Bharatanatyam

Bharatanatyam

Bharatanatyam is a significant form of Indian classical dance with a history spanning over 2000 years, regarded as the foundational dance style for many other Indian classical forms. This dance was initially performed by women at Hindu temples in Tamil Nadu and eventually spread throughout South India. The Natyashastra by Bharata Muni and the Abhinaya Darpana by Nandikesvara provide insights into this art form.

It is believed that Lord Brahma revealed Bharatanatyam to Bharata. This dance vividly illustrates Hindu religious themes and spiritual ideas, showcasing the performer’s remarkable footwork and expressive gestures. Its performance includes various elements such as Nrita, Nritya, and Natya.

Origin and History of Bharatanatyam

Bharatanatyam originated in the temples of South India and was traditionally performed by Devadasis, earning it the name Dasiattam. Visual representations of this dance style appear in numerous paintings and sculptures found in historical sites. The Sangam literature piece 'Silappadikaram', recognized as one of the five major epics of Tamil Literature, references this dance form. The Gopurams at the Thillai Natarajar temple in Chidambaram feature approximately 108 poses of Bharatanatyam carved into their structure. The Shiva temple in Kanchipuram, adorned with sculptures from the 6th to 9th centuries CE, showcases the evolution of this dance form. In Karnataka, the Badami cave temples from the 7th century depict a sculpture of Lord Shiva as Nataraja engaged in the Tandava dance, with the figurine's 18 arms illustrating the mudras integral to Bharatanatyam. Sadir is a dancing style that evolved into Bharatanatyam.

The Thanjavur Brihadeeswara temple has been a hub for Bharatanatyam since around 1000 CE. During the British colonial period, many colonizers claimed that temple dancing was a disguise for prostitution. Traditional Indian dances faced discouragement due to an anti-dance movement backed by Christian missionaries. E. Krishna Iyer, a freedom fighter, advocated for the revival of Bharatanatyam, confronting the British government and subsequently facing arrest on charges of nationalism. In 1910, the government prohibited temple dancing. Artists such as Bala Saraswati and Rukmini Devi Arunadale

Important Principles and Techniques of Bharatanatyam

Bharatanatyam can be categorized into three broad segments: Nritta, Nritya, and Natya.

1. Nritta

Nritta refers to the pure rhythmic aspect of dance, embodying the essence of the performance's mood. It consists of ‘Adavus,’ which are distinctive sequences of movements involving the feet, hands, and body, as well as minor limb movements such as those of the head, neck, and eyes. The significance of Nritta lies in its inherent grace, and it does not emphasize facial expressions. Instead, the spotlight is on footwork. Examples of Nritta performances encompass Thillana and Jathiswaram.

2. Natya

Natya embodies the combination of bhava, rasa, and abhinaya. Derived from the root word Nat, meaning movement, it translates to dancing or acting. Often regarded as a fusion of Lyal, Isai, and Nataka—which signify Literature, Music, and Drama—Natya tells stories through the integration of dance and music, or laya and abhinaya, representing Nritta and Nritya, respectively. This form incorporates hand gestures (hastas) and facial expressions to convey emotions and the essence of the song's lyrics. Examples of Natya dances include Padam, Shabdam, and Jawali.

3. Nritya

Nrithya comprises footwork and abhinaya, focusing on Rasa and the dancer's mental state. In this form, Angika abhinaya, which includes elements such as hand movements, eye expressions, and facial gestures, is crucial. This aspect serves to express the meaning of the lyrics in the song being performed through a combination of hand signals and emotional displays. Given the significant role of the dancer's bhav, it can also be likened to a form of miming.

The dance is a blend of Nritta and Natya, presenting a distinctive fusion of rhythmic movement and theatrical emotional expression. Examples of Nritya include Pada Varnam and Swarajathi.

Major Bharatanatyam Styles

There are six major styles of Bharatanatyam:

1. Melattur Style

OriginThe Melattur Bani of Bharatanatyam was created by Mangudi Dorairaja Iyer, a saint dedicated to Srividya Upasana, largely based on the practices of devadasis and the Melattur Bhagavata Mela. He revitalized the Kuchipudi’s Shuddha Nrittam, characterized by intricate footwork that explores various time signatures at different tempos, as well as Bhattasa Natyam, likened to Kalaripayattu, and Perani Natyam, which involves dancing with a clay pot. After witnessing a performance by a devadasi at the Cheyyur Sengalvarayar shrine, who showcased Shuddha Nrittam, among other forms, Mangudi developed a strong interest in pure dance. Distinct from other Bharatanatyam masters, Mangudi refrained from performing works that glorified the anthropoid patrons of poets, as this would conflict with his commitment to Srividya Upasana. The repertoire of the Melattur bani primarily features ancient dance pieces traditionally performed in temples.

2. Pandanallur Style

This style hails from Guru Sri Meenakshi Sundaram Pillai (1869–1964), who was based in Pandanallur, in the Thanjavur district of Tamil Nadu, India. He came from a lineage of nattuvanars, including the renowned Thanjavur brothers: Chinnaiah, Ponniah, Sivanandam, and Vadivelu. Following him, his son-in-law Chokkalingam Pillai (1893–1968) became the next prominent teacher of the Pandanallur style. Subbaraya Pillai (1914–2008), his son, continued the tradition as a notable instructor after receiving education from his father and grandparents in Pandanallur.

3. Kalakshetra Style

The Kalakshetra Foundation, formerly known simply as Kalakshetra, is an institution focused on the preservation and promotion of Bharatanatyam’s traditional arts and culture. It was established by Rukmini Devi Arundale and her husband George Arundale, located in Chennai. Under the leadership of George Arundale, the foundation gained national and international acclaim for its distinctive style and commitment to excellence. Rukmini Devi Arundale studied the Pandanallur style for three years under esteemed instructors, after which she produced various Bhartanatyam-based ballets and initiated group performances.

4. Tanjore Style

This style represents a unique form of Bharatanatyam, commencing with an Alaripu. It embodies a deep dedication to deities, rooted in the religious practice of dance historically performed in temples. The Tanjore bani is associated with the dance traditions of the Thanjavur royal court, which were passed down through the lineage of the Tanjore nattuvanar family, the forebears of the Thanjavur quartet. These quartet brothers, active in the early 19th century as musicians and dance composers at the Tanjore royal court, established the contemporary margam framework used in all Bharatanatyam styles. Both the Pandanallur and Thanjavur styles draw inspiration from some of the oldest Bharatanatyam compositions.

5. Vazhuvoor Style

Vazhuvoor Ramiah Pillai, a prominent guru, dedicated his efforts to Bharatanatyam with great passion. He hailed from the Isai Vellalar community, known for its traditional dancers and musicians. In Vazhuvoor village, the shrine to Gannasabeshan, who is associated with stage performance, is dedicated to Lord Shiva, and students from the Vazhuvoor school continue to honor this idol through the invocatory piece, Thodaya Mangalam. Ramiah Pillai also trained renowned dance instructors, including Thiripurasundari Cumarasamy, Sri Lanka’s first student to travel for studies, and other notable figures such as Kumari Kamala, Vyjayanthimala, Padmini, and Padma Subramanyam. This vibrant bani (tradition) emphasizes the fluidity of movement, graceful poses, and an enticing presentation that captivates audiences. The Vazhuvoor style is distinct in its approach to performance, including steps that are both quick and intricate, complemented by expressive eye movements. To maintain rhythm over time, poses are frequently integrated into routines, especially in the concluding dance (Thillana). The jatis (rhythmic patterns) or nritta segments often feature a greater number of korvais (sequences of various adavus), enhancing the dance's unique character.

6. Mysore Style

This Bharatanatyam variant is characterized by its elegance and charm. The Mysore style focuses on sharp angular movements, emotional expression, and the lyrical aspects of the dance form. Jetti Tayamma is recognized as the founder of this style. Elements of love and sensuality are woven into the dance, particularly in the Astapadis, which are inspired by Jayadeva’s 12th-century Sanskrit verses known as Gita Govinda.

Costume and Attire of Bharatanatyam

The attire of a female Bharatanatyam dancer is similar to a traditional Tamil Hindu bridal outfit. It usually features a sari in vibrant colors adorned with golden or silver zari embroidery along the edges. This costume may be tailored from the sari into separate components, which include a bottom piece (either a skirt or pants styled like salwar), a pleated front piece that spreads open like a hand fan when the dancer bends her knees or executes footwork, a hip section that covers the torso of the bottoms, and a piece for the upper body that resembles an aanchal (the draped section of a conventional sari).

Some dancers prefer to wear an unstitched sari draped in a specific manner, beginning around the legs like a dhoti, then extending upwards along the front torso, over the left shoulder, and down the back, with the end secured at the waist by an ornate belt.

For male Bharatanatyam dancers, the costume typically consists of either a sari or a white cotton cloth draped around the lower body in a manner similar to a dhoti. In performances, the upper body remains uncovered, and male dancers commonly do not wear stitched outfits.

Both female and male dancers adorn themselves with intricate jewelry on their ears, nose, neck, and wrists. Female dancers add extra pieces on their heads that highlight their hairline and parting, along with smaller ornaments on each side of their parting, symbolizing the sun and the moon.

Long hair for both male and female dancers is styled in either a bun or a braid. Female dancers with shorter hair may use braid extensions or bun pieces to create the illusion of longer hair. Additionally, female dancers embellish their braids or buns with artificial flowers made from cloth or paper, known as gajra.

Both male and female dancers wear makeup, which includes foundation, blush, lipstick, and bold eyeliner or kohl to enhance their facial expressions for the audience.

All dancers wear leather anklets on their feet, called salangai or ghungroos, consisting of small bells fastened to a wide leather strap that is secured around the back of the ankle. These bells are lined up in even rows and produce sound as the dancer moves, accentuating the rhythm of the music and the dancer's footwork.

Finally, all dancers apply red kumkum powder or alta to outline their hands and feet, a tradition that allows the audience to easily discern their hand and foot movements.

Renowned Bharatanatyam Dancers

Here are some of the renowned Bharatanatyam performers:

• ● Veena Chikkanahalli Seshadri
• ● Meenakshi Sundaram Pillai
• ● Mallika Sarabhai
• ● Dr. Rekha Raju
• ● Alarmel Valli
• ● Yamini Krishnamurthy
• ● Rukmini Devi
• ● Anita Ratnam
• ● Parijat Naik
• ● Mala Prashanna (Vijayalakshmi Academy of Arts)
• ● Greeshma Rajan
• ● Dr. Preeti (Vijayalakshmi Academy of Arts)
• ● Balasaraswati
• ● Padma Subramanyam
• ● Mrinalini Sarabhai