| BharataNatyam also spelled Bharatanatyam, is a classical Indian dance form that originated in the temples of Tamil Nadu. This dance form denotes various 19th- and 20th-century reconstructions of Sadir, the art of temple dancers called Devadasis. It was described in the treatise NatyaShastra by Bharata around the beginning of the common era. BharataNatyam is known for its grace, purity, tenderness, expression and sculpturesque poses. Lord Shiva is considered the God of this dance form. 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. |
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Dance Tradition |
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One of the 81 BharataNatyam dance positions carved on the outer wall of the upper storey of PeruvudaiyarKoyil, 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.
In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on BharataNatyam dance postures karanas. 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 BharataNatyam. 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, BharataNatyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. BharataNatyam, 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. BharataNatyam 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 Saraboji’s time (1798–1824) which made a rich contribution to music and BharataNatyam and also completed the process of re-editing the BharataNatyam 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 BharataNatyam in Tanjore. The dance forms can be big or small. |
An ancient traditional art form with its origins steeped in divinity, Bharata Natyam reflects the culture of India at its best.
The performer (male or female) is usually a soloist accompanied by a minimum of two musicians and usually four for a full-scale concert. The dancer uses the space as her own sacred temple and brings the audience into her magical circle as she performs and acts out stories with Gods and Goddesses from Indian mythology, folk tales and stories with emotional content. Being a living art form it has continued to enrichen itself changing with the times yet keeping its pristine beauty and nature intact. Linear geometrical patterns, a perfect balance of the body, eloquents of expression, and precision of footwork to intricate mathematical rhythms are the hallmarks of this dance.
The dance originated 5000 years ago and comprises of several arts like sculpture, painting, theatre, literature, music, dramaturgy, and poetry. Young girls were dedicated to the temples at the early age of eight years where they underwent a strict discipline in the above related arts to fully understand, comprehend and evoke the sentiments required of them as dancers. Their tutelage was conducted under eminent performers of the arts who were either the established temple dancers known as “Devadasis” (Servants of the Gods) or ‘Rajadasis’ those who were the courtesans of the state and kingdom. The art form originated in the southern part of India in the state of Tamil Nadu and flourished greatly under the patronage of several kings some of whom were composers of the poetry and musical compositions that the dancers performed to and have handed down this rich tradition by word of mouth.
The dance itself is divided into two categories, which are the pure dance ‘NRTTA’ and the expressional dance ‘NRITYA’. In the pure dance abstract patterns are woven to complex rhythmic pattern played by the drummer. The dancer and drummer synchronize and create geometrical patterns with precision as the vocalist sings to a separate time measure yet all performers almost seeming to be at their own different time measures conclude simultaneously. Within a framework of basic 35 time measures several more are created. The dance is sculpturesque and the art of iconography comes to life as one witnesses in the hands of a proficient performer the limitless dimensions of this highly venerated art form. The dance is flourishing in its country of origin and has a large following amongst those initiated to its intricacies and cultural concepts. Performers have become virtual cultural ambassadors of India representing its cultural heritage at its best.
