Bharatanatyam (Tamil: ) is an Indian classical dance form that originated in Tamil Nadu.[1][2] It is a classical dance form recognized by the Sangeet Natak Akademi, and expresses South Indian religious themes and spiritual ideas, particularly of Shaivism and in general of Hinduism and Jainism.[3][4][5]
Bharatanatyam word was derived by joining two Sanskrit words: 'Natyam' meaning dance and 'Bharata' which is a mnemonic containing 'Bha' (bhava/emotions), 'Ra' (raga/melody), and 'Ta' (tala/rhythm). Thus the term Bharatanatyam means a dance that expresses Bhava, Raga, and Tala.
Natyam
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A description of precursors of Bharatanatyam from the 2nd century CE can be found in the ancient Tamil epic Silappatikaram, while temple sculptures of the 6th to 9th century CE suggest dance was a refined performance art by the mid-1st millennium CE.[6][7] Sadiraattam, which was renamed Bharatanatyam in 1932, is the oldest classical dance tradition in India.[8] Bharatanatyam is the state dance form of Tamil Nadu.
Sadiraattam remained exclusive to Hindu temples through the 19th century.[7] It was banned by the colonial British government in 1910,[11] but the Indian community protested against the ban and expanded its performance outside temples in the 20th century as Bharatanatyam.[7][11][12] Modern stage productions of Bharatanatyam have become popular throughout India and include performances that are purely dance-based on non-religious ideas and fusion themes.[6][7] The Thanjavur Quartet developed the basic structure of modern Bharatanatyam by formalizing it.[13]
In 1932, E Krishna Iyer and Rukmini Devi Arundale put forward a proposal to rename Sadiraattam (Tamil: ), also known as Parathaiyar Aattam or Thevarattam, as Bharatanatyam, to give the dance form a measure of respect, at a meeting of the Madras Music Academy.[14] They also were instrumental in modifying mainly the Pandanallur style of dance. The word Bharatam is also seen as a backronym,[7] with bha standing for bhavam (feelings, emotions), ra for ragam (melody, framework for musical notes), and tam for talam (rhythm).[7][15][16] The term Natyam is a Sanskrit word for "dance". The compound word Bharatanatyam is seen to connote a dance that harmoniously expresses bhavam, ragam and talam.[15]
Bharatanatyam shares the dance poses of many ancient Shiva sculptures in Hindu temples. The Cave 1 of the Badami cave temples, dated to the 7th century,[32] portrays the Tandava-dancing Shiva as Nataraja.[33][34][35] The image, 5 feet (1.5 m) tall, has 18 arms in a form that expresses the dance positions arranged in a geometric pattern.[35] The arms of Shiva express mudras (symbolic hand gestures),[36] that are used in Bharatanatyam.[6][37]
With the arrival of the East India Company in the 18th century, and British colonial rule in the 19th, classical Indian dance forms were ridiculed and discouraged, and these performance arts declined.[42] Christian missionaries and British officials presented "nautch girls" of north India (Kathak) and "devadasis" of south India (Bharatanatyam) as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" in 1892.[43][44][45] The anti-dance camp accused the dance form as a front for prostitution, while revivalists questioned the constructed colonial histories.[39][40]
The banning of temple dancing stemmed from the 1892 anti-dance movement and new, liberal colonial perspectives. What the English imagined nineteenth-century modernity to be did not include what they regarded Bharatanatyam to be, which they regarded as indecent.[46] Coming from a deep orientalist perspective, the morality of people who performed Bharatanatyam was called into question.[47] Accusations of prostitution were thrown around. Some women from traditionally performing communities were used as a way to showcase obscenity.[48] New reforms disregarded local issues like production of the arts for the sake of liberalism and felt able to impose disruptive reforms that reshaped lives at all levels and subjected people to new standards. Colonial reforms were largely unsympathetic to local traditions, and dismissive of the industry surrounding producing art.[46] The adoption of Anglo-Indian laws that imposed certain restrictions and regulations on certain expressions of sexuality, and more so regulations on bodies and sex in general, which in turn affected traditional dance practices.[48] Temple dancing became caught in a web of multiple political agendas, hoping to bend this burgeoning morality issue to suit their cause.[49] Colonial denunciations of the practice of temple dancing were caught up in liberal ideals of bringing modernity to India, where modernity was tied to Anglo-Protestant moral ideas about how bodies are viewed and how sexuality was presented.[48]
The 1910 ban triggered protests against the stereotyping and dehumanization of temple dancers.[11] Tamil people were concerned that a historic and rich dance tradition was being victimized under the excuse of social reform.[11][50] Classical art revivalists such as E. Krishna Iyer, a lawyer who had learned from traditional practitioners of Sadir, questioned the cultural discrimination and the assumed connection, asking why prostitution needs years of training for performance arts, and how killing performance arts could end any evils in society.[51][52] Iyer was arrested and sentenced to prison on charges of nationalism, who while serving out his prison term persuaded his fellow political prisoners to support Bharatanatyam.[53]
While the British colonial government enforced laws to suppress Hindu temple dances, some from the West, such as the American dancer Esther Sherman moved to India in 1930, learned Indian classical dances, changed her name to Ragini Devi, and joined the movement to revive Bharatanatyam and other ancient dance arts.[54]
The Indian independence movement in the early 20th century, already in progress, became a period of cultural foment and initiated an effort by its people to reclaim their culture and rediscover history.[43][55][56] In this period of cultural and political turmoil, Bharatanatyam was revived as a mainstream dance outside of Hindu temples by artists such as Rukmini Devi Arundale, Balasaraswati and Yamini Krishnamurti[57][58] They championed and performed the Pandanallur style and Thanjavur styles of Bharatanatyam.[57]
Bharatanatyam is traditionally a team performance art that consists of a solo dancer, accompanied by musicians and one or more singers. It is described as classical art because the theory of musical notes, vocal performance, and the dance movement reflect ideas of the Sanskrit treatise Natya Shastra and other Sanskrit and Tamil texts, such as the Abhinaya Darpana.[62][63]
The solo artist (ekaharya) in Bharatanatyam is dressed in a colorful sari, adorned with jewelry and presents a dance synchronized with Indian classical music.[62] The hand and facial gestures are a coded sign language able to recite legends and spiritual ideas from the Mahabharata, the Ramayana, the Puranas and historic drama texts.[62][64] The dancer deploys turns or specific body movements to mark punctuations in the story or the entry of a different character in the play or legend being acted out through dance. Abhinaya is the art of expression in Indian aesthetics; footwork, body language, postures, musical notes, the tones of the vocalist, aesthetics and costumes integrate to express and communicate the underlying text.[62][65]
In modern adaptations, Bharatanatyam dance troupes may involve many dancers who play specific characters in a story, creatively choreographed to ease the interpretation and expand the experience by the audience.[66]
The repertoire of Bharatanatyam, like all major classical Indian dance forms, follows the three categories of performance in the Natya Shastra. These are Nritta (Nirutham), Nritya (Niruthiyam) and Natya (Natyam).[64]
A Bharatanatyam arangetram is a solo debut performance that signifies the completion of initial formal training of a young dancer, female or male in Indian classical dance. The term Arangetram translates to "ascending the stage". This performance is typically done ten to twelve years after a dancer begins learning Bharatanatyam. Still, more importantly, it is done when the guru believes the student is ready for a solo performance. This solo debut is synonymous with a "coming-of-age" celebration. The arangetram is a culmination of multiple years of hard work by the student and the guru, and it is an opportunity for the dancer to showcase his or her dedication and skills developed over the years. Throughout this debut, the dancer performs a series of dances. The dancer must build up his or her concentration and stamina to perform solo dances for approximately three hours. Each dance performed symbolizes various aspects of Hindu religion.[72][73]
The overall sequence of Bharatanatyam, states Balasaraswati, thus moves from "mere meter; then melody and meter; continuing with music, meaning and meter; its expansion in the centerpiece of the varnam; thereafter, music and meaning without meter; (...) a non-metrical song at the end. We see a most wonderful completeness and symmetry in this art".[87]
The costume of a female Bharatanatyam dancer resembles a Tamil Hindu bridal dress. It typically consists of a sari in bright colors with golden or silver zari embroidery on the borders. The costume can be stitched from the sari, with individual pieces for a bottom (either a skirt or salwar-shaped pants), a pleated piece which falls in front and opens like a hand fan when the dancer flexes her knees or performs footwork, a hip piece that covers the seat of the pant/skirt, and a torso piece that looks like an aanchal (i.e. the draped part of a regular sari). Some dancers also opt for an unstitched sari that is draped specially, with the single piece of cloth starting around the legs like a dhoti, then upwards along the front torso, over the left shoulder, and then down the back with its end held at the waist by a jeweled belt.[88] The costume of a male Bharatanatyam dancer is usually either a sari or a white cotton cloth draped around the legs and bottom half of the body like a dhoti. During performances, the upper body of the male dancer remains bare. Male dancers typically do not wear stitched costumes. 589ccfa754
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