Bharata Natyam

Bharathanatyam is a classical Indian dance form originating in the South Indian State of Tamil Nadu. This dance form denotes various 19th and 20th century reconstructions of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. Bharatanatyam is usually accompanied by the classical music. It has its inspirations from the sculptures of the ancient temple of Chidambaram. Bharatanatyam, as the name depicts is the combination of:Bha- Bhavam (means expression), Ra- Ragam (means music), Ta- Talam (means beat or rhythm) and Natyam (means dance) inTamil.

In ancient times it was performed as dasiattam by mandir (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, apsara's, 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.

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".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 (pancha-kriya): creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (samhara); concealing, veiling, hiding the transcendental essence behind the garb of apparations (tirobhava); and bestowing grace through a manifestation that accepts the devotee (anugraha).



In past Local kings often invited temple dancers (devadasi) to dance in their courts, the occurrence of which created a new category of dancers -- rajanarthakis -- and 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.The present form of Bharatanatyam as we know it today has been codified and documented by four brothers Chinnayya, Ponnayya, Vadivelu and Sivanandam in the early 19th century. They are also famously known as the Tanjore Quartret. Their dance compositions form the bulk of the Bharatanatyam practiced today.

E.Krishna Iyer was one of those who raised the social status of Bharatanatyam and greatly popularized it. Rukmini Devi Arundale was also instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the attention of the West. She introduced group performances and staged various Bharatanatyam-based ballets. Tara was among the first to take Bharatnatyam to the West, representing independent India's first official delegation to the USSR in 1954. Along with other great Indian artists Tara performed Bharatnatyam at the prestigious Bolshoi Theatre.Learning Bharatanatyam 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 Bharatanatyam as they go together.

At present, not only the Hindus but many Christians and Muslims learn it, bringing it beyond the rigid forms of religious boundaries.