Bharata Natyam

From Wikipedia, the free encyclopedia

Bharatanatyam

Ranjitha Shivanna performing Bharatanatyam

Genre

Indian classical

Country

India

A male Bharata Natyam performer

Bharata Natyam (Tamil: , Kannada: , Marathi: ) also
spelled Bharatanatyam, is a classical Indiandance form that originated in the temples of South
India.[1][2][3][4][5] 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 Natya
Shastra by Bharataaround the beginning of the common era. Bharata Natyam is known for its
grace, purity, tenderness, 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.[6]

Contents
[hide]

1 Etymology
2 Dance tradition
3 Essential ideas
o 3.1 Spiritual symbolism
4 Medieval decline
5 Modern rebirth
6 Bharata Natyam simplified
7 Items
8 Other aspects
9 Ideal qualities of dancers
10 In Popular Culture (Movies)
11 See also
12 References
13 External links

Etymology[edit]
The name Bharata Natyam is of relatively recent origin when performers like Rukmini Devi
revived the dance in the 20th century. The original names of Bharata Natyam
were Sadir, Chinnamelan and most commonly Dasi Attam.[7] A possible origin of the name is
from Bharata Muni, who wrote the Natya Shastra. The meaning of the word Bharatnatyam is
"Bhavam" means expression, "ragam" meaning music, "thalam" meaning rhythm
and natyam meaning dance.

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.[8]
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 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 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 the Katakamukha 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
include Odissi (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 blue-throated 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 LordShiva, 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.[9]

Medieval decline[edit]

Bharata Natyam in Serfoji II's period

Local kings often invited temple dancers (devadasis) 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
by adavus. 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 MarathaKing Saraboji II (17981832), 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 items. The descendants of these four brothers
formed the original stock of Nattuvanars or dance teachers of Bharatanatyam 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 Muslim 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 the Pandanallur
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 Arundaleintroduced 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
1936Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it
and to promote other studies in Indian musicand 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
are exoteric in nature, some others, like the Melattur style and Balasaraswati's style grew out of
the devadasis' distinctly different esoteric art.
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.
A paradigm shift was introduced in the field of Bharatnatyam when it got introduced in
Maharashtra. Shri Kamleshji Maharaj was the pioneer in Maharashtra who introduced a new
confluence of bharatnatyam and local dances like tamasha to create a new form called
Tattumucchlum.

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. Nritya has sahityam (a sentence which means something). It
has emotions, expressions and has a meaning shown by the hastas. Natya is when a person is
portraying a character. There are 4 types of abhinaya in dance. They are
1.
2.
3.
4.

Anghika - Physical or body movements.

Vachika - the song being played, poetry
Aaharya - Ornamentation of a character/dancer e.g. jewellery, costume
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
also Pushpanjali
todayamangalam
a starting dance in which we show respect towards the god. This item was adopted from
the karnatic music margam.A beautiful example of a todayamangalam is "jayajankaki
Ramana"
Jatiswaram or Jathiswaram

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 rhythmic form. Jatiswaram or Jathiswaram brings out three aspects of dance:
unity of music, rhythm and movements.
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, violinand 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.