Bharatnatyam - Indian Dance

Bharatanatyam comes from the words Bhava (Expression), Raga (Music), Tala (Rhythm) and Natya (Classic Indian Musical Theater). Today, it is one of the most popular and widely performed dance styles and is practiced by many dancers all over the world.

Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam, as well as the later Silappadikaram, testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. TheSilappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played a major role.

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.

In Kali Yuga, the center of most 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 dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya).

The Tamil country especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatanatyam in Tanjore. Originally, they formed a community by themselves and most of them were Saivite non-brahmins.

It is believed that Bharatanatyam is mainly a renewal of Cathir, the ancient art of temple dancers.This dance form denotes various 19th and 20th century reconstructions of Cathir, the art of temple dancers from ancient dance forms.

IDDA offers a step-wise curriculum into the heart of Bharatnatyam with Minaxi Srivastava. For more information on Meenakshi Srivastava, please click on 'The Faculty'.

Ila Dalal Dance Academy

Into the Soul of Nritya...

The Ila Dalal Dance Academy is dedicated toward creating greater awareness and popularity toward classical Indian Dances and encouraging individuals to make dance an integral part of their lifestyle. In addition to certificate courses and in-depth training in Indian Dances like Kathak, Bharatnatyam, Manipuri, Odissi and Indian folk dances, IDDA also offers courses in Western styles such as Latin Ballroom Dancing, Jazz, Contemporary Western and Modern Dance.

Dance is a physical and visual art form, which has an immediate and massive impact on the spectator. The various Indian forms act like a window to India's rich cultural reservoir. Dance is the form of art, where the body is used as a medium of communication. Indian dances have played an influential role in many other realms of art including poetry, sculpture, architecture, literature, music and theater all over the world.

The earliest archaeological evidence of Indian dance, which dates back to 6000 BC, depicts a beautiful statuette of a dancing girl. Bharata's Natya Shastra (which was written between the 2nd century B.C. and 2nd century A.D) is the earliest available thesis on dramaturgy. All forms of Indian classical dances owe allegiance to Natya Shastra, which is believed to be the 'fifth Veda' of the Indian culture.

According to a popular belief, Brahma, the Creator of the World, combined literature from the Rig Veda, songs from the Sama Veda, abhinaya (expression) from the Yajur Veda and rasa (aesthetic experience) from the Atharva Veda, to form natya (what we today call dance). It explains the nuances of dance, giving stress on mudras (hand formations) and their meanings, the kind of emotions and their categorization.

Apart from the abhinaya and the performance of rasa, the audience is amused by the attire and ornaments of the artist. The majority of Indian classical dance forms are focused on the depiction of the nine rasas (Navarasas or the emotions), which includes Hasya (happiness), Krodha (anger), Bhibasta (disgust), Bhaya (fear), Shoka (sorrow), Viram (courage), Karuna (compassion), Adbhuta (wonder) and Shanta (serenity).

The Indian classical dance forms are dominated by the basic elements of a performance, including abhinaya and rasa. Abhinaya is an inevitable part of the dance, since it conveys the true meaning of the performance. On the other hand, the use of rasa varies from one performance to another. The use of a particular rasa is dependent on the situation or the story of the dance performance. Go through the following lines and check out more information on the basic elements of Indian dance - abhinaya and rasa.