Lord Brahma is said to have revealed Bharatanatyam to the sage Bharata, who then codified it in the Natya Shastra.
Bharatnatyam Dance is considered to be over 2000 years old. Several texts beginning with Bharata Muni's Natya Shastra (200 B.C.E. to 200 C.E.) provide information on this dance form.
Bharatanatyam, a prominent Indian classical dance form, has a history spanning over 2,000 years. Originating in the temples of Tamil Nadu, it was initially performed by Devadasis and was also known as Dasiattam. Information about this dance form can be found in ancient texts like Bharata Muni's Natya Shastra and Nandikesvara's Abhinaya Darpana. Bharatanatyam is also supported by visual evidence in ancient temple carvings and paintings.
Early Development and Influence:
Natya Shastra and Abhinaya Darpana:
The dance form is rooted in ancient texts like the Natya Shastra, a foundational text on Indian drama and aesthetics, and the Abhinaya Darpana, which details the techniques and grammar of body movements in Bharatanatyam.
Temple Dances and Devadasis:
Bharatanatyam was traditionally performed by women dedicated to temples, known as Devadasis. These women were trained in the dance and performed as a form of devotion and worship.
Visual Evidence:
Ancient temple sculptures, especially on the gopurams of the Chidambaram temple, provide visual evidence of Bharatanatyam poses and movements, offering insights into the dance form's history.
Tanjore Quartette:
In the early 19th century, the Tanjore Quartette, under the patronage of Raja Serfoji, played a crucial role in shaping the repertoire of Bharatanatyam as it is known today.
British Colonial Era and Revival:
Suppression and Stigma:
During the British Raj, the practice of temple dancing was associated with prostitution, leading to its suppression and a ban on performance.
Nationalist Revival:
In the early 20th century, a revival movement emerged, spurred by nationalist sentiments and a desire to preserve Indian cultural traditions.
E. Krishna Iyer and the Music Academy:
Figures like E. Krishna Iyer played a significant role in reviving the dance form and establishing the Music Academy in Madras.
Balasaraswati and Rukmini Devi Arundale:
Notable figures like Balasaraswati and Rukmini Devi Arundale contributed to the revival and mainstreaming of Bharatanatyam, making it an accepted classical dance form.
Modern Bharatanatyam:
Transition from Temples to Stages:
Bharatanatyam has evolved from temple rituals to stage performances in auditoriums worldwide.
Fusion and Contemporary Styles:
Modern Bharatanatyam includes both religious and non-religious themes, and fusion styles that blend it with contemporary dance forms.
Global Popularity:
The dance form is now practiced and taught in various parts of the world, including prestigious institutions and online platforms.
The title of "Queen of Bharatanatyam" is most often associated with T. Balasaraswati, also known as Bala. She was a renowned dancer and singer who significantly contributed to the revival and popularization of the dance form. Another figure often recognized for her contributions, particularly in bringing Bharatanatyam to global acclaim, is Rukmini Devi Arundale.
The seven stages of a Bharatanatyam performance are: Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Tillana, and the audience's response. These stages progress from a warm-up to a more detailed and expressive performance, concluding with a final, fast-paced section.
. Alarippu:
This is the initial stage, often referred to as "the flowering of the dance." It serves as a warm-up and introduces the basic movements and rhythms of Bharatanatyam.
2. Jatiswaram:
This section focuses on complex movements and rhythmic patterns, building on the foundation established in Alarippu. While not conveying any specific meaning, it demonstrates the dancer's skill and precision.
3. Shabdam:
This part incorporates both "Nritta" (pure dance) and "Abhinaya" (expressive acting). It often includes elements that honor Lord Krishna.
4. Varnam:
This is the core and most challenging part of the performance, often lasting 45 minutes to an hour. It depicts stories and emotions with elaborate movements and expressions.
Padam:
This section focuses on "Abhinaya," conveying complex sentiments and emotions through slower, expressive movements.
6. Tillana:
This is a final, fast-paced section that brings the performance to a close. It features graceful movements and sculpturesque positions.
7. Audience Response:
The performance concludes with a "Shloka" (a verse) or a "Mangalam" (invocation to the Gods), and the audience's response.
