A divine dance form that transcends epochs:Bharatanatyam

Bharatanatyam, the timeless dance form of South India, is a tapestry of

history, science, culture, and artistry.

Inscribed in texts like Bharata Muni’s Natyashastra and Nandikeshwara’s

Abhinaya Darpana, Bharatanatyam draws its principles from the Natya Veda.

The name “Bharatanatyam” bears special significance, with each part denoting

integral aspects of the dance form.

Bha- Bhava or expressions

Ra- Raaga or melody

Ta- Taala or rhythm.

Bharatanatyam is rooted in temple dances. It draws from the era of Devadasis,

celestial dancers who added a spiritual element. Previously known as

Dasiyattam, this dance form has resurged through the veils of colonial times,

resonating with India's cultural and spiritual heritage.

Bharatanatyam, like architecture, is an exploration of space. This sculptural

essence of classical dance has influenced temple structures for centuries. One

of the most prominent examples is the Chidambaram Nataraja Temples in

Tamil Nadu. Built during the Chola Period the main hall of the temple, The

Nritta Sabha (designed as dictated in the Natyashastra) is dedicated to dance.

Carvings here depict legendary dancers, musicians, and mythological figures.

Lord Nataraja, the divine cosmic Tandava dancer, is the supreme lord of

dance. A popular shloka (Sanskrit verses) recited by most dancers reveals

their devotion towards Nataraja.

“Angikam bhuvanam yasya

Vachikam sarva vangmayam

Aharyam chandra taradi

Tam numah satvikam shivam.”

A Bharatanatyam dancer possesses essential qualities called “Patra Prana”. An

important part of this is Angashuddhi or correct body posture, especially the

Aramandi. The Aramandi is a half-bent knee position unique to

Bharatanatyam. In yoga and traditional Indian practices, a slight bend in the

knees is believed to facilitate the flow of energy throughout the body, aligning

with the concept of "prana." This posture engages the core muscles, enhancing

overall body control, and requires constant awareness, fostering a strong

mind-body connection. Dancers become attuned to their body's alignment and

sensations.

The Navarasas (Shringara, Hasya, Raudra, Veera, Karuna, Bhibhatsya,

Bhayanaka, Adbhuta, Shanta) along with Hastas, or hand gestures aid in

conveying the stories depicted through dance. The Mudras activate all the

pressure points in the body, thereby relieving stress.

As a dancer, I am privileged to have experienced firsthand the plethora of

scientific wonders that Bharatanatyam offers. Research by Dr. Anshu Singh

and Dr. K. S. Rajeswari on "Neuroscientific Explanation of Dance Therapy"

illuminates how intricate footwork forges neural pathways, enhancing

coordination and memory. Nritta or intricate footwork, fine-tunes timing,

while Abhinaya's grace kindles emotional embers.

Beyond the realm of artistry, Bharatanatyam extends its embrace as a healing

touch. Studies by Dr. Girija Kaimal and Dr. Giridhar Kunkur unveil its rhythmic

cadence aids in coping with stress and is a conduit to holistic well-being.

Movements and emotions nurture mental and emotional restoration.

Nrithyamrutha’s “Rhythm of Healing” with Dance Therapy Practitioner, Priya

Vijay, is an exclusive webinar on Dance therapy.

A traditional repertoire in Bharatanatyam generally begins with a Pushpanjali

to invoke the blessings of Lord Nataraja and proceeds with the Alarippu (a

prelude symbolizing a blossoming dancer); Jathiswaram (a combination of

jathis set to swaras); Shabdam and Varnam (journey of expressions); Padam,

Ashtapadi, and Javali (abhinaya pieces evoking emotions); Tillana (a

crescendo of rhythm) and culminating with the Mangalam. Footwork,

expressions, and emotions create a narrative that enchants hearts.

The costumes of the dancers are gorgeous. It consists of an embroidered silk

dhoti for both male and female dancers. Over the dhoti, is a pleated cloth that

unfurls enriching the visual element of the performance. The upper part of the

male dancer's body remains bare save for a necklace. Women wear choli or

bodices of the same color and material as the dhoti.

The dancers are heavily adorned with beautiful jewelry. Women wear a Veni

or a semi-circle of flowers around the bun or plait of the hair and a Bindi on

the forehead.

Kinkini or anklets are of great technical and spiritual importance in

Bharatanatyam. Apart from emphasizing the complexity of the leg

movements, the sound of the anklets helps the dancer maintain rhythm and

adds to the grandeur of the performance.

The makeup at one time was all-natural, made of plant extracts and coal.

Makeup for a Bharatanatyam dancer is unique, displaying the theme through

facial movements. The eyes are boldened to convey expressions. Alta, a red

color liquid is applied to the palms and the feet to highlight intricate

movements.

The Vidwan or the lead singer, the Nattuvannar (Nattuvangam artiste who

maintains the rhythm for a dancer’s footwork) and traditional Carnatic

Instruments like the Mridangam, Veena, Flute, Tamburi, and the Veena

accompanying a performance enrich the dance's lyrical tale.

Guiding this dance tapestry are luminaries who shaped its canvas.

Rukmini Devi Arundale reformed Bharatanatyam. Her endeavors of

Kalakshetra received appreciation for Indian classical arts on the global stage.

The tenacity of several guiding lights like Yamini Krishnamurthy, Padma

Subrahmanyam, and E. Krishna Iyer continues to inspire the youth of today.

This ensemble transcends time, adorning India's cultural heritage with a

modern resonance. It stands as a dance that breathes life into stories, connects

generations, fosters healing, and casts its spell on the global stage. Several

artists experiment with cross-cultural productions, The Amithias Project with

Vid. Nivedita Sharma Nadig and Sheejith Krishna’s Don Quixote among others,

bring a modern spin to the dance form.

It is evident that Bharatanatyam plays a major role in the nation's cultural

identity and global presence.

As youth, our role is pivotal in preserving Bharatanatyam's legacy. We must

nurture, learn from, and weave this beautiful dance form into our own stories.

-Surabhi Sridhar Kaipy