"Bharatanatyam".
Bharatanatyam (also spelled Bharathanatyam, Bharatnatyam or Bharata Natyam) is a classical dance form originating in India. It owes its current name to Krishna Iyer and later, Rukmini Devi Arundale.
Bharata could refer to either the author of the Natya Shastra or to a legendary king after whom the country of India was supposedly named, and natya is Sanskrit for the art of dance-drama. It was brought to the stage at the beginning of the 20th century by Krishna Iyer.
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. In fact, it is the celestial dancers, apsarases, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. Dance originated and became a part of the temple because its aim was to attain spiritual identification with the eternal. The center of all 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 movements of pure aesthetic value), Nritya (movements in which abhinaya or expression is emphasized), and Natya (dance with a dramatic aspect). The word Bharata, interpreted as the dance form created by sage Bharata, has within it the essence and uniqueness associated with Bharatanatyam:Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Ta for tala or rhythm.
The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Shiva has four arms: One right hand holds the "damaru", symbol of creation through the primordial sound, and the other right hand makes a reassuring gesture. In one of the left hands, he holds the purifying fire, a symbol of transformation; with the other left hand, he makes the protecting gesture. His left foot, lifted up, evokes liberation and salvation, while his right foot crushes the demon of ignorance and evil.
Bharatanatyam is a traditional dance-form known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India.
Natya Shastra (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 the erotic sentiment (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".
Bharatanatyam 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), and Mohiniattam (element of air). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame.
Contemporary Bharatanatyam is practiced as Natya Yoga, a sacred Hindu meditational tradition by a few orthodox schools (see Yoga and Dance).
A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts on Bharatanatyam), 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.
Local kings often invited temple dancers devadasis to dance in their courts, the occurrence of which created a new category of dancers, rajadasi's 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, but the rajadasi's dance was meant to be an entertainment.
Most devadasis had already gone from being high-status life-long celibate priestesses (brahmacharya) to being lower-status temple servants who were allowed to have children from priests. By the time of Mughal and British rule, some dancers had fallen to the status of concubines or prostitutes.
The development of the Bharatnatyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian Dance Historian have seen it as means by which many women, often Brahmin women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of traditional Devadasi culture.*
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, until then, was exclusively performed by women, while men, called Nattuvanars, had only been teaching Bharatanatyam without actually performing it.
Rukmini was also instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the attention of the West after being heavily influenced by Anna Pavlova, a Russian ballet dancer.
It is worth noticing that most of the contemporary Bharatanatyam dancers do not satisfy the criteria for a professional danceuse stated in the scriptures.
At present, Bharatanatyam 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 classical dance form of Bharatanatyam has been exposed largely through depiction in popular movies, although most recently a number of commercial Bharatanatyam DVDs and VCDs have been released too.
Learning Bharatanatyam normally takes many years before the arangetram (debut). There are commercialized dance-institutes in many countries, including India, the United States, Singapore, and Malaysia. 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.
The performance concludes with the chanting of a few religious verses as a form of benediction. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram, which everyone in his/her institute attends. After that, he/she is entitled to teach and his/her lessons are finally over.
The AbhinayaDarpana has a sloka that describes Patra Prana Dasha Smrutaha - the ten essentials of the dancer: Javaha (Agility), Sthirathvam (Steadiness), Rekhacha (graceful lines), Bhramari(balance in pirouettes), Drishtir (glance), Shramaha (hard work), Medha (intelligence), Shraddha(devotion), Vacho (good speech), and Geetam (singing ability).
Natya Shastra (XXVII.97-98) provides a comprehensive description of a professional Bharathanatyam danseuse patra.
It is worth noting that the male dancers have rarely performed but often taught as nattuvanars. This reflects the traditional Indian view that the woman's body is better suited for performing the dance, while a man's mind is better at analysing and teaching it. It is related to the Purusha-Prakriti dualism embodied in the dualism of the human nature.
Classical Dances of India | Hindu traditions | South India | Indian culture | Tamil culture
ভরতনট্যম | Bharatanatyam | Bharata natyam | Bharatanatyam | Bharatanatiam | भरत नाट्यम् | Bharata natyam | பரதநாட்டியம்
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It uses material from the "Bharatanatyam".
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