5] This dance form denotes various 19th- and 20th-century reconstructions of Sadir,
the art of temple dancers called Devadasis. Sadir in turn, is derived from ancient dance in the treatise Natya
Shastra by Bharata of fourth or third century BCE,[citation needed] known for its grace, purity, tenderness, and
sculpturesque poses.Lord Shiva is considered the God of this dance form.

A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra to which Bharata Natyam
owes many of its ideas. This etymology also holds up to scrutiny better since Bharathanatyam is considered to
be 'short form' (kuril) wherein "Bhavam" means expression and "ragam" meaning music, "thalam" meaning
rhythm and natayam meaning dance, consist the 'long form' (nedil). Hence the initialization proposed above is
more probably abackronym. Today, it is one of the most popular and widely performed dance styles and is
practiced by male and female dancers all over the world. [6]

Dance tradition[edit]

One of the 81 Bharata Natyam dance positions carved on the outer wall of the upper storey of Peruvudaiyar Koyil,
Thanjavur.

Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as
the Tolkappiyam (), as well as the later Silappadikaram(), testify to a variety of
dance traditions which flourished in these times. The latter work is of particular importance, since one of
its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a
mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly
developed and played a major role.[7]
In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the
ancient sculptures in Hindu temples are based on Bharata Natyam dance postureskaranas. In fact, it is
the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what
is known on earth as Bharata Natyam. In the most essential sense, a Hindu deity is a revered royal guest
in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing
to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and
dancers, as did Indian rulers.

In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a
dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the
embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are
inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be
conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic dance
movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and
Natya).
Tamil Nadu, especially Tanjore, has always been the seat and centre of learning and culture. It was the
famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi
King Sarabojis time (17981824) which made a rich contribution to music and Bharata Natyam and also
completed the process of re-editing the Bharata Natyam programme into its present shape with its various
forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four
brothers formed the original stock of Nattuvanars or dance teachers of Bharata Natyam in Tanjore.

Essential ideas[edit]

This Bharata Natyam dancer's right hand is in theKatakamukha Hasta, the 3 joined fingers symbolizing the sacred
syllable Aum. The left hand's fingers are inAlapadma Hasta, the rotating lotus of spiritual light. The eyes are directed towards
the Supreme Lord. The left leg is lifted, symbolizing the swift ascent of the consciousness in one step from the Earth to the
Heaven.

Bharata Natyam is considered to be a fire-dance the mystic manifestation of the metaphysical element
of fire in the human body. It is one of the five major styles (one for each element) that
includeOdissi (element of water), Kuchipudi (element of earth), Mohiniattam (element of air)
and Kathakali(element of sky or aether). The movements of an authentic Bharata Natyam dancer
resemble the movements of a dancing flame. Contemporary Bharata Natyam is rarely practiced as Natya
Yoga, a sacred meditational tradition, except by a few orthodox schools (see Yoga and dance).

Bharata Natyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and
movements, and tandava Ananda Thandavam (Tamil) (the dance of Shiva), masculine aspect, which is
identical to the Yin and Yang in the Chinese culture.
In most solo performances, Bharata Natyam involves many split characters that are depicted by the
dancer. The dancer will take on numerous characters by switching roles through the swift turn in circle
and creates a story line that can be easily followed by the feat of one individual. The characters will be
understood by the narrative of the song and the expression, or "abhinaya. However, in more modern
times, Bharata Natyam performances have taken stage as group performances involving dramatical
performances that require many characters depicted by various dancers. In addition, these dance
performances include numerous transitions and formations that are creatively choreographed to enhance
the movements along with the music.

Spiritual symbolism[edit]
Bharata Natyam is the manifestation of the ancient idea of the celebration of the eternal universe through
the celebration of the beauty of the material body. Some Bharata Natyam techniques can be traced back
to the Kaisiki style. The Natya(I.44) reads, "... I have seen the Kaisiki style during the dance of the bluethroated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs),
sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be
charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men.
Except for women, none can practise it properly".
Apart from the Kaisikii style, Bharata Natyam imbibed some others. These reflect other yogis of spiritual
revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu
mythology the whole universe is the dance of the Supreme Dancer,Nataraja, a name for Lord Shiva, the
Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the
form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic
dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panca-kriya):
creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (smhara);
concealing, veiling, hiding the transcendental essence behind the garb of apparitions (tirobhava); and
favoring, bestowing grace through a manifestation that accepts the devotee (anugraha). Shiva is depicted
dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in
Tamil Muyalaka (PRIT) -- who represents ignorance, the destruction of which brings enlightenment, true
wisdom, and release from the bondage of existences. [8]

Medieval decline[edit]

Bharata Natyam in Serfoji II's period

Local kings often invited temple dancers (devadasi) to dance in their courts, the occurrence of which
created a new category of dancers - rajanarthakisand modified the technique and themes of the
recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself
(surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.
The Natya Shastra-based margi elements, such as karanas, that were meant to spiritually enlighten the
spectators, were gradually replaced by desi karanas which were later replaced byadavus. The Bharata
Natyam recitals and ballets started more and more popularly viewed as a form of desi entertainment.
The quartet of Chinnayya Pillai, Ponniah Pillai, Sivanandam Pillai and Vadivelu Pillai of the Tanjore Court,
during the rule of Maratha King Saraboji II (17981832), made a rich contribution to music and Bharata
Natyam and also completed the process of re-editing the Bharata Natyam programme into its present
shape with its various items. The descendants of these four brothers formed the original stock of
Nattuvanars or dance teachers of Bharata Natyam in Tanjore. Some of the well known Nattuvanars were
Guru Meenakshisundaram Pillai, Guru Muthukumara Swami Pillai, Guru Ramaiah Pillai, Guru Kittappa
Pillai, Guru Kubernath Tanjorkar, Guru Dandayudhapani Pillai and others. The fall of the Hindu kingdoms
in the South marked the eventual decline of Natya, as the Muslum invasion in the North has completely
wiped out Natya there. The sacred dance, one of the constituents of the Sodasa Upacharam, was
replaced by rice offerings.

Modern rebirth[edit]

Rukmini Devi Arundale is considered the most important revivalist in the Indian classical dance form of Bharata Natyam from
its original 'sadhir' style

E. Krishna Iyer was one of those who raised the social status of Bharata Natyam and greatly popularized
it. Rukmini Devi Arundale was also instrumental in modifying mainly thePandanallur style of Bharata
Natyam and bringing it to the attention of the West. E. Krishna Iyer said about Rukmini Devi, There is no

need to say that before she entered the field, the art was dead and gone or that it saw a renaissance only
when she started to dance or that she created anything new that was not there before. Rukmini Devi
Arundale introduced group performances and staged various Bharata Natyam-based ballets. According to
Shri Sankara Menon, Rukmini Devi raised Bharata Natyam to a puritan art form, divorced from its recently
controversial past by "removing objectionable elements" (mostly, the Sringara, certain emotional elements
evocative of the erotic, such as hip, neck, lip and chest movements) from the Pandanallur style, which
was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Not
all love was portrayed, at least outside parameters considered "chaste". Balasaraswati said that "the effort
to purify Bharata Natyam through the introduction of novel ideas is like putting a gloss on burnished gold
or painting the lotus". Having studied Bharata Natyam for three years, in 1936 Rukmini Devi
Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other
studies in Indian music and art. She was one of first teachers to instruct a few men to perform the dance.
The dance, at that time, was exclusively performed by women, while men, called Nattuvanars, had only
been teaching Bharata Natyam without actually performing it. It is worth noticing that most of the
contemporary Bharata Natyam dancers do not satisfy the criteria for a professional danseuse stated in
the scriptures.
Dr. Padma Subrahmanyam, who was originally trained in the Vazhuvoor style of Bharata Natyam, was
another figure that greatly influenced the development of Bharata Natyam. She started her research
on karanas in early sixties, and later announced the creation of a new Bharata Natyam
variety, Bharatanrityam, which was a Bharata Natyam-based reconstruction of Natya Shastra's technique.
While the Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram were based on the
art of rajadasis and areexoteric in nature, some others, like the Melattur style and Balasaraswati's
style grew out of the devadasis' distinctly different esotericart.
The development of the Bharata Natyam dance form has therefore been surrounded by controversy as
some including Ashish Khokar the Indian dance historian have seen it as a means by which many
women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects
of the contemporary devadasis' practices.[1]
At present, Bharata Natyam recitals are usually not performed inside the temple shrine but outside it, and
even outside the temple compounds at various festivals. Most contemporary performances are given on
the stage with a live ensemble. In popular culture, the adapted, or "semi-classical", Bharata Natyam has
been exposed largely through depiction in popular movies and TV programs.
Learning Bharata Natyam normally takes many years before the arangetram (debut). There are academic
and commercialized dance institutes in many countries. Many people choose to learn Carnatic
music along with Bharata Natyam as they go together.
At present, not only Hindus but many Christians and Muslims also learn it, bringing it beyond the rigid
forms of religious boundaries.

Bharata Natyam simplified[edit]

There are 3 aspects to dance; Nritta, Nritya and Natya. Nritta is a pure dance without any emotions,
expressions or sahityam. E.g. Alarippu, Jatiswaram. Nritya has sahityam (a sentence which means
something). It has emotions, expressions and has a meaning shown by the hastas. E.g.

Ganeshakautvam, Ranganjali, Karthikeyakautvam. Natya is when a person is portraying a character. E.g.

All padams
There are 4 types of abhinaya in dance. They are 1) Anghika - Physical or body movements. 2) Vachika the song being played, poetry 3) Aaharya - Ornamentation of a character/dancer e.g. jewellery, costume
4) Satvika - Involuntary movements e.g. trembling, break of voice, tears

Items[edit]

Bharata Natyam dance performed by Rama Vaidyanathan at the auditorium of the Guimet Museum on June 6, 2009

Typically a performance includes:

Alaripu
A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort
of an invocation to the gods to bless the performance. Alaripu is performed in different jatis.
Tishra, Mishra, Chatushra, Sankirna are the different types of jatis.
Kautuvam
Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables
sung for jathis.
Ganapati Vandana
A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See
alsoPushpanjali
today mangalam
a starting dance in which we show respect towards the god
Jatiswaram
An abstract dance where the drums set the beat. Here the dancer displays her versatility in
elaborate footwork and graceful movements of the body. Here the Dancer displays the Korvai in a
rythmic form .
Shabdam
The dancing is accompanied by a poem or song with a devotional or amorous theme.Shabdam is
usually depicting graceful movements in a story or a poem
Varnam

The center piece of the performance. It is the longest section of the dance punctuated with the
most complex and difficult movements. Positions of the hands and body tell a story, usually
of love and the longing for the lover.
Padam
Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to
the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Stuti
Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra
Koothu
Item containing a lot of dramatic elements.
Javali
Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like
Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.
Tillana
The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the
complex footwork and captivating poses of the dancer.
Apart from these items, there are items such
as Shlokam, Swarajathi, Krithi etc. The performance
concludes with the chanting of a few religious verses
as a form of benediction. Certain styles include more
advanced items, such as Tharanga
Nritham and Suddha Nritham. When a dancer has
mastered all the elements of dance, as a coming out
performance, he or she generally performs
an Arangetram(debut).
Angikam
This is a devotional song on Lord Shiva and an item dance in Bharata Natyam. It can also be
performed in byapti slow motion. The words for the shloka are " Angikam Bhuvanam Yasya,
Vachikam Sarva Vangmayam, Aaharyam Chandra Taradhi, Tvam Numah Satvikam Shivam"

Other aspects[edit]
Jewelry
Bharata Natyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the
performance.
Dancers wear anklets made of rope or leather with rows of sleigh-like (traditionally copper) bells
attached on the anklet. The dancer's talent is judged (along with style and presentation) by the
amount of ringing heard and the number of bells on the anklet. The less ringing heard from the

anklet then the better the dancer, which is seen as having control and fluid movement. Typically,
beginners have 1-2 rows, mediocre dancers have 3 rows, and advance dancers have 4-5 rows.
Costume
From the ancient texts and sculptures, one can see that the original costume did not cover most
of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to
wear a special, heavy saree that severely restricted the dance movements. There are several
varieties of Bharata Natyam costumes, some of which do not restrict the dancer's movements,
while the others do. The modern costumes are deeply symbolic, as their purpose is to project the
dancer's sukshma sharira (cf.aura), in the material world.
Music
The accompanying music is in the Carnatic style of South India.
Ensemble
Mostly, South Indian instruments are used in the ensemble. These include,
the mridangam (drum), nagaswaram (long pipe horn made from a black wood),
the flute, violin and veena (stringed instrument traditionally associated with Saraswati, the Hindu
goddess of the arts and learning).
Languages
Tamil, Telugu, Kannada and Sanskrit are traditionally used in Bharata Natyam.

Ideal qualities of dancers[edit]

A professional Bharata Natyam dancer must demonstrate a number of qualities. As Sangitaratnakara puts
it, the true dance is connected to the beauty of the body, therefore any other dance is simply a parody
(VII.1246).
The AbhinayaDarpana has a sloka that describes Patra Prana Dasha Smrutaha the ten essentials of
the dancer: Javaha (agility),Sthirathvam (steadiness), Rekha (graceful lines), Bhramari (balance in
pirouettes), Drishti (glance), Shramaha (hard
work), Medha(intelligence), Shraddha (devotion), Vacho (good speech), and Geetam (singing ability).
A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts
on Bharata Natyam), must possess the following qualities: She has to be youthful, slender, beautiful, with
large eyes, with well-rounded breasts, self-confident, witty, pleasing, well aware of when to dance and
when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), with splendid
costumes, and of a happy disposition.[citation needed]
As Natya Shastra states the qualities required of a female dancer narthaki, "Women who have beautiful
limbs, are conversant with the sixty-four arts and crafts (Kal), are clever, courteous in behaviour, free
from female diseases, always bold, free from indolence, inured to hard work, capable of practising various
arts and crafts, skilled in dancing and songs, who excel by their beauty, youthfulness, brilliance and other
qualities all other women standing by, are known as narthaki." [9]

In Popular Culture (Movies)[edit]

Paattum Bharathamum
1. Thillaanaa
Mohanambal
2. Saagara
Sangamam
3. Senthamarai
(Tamil 1962)

See also[edit]
Kathak - classical dance prevalent in Northern India
Kathakali - classical dance of Kerala, largely performed by men
Kuchipudi - Telugu classical dance
Manipuri - classical dance from Manipur
Mohiniaattam - classical dance of Kerala, largely performed by women
Odissi - classical dance of Orissa
Yakshagana - Kannada theatre
Dance - An art form
Garba - Folk dance of Gujarat
Bhangra- Folk dance of Punjab

References[edit]
Jump up^ International Tamil Language Foundation (2000). The Handbook of Tamil Culture and Heritiage. Chicago:
International Tamil Language Foundation. p. 1201.
Jump up^ bharata-natya Encyclopdia Britannica. 2007
Jump up^ Samson, Leela (1987). Rhythm in Joy: Classical Indian Dance Traditions. New Delhi: Lustre Press Pvt.
Ltd. p. 29.

Jump up^ Banerjee, tProjesh (1983). Indian Ballet Dancing. New Jersey: Abhinav Publications. p. 43.
Jump up^ Bowers, Faubion (1967). The Dance in India. New York: AMS Press, Inc. pp. 13 & 15.
Jump up^ Bharata Natyam gaining popularity in China, The Hindu
Jump up^ Kilger, George (1993). Bharata Natyam in Cultural Perspective. New Delhi: Manohar American Institute of
Indian Studies. p. 2.
Jump up^ Nayagam, X.S. Thani (1970). Tamil Culture and Civilization. London: Asia Publishing House. pp. 120121.
Jump up^ Ghosh, Manomohan (2002). Natyasastra. India: Chowkhamba Krishnadas Academy. ISBN 81-7080-079X.

Natarajan, Srividya. Another Stage in the Life of the Nation: Sadir, Bharatanatyam, Feminist Theory.
Unpublished Ph.D Thesis, Dept of English, University of Hyderabad, 1997.
"Revealing the Art of Natyasastra" by Narayanan Chittoor Namboodiripad ISBN 10: 8121512182 / ISBN
13: 9788121512183

External links[edit]
Wikimedia Commons has
media related
to Bharatanatyam.

Bharata Natyam on the Open Directory Project

Contribution of traditional and non-traditional gurus in classical Bharatha Natyam