Bharatanatyam is considered one of the oldest classical dance forms of India. A dance form that originated from the temples of Tamil Nadu in South India, it is a revered dance form steeped in Indian culture and history. The meaning of the word “Bharatanatyam” is derived from “Bhavam” which means expressions, “Ragam” which means music, “Talam” which means rhythm, and “Natyam” which translates to dance. Characterized by precise movements, sharp edges, and expressive body language, Bharatanatyam involves three aspects of dance: Nritta, which is a pure dance without any emotions and expressions. It involves rhythmic dance where body movements do not convey any meaning. The second aspect is Nritya, which involves emotions and expressions where the lyrics of the song are conveyed using hand gestures (hasta mudras) and facial expressions (abhinaya). The third aspect is Natya, which means a dramatic representation with speech, music, and dancing. Natya is a combination of Nritta and Nritya.
ORIGIN
Bharatanatyam’s origin is not precisely identified but it is believed to be originated in the temples of South India, mainly Tamil Nadu almost two thousand years ago and was performed by Devadasis , they were women dedicated to the service of the temple and used dance as a form of devotion. Bharatanatyam’s theoretical structure is known as “Sadir” and its roots can be traced back to an ancient text,”Natyashastra” written by sage Bharata Muni which details out guidelines and principles of Indian classical dance and theatre.
The practice of Bharatanatyam grew in popularity in South India. Many temples are adorned with sculptures of Lord Shiva in Bharatanatyam poses. The eastern Gopuram of Thillai Nataraja Temple, which is dedicated to Lord Shiva, depicts sculptures of 108 Bharatanatyam poses that are carved into small rectangular panels. Many Kings and rulers contributed to the flourishing of the dance form but it is believed that Bharatanatyam rose to prominence during the rule of Cholas and Pallavas (4th to 12th century). The dance form was kept alive and encouraged by the Pandya , Nayaka and the Maratha rulers. During the rule of the Marathas, the dance of the Devadasis came to be known as “Dasi Attam”.
DEVELOPMENT
During the rule of Raja Serfoji II, the four brothers who were famous court musicians and dancers – Chinnaya, Ponnayya, Sivanandam and Vadivelu also known as the Tanjore (Thanjuvar) Quartet contributed majorly to the development and popularity of Bharatanatyam and formalized it into an art form in the 19th Century. They studied the dance form under their grandfather, Gangaimudu and their father, Subbarayan. They learned the intricacies of the dance and how to create a performance pattern for it. The Quartet mastered the dance form and eventually evolved it into its present day format by standardizing the steps and rhythm patterns of Bharatanatyam. They popularized the dance from globally. They made Brihadisvara Temple their hub that brought musicians and dancers together. Their compositions are still performed in sabhas all around the world and students continue to embrace their legacy and continue to keep the dance form alive.
DECLINE
Bharatanatyam witnessed its decline during the British colonization of India. Under the rule of the British, propaganda prevailed against Indian art, misrepresenting it as crude, immoral and inferior to the practices of Western Civilization. The British looked down on the Indian Concepts of dance and soon Devadasis were marginalized. They were pushed down the social strata and were looked at as mere slaves. Because the influence of the British was powerful, the patronage of the royal courts for ritual temple dances was stopped completely and Devadasi system declined. In 1910, the Madras Presidency of the British Empire banned temple dancing. The dance form suffered a lot during this time and had almost reached a stage of extinction.
REVIVAL
The ban triggered huge protests against the dehumanization of temple dancers and Indian art forms. The classical art revivalists such as E.Krishna Iyer who was a lawyer and a Bharatanatyam dancer questioned the cultural discrimination. He would perform it in female costumes to remove the stigma associated with the dance. He was also one of the founders of the Music Academy in Madras (now Chennai), and used its platform to perform Bharatanatyam. Slowly, the art from started gaining its respect back and young artists from Brahmin families were started getting attracted to learning the dance form. Kalindi Narayana of Mylapore , Bala Saraswati and Rukmini Devi Arundale were two such artists who contributed to the revival and brought it to be performed outside temples.
Rukmini Devi modified the Pandanallur style of Bharatanatyam by removing the erotic elements and adding lighting, musical instruments and costumes. She emphasized the dance’s spiritual ad artistic core. She composed more than 30 dance dramas based on Indian epics. Bharatanatyam was made more accessible to people by her and she helped it make an art form, which is appreciated today worldwide. She founded the Kalakshetra Foundation in Chennai to preserve and encourage the dance from
Bharatanatyam expanded rapidly after India gained Independence from the British rule in 1947. After its tumultuous history, it is now one of the most respected and popular classical dances of India, which is learned and appreciated worldwide. It remains and will remain an integral part of India’s cultural heritage.
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