INTRODUCTION TO BHARATANATYAM

Bharata Natyam (often spelled as Bharatanatyam) (read: Bhuh-ruh-tha-naat-yum) is one of India's oldest and most dynamic classical dance forms with a history of more than two thousand years.

            Bha for Bhaavam (expression)

Ra for Raagam  (music)

 Ta for Thaalam (rhythm)

The 3 syllables together form the word 'Bharata'.

Natyam is a Sanskrit word that means 'Dance'. Thus, Bharata Natyam is the dance form that unites expression, music & rhytm. (Bhaavam, Raagam & Thaalam) The tinkle of Ghunghroo, synchronizing with the fast movements of the dancer's feet combining with the hand gestures (mudra) and expressions (abhinaya) to form a theme is performed as a yagna (act of worship) to the Lord. 

The dance form is a Saadhna - a spiritual means for the integration of thought, emotion and action - all channelized towards one path - the Path towards the Supreme Lord! Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body.

HISTORY AND EVOLUTION OF BHARATANATYAM

The Gods & Godesses pleaded Lord Brahma to create another veda which would be simple for the common man to understand. It is believed that considering this request Lord Brahma created the Panchamaveda, Fifth veda,Natyaveda, an essence of the other four vedas. It is believed that he has taken pathya (words) form the Rigveda, abhinaya (gesture) from the Yajurveda, geet (music and chant) from Samaveda and rasa(sentiment and emotional element) from Atharvaveda to form the fifth veda, Natyaveda.

After creating this natyaveda, Lord Brahma gave the same to sage Bharata and asked him to popularize this veda on earth. Following the words of Lord Brahma, sage Bharata wrote Natyashastra or the Science of Dramaturgy, a great, comprehensive work on the science and technique of Indian drama, dance and music.Bharatanatyam might have got its name from sage Bharata also.The dancers still follow this work to perform.

There is also another story which says that Godess Parvathi taught this dance form to Usha, daughter of 
Banasura, a demon. Usha taught the same to the Gopikas of the city of Dwaraka, Lord Krishna's birth place. Thus the divine dance form Bharatanatyam was introduced to the mankind. 

In Indian mythology,Lord Shiva is considered as the supreme lord of dance. This divine art form is performed by Lord Shiva & his wife Goddess Parvathi. The Dance performed by Lord Shiva is known as Tandava, which depicts his violent nature as the distructor of the universe. The tandava performed with joy is called Ananda Tandava and performed in violent mood is called Rudra Tandava. There are 7 types of Tandava. Namely Ananda Tandava,Tripura Tandava, Sandhya Tandava, Samara Tandava, Kaali tandava, Uma Tandava and Gauri Tandava. There are few people who believa that there are 16 types of Tandava. Tandava has vigourous, brisk movements.The dance performed by Goddess Parvathi is known as Lasya, in which the movements are gentle, graceful and sometimes erotic also. Some scholars call Lasya as the feminine version of Tandava. Lasya has 2 kinds. Jarita Lasya and Yauvaka Lasya. 

The art form has definitely gone through lot of changes over the years. In olden days it was performed mostly by female artists. They were called Devadasis, who would perform in the temples. These devadasis were accomplished artists who would sing, dance, play many instruments. They were well versed in sanskrit & other languages which helped them to interpret compositions which they would perform. But this tradition came to an end as the devadasis lost their position in the society.

REVIVAL

Against many odds, a few families preserved the knowledge of this Dance tradition. Its revival involved individuals from different backgrounds: freedom fighters, westerners interested in Indian arts, people outside the devadasi (servant) class who learned Bharatanatyam, and devadasis themselves

One such person was E. Krishna Iyer. He was a freedom fighter and lawyer who also had learned Bharatanatyam. He would perform the dance in female costume to remove the stigma associated with the dance, and campaigned to raise public interest in the art. He also founded the Music Academy and used its platform to present Bharatanatyam performances by devadasis. The art gained respect due to its acceptance on the Music Academy stage.

At 20th century:

The contribution of Udayshankar, Rukminidevi Arundale and Balasaraswathi cannot be forgotten.Even though Bharatanatyam has gone through lot of changes, it still has its roots deep into the religious and rich mythological heritage of India. In the modern day scenario it is performed by both male & female artists. Many learn as a hobby and few make it as a profession. Whether taken as a hobby or a profession it certainly needs lot of practice,concentration and dedication.

THREE IMPORTANT ASPECTS TO DANCE 

1.Nritta

2. Nritya

3.Natya

Nritta which denotes , pure dance without any emotions and expressions.

Nritya which denotes, it has emotions and expression and has meanings shown by the hastas or mudras.

Natya which denotes a person portraying a character.

FOUR TYPES OF ABHINAYAM

11.   Anghika

22.   Vachika

33.   Aaharya

  4. Satvika

Anghika-> which denotes the “Physical or Body Movements”.

Vachika-> which denotes Song being played or poetry.

Aaharya-> which denotes “Ornamentation” of a character or dancer. Example Jewelry and costume.

Satvika-> which denotes “Involuntary Movements”. Example Trembling, break of voice, tears.

TEN QUALITIES OF A DANCER

1.     Speed

2.     Steadiness

3.     Formations

4.     Quick Turnings

5.     Right eye

6.     Tirelessness

7.     Intelligent

8.     Dedication

9.     Clear Speech

10. Musical knowledge

MUDRAS IN BHARATANATYAM

   Asamyutha Hasthas or One-Hand Gestures:        

1.     Pathakam

2.     Thirupathakam

3.     Ardhapathakam

4.     Kartharimugam

5.     Myuram

6.     Arthachandiram

7.     Aaralam                                                                                                       

8.     Shukathundam

9.     Mushti

10. Shikaram

11. Kapitham

12. Katakamugam (3 types)

13. Suchi

14.Chandrakala

15. Padmakoosham

16. Sarvasesham

17. Mirgasesham

18. Simamugam

19. Kaankulam

20. Alapadmam

21. Chathuram

22. Bhramahasyam

23. Hamsasyam

24. Hamsapaksham

25. Samdhansham

26. Mukulam

27. Thambrachoodam

28. Thrishulam

Samyutha hasthas or two hand gestures:

1.     Anjali (3 times)

2.     Khabodham

3.     Karkatam

4.     Swastikam

5.     Doolam

6.     Pushpakootam

7.     Utsangam
8.     Shiva Lingam
9.    Kataka vardhanam
10.  Karthari Swastikam
11. Shakatum
12.   Sangu
13.  Chakaram
14.    Samputam
15.    Paasham
16.Kilakam
17. Mathsiyam
18. Poorvam
19. Varagham
20. Karudham
21. Naagabhandam
22.. Katva
23. Vairundham
24.. Avanidham

WHAT IS ADAVUS?

Adavus are steps that are combined to form a dance sequence in Bharatanatyam. They are done in synchronization with the sollu kattu (bol) or the syllables used. An adavu is a combination of -

1. Sthaanam (Position of the legs)
2. Mandalam (Position of standing)
3. Chaari (Movement)
4. Nritta hasta (Hand gestures)

LIST OF ADAVUS IN BHARATANATYAM

No.	Name of the Adavu	Alternative Name	Number of steps	Wordings (sollu kattu)
1	Thatta Adavu	Thai thai thaam	8	Thaiyya Thai
2	Natta Adavu	-	8	Thaiyyum That Tha Thaiyyum Thaam
3	Visharu Adavu	Mardita Adavu, Paraval Adavu, Pakka Adavu	8	Ta Tai Tai Ta Dhit Tai Tai Ta
4	Ta Thai Tha Ha		5	That thai thaa haa Dhit thai thaa haa
5	Kudhitta Metta Adavu	Gudittha Mettu, Kutta Adavu	5	Thai ha thai hi
6	Sutral Adavu	Murka Adavu	4	That thai thaam Dhit thai thaam
7	Yatta Adavu		2	That thai thaam Dhit thai thaam
8	Mandi Adavu		3	Thaangidu that tha dhinna
9	Paidhal Adavu		5	Dhit thai tha thaa thai
10	Sarikal Adavu		4	Thai ya thai hi
11	Pancha Jati Adavu	Thattu Mettu	5	Different for different jatis
12	Teermanam Adavu		2	Dhit dhit thai, Tha dhin gina thom, thari kita thom
13	Others		3	differs

ITEMS PERFORMED IN BHARATANATYAM

Typically a performance includes:

Alaripu

A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance. Alaripu is performed in different jatis. Tishra, Mishra, Chatushra, Sankirna are the different types of jatis.

Kautuvam

Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis.

Ganapati Vandana

A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali

Todayamangalam

A starting dance in which we show respect towards the god. This item was adopted from the karnatic music margam.A beautiful example of a todayamangalam is "jayajankaki Ramana"

Jatiswaram or Jathiswaram

An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. Here the Dancer displays the Korvai in a rhythmic form. Jatiswaram or Jathiswaram brings out three aspects of dance: unity of music, rhythm and movements.

Shabdam

The dancing is accompanied by a poem or song with a devotional or amorous theme. Shabdam is usually depicting graceful movements in a story or a poem

Varnam

The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.

Padam

Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.

Stuti

Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra

Koothu

Item containing a lot of dramatic elements.

Javali

Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.

Tillana

The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.

Apart from these items, there are items such as Slokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram(debut).

Angikam

This is a devotional song on Lord Shiva and an item dance in Bharata Natyam. It can also be performed in byapti motion. The words for the shloka are " Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradhi, Tvam Numah Satvikam Shivam".

WHAT IS NAVARASA EXPRESSIONS IN BHARATANATYAM?

Rasa is about human state of mind. Its about what the mind feels and the expression of the feeling thereafter. In the Bharata’s Natyashastra, Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. In indian classical dance it is referred to as Rasa-abhinaya.

Mr V.P Dhananjayan in his book called “A Dancer on Dance” says Rasa means that which is being tasted or enjoyed. Hence the word Rasika is employed to denote connoisseurs. Now, the question might be asked whether Rasa comes from Bhava or Bhava from Rasa. Bhava means, that which becomes (bh00, bhav, i.e., to become), so Bhava becomes Rasa. But Rasa does not become Bhava. There is also this complementary effect on the dancer or actor.

Every Rasa corresponds to a particular Bhava. The Natyshastra has carefully described the Bhavas used to create Rasa. The following table states the nine moods (Navarasa) and the corresponding Bhava. Every Rasa is identified with a specific colour for the use in performing arts.

RASA	BHAVA	MEANING	COLOUR
Shringar(Erotic)	Rati	Delight	Pale Light Green
Hasya (Humorous)	Hasa	Laughter	White
Karuna (Pathetic)	Shoka	Sorrow	Grey
Raudra (Terrible)	Krodh	Anger	Red
Veera (Heroic)	Utsaha	Heroism	PaleOrange
Bhayanaka (Fearful)	Bhaya	Fear	Black
Bibhatsa (Odious)	Jugupsa	Disgust	Blue
Adbhuta (Wonderous)	Vismaya	Wonder	Yellow
Shanta (Peaceful)	Calm	Peace	White

EYE MOVEMENTS IN BHARATANATYAM:

Drishthi in sanskrit meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. Infact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in the shastras:

1. Sama:  Eye kept still without any movement.

2. Alokita: Rolling your eye balls in a circular pattern.

3. Saachi: Looking through the corner of the eyes.

4. Pralokita: moving your eyes side to side.

5. Nimilita:  It looks like a half shut eye. Here one tries to focus the eye ball towards the heart.

6. Ullokita: Looking upwards.

7. Anuvritta: Rapid movement of the eyes up and down.

8. Avalokita: Looking down.

HEAD MOVEMENTS IN BHARATANATYAM:

Head movements are also called Shirobheda. Shira or shirasa meaning ” Head” in sanskrit. The head  movements refer to the head positions, while expressing a particular bhava. There are Nine head movements.

1. Sama : The head kept straight
2. Udvahitam : Head Looking upwards
3. Adhomukham : Looking Down
4. Alolitam: Circular Movement of the head
5. Dhutam: Right to left movement of the head
6. Kampitam: Up and down nod of the head
7. Paravrittam: Brisk turning of the head to the right or left
8. Ukshiptam: Head is turned and raised or a slanting position of the head.
9. Parivahittam: Quick small shakes of the head.

Jewellery:

Bharatanatyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the performance.Dancers wear anklets made of rope or leather with rows of sleigh-like (traditionally copper) bells attached on the anklet. The dancer's talent is judged (along with style and presentation) by the amount of ringing heard and the number of bells on the anklet. The less ringing heard from the anklet then the better the dancer, which is seen as having control and fluid movement. Typically, beginners have 1-2 rows, mediocre dancers have 3 rows, and advance dancers have 4-5 rows.

Costume :

From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasi to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharata Natyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's Sukshma sharer (cf.aura), in the material world.

There are two commonly used styles in Bharatanatyam Costumes for women: the Skirt (Saree) Style or the Pyjama Style. Dancers wear costumes made of silk sarees with gold zari embroidery designs. The pleats in these costumes opens beautifully when the dancer forms a particular posture especially arai mandi (half sitting) and muzhu mandi (full sitting).

Hope the above informations helps you to understand about Bharatanatyam kindly give your comments/feedback.

Thank you

SUJAVANTHY SRINIVASAN