Bharata Natyam

Bharata Natyam
Name	Bharata Natyam
Origin	Tamil Nadu, India
Genre	Classical dance
Creator	Traditional origins; codified by Bharata Muni
Years active	Ancient to present

Bharata Natyam is a South Indian classical dance form originating in Tamil Nadu with roots in ancient Sangam literature, temple traditions of Chola dynasty, and treatises attributed to Bharata Muni. It combines codified technique from the Natya Shastra with regional performance practices from courts of the Vijayanagara Empire and patronage from rulers such as the Pallava dynasty and Pandya dynasty. Over centuries it moved from temple ritual to court recital to modern stage under reformers and performers associated with institutions like the Sangeet Natak Akademi and universities such as the Madras University.

Origins and Historical Development

Scholars trace antecedents to the Natya Shastra attributed to Bharata Muni and references in Sangam literature, while medieval inscriptions from the Chola dynasty and temple reliefs at Brihadeeswarar Temple document dancers and devadasi links. Patronage by the Vijayanagara Empire and performances in courts of the Maratha Empire and Nawab of Arcot influenced repertoire and costume, and colonial-era debates involving figures like Annie Besant and organizations such as the Theosophical Society affected social perceptions. Revivalist efforts by individuals associated with the Indian National Congress milieu and pedagogues trained at the Madras Music Academy recontextualized practice for proscenium stages, aided by codification initiatives from bodies like the Sangeet Natak Akademi.

Repertoire and Structure

The repertoire traditionally includes items derived from the Natya Shastra framework and later compilations used by guru-disciple systems in Madras and Thanjavur. Typical recital structure moves from invocatory pieces referencing deities like Shiva and Vishnu to pure dance items linked to the tala-melody systems codified in treatises and modern syllabi at institutions such as the Kalakshetra Foundation. Repertoire items often bear names drawn from classical works like compositions by Muthukumaraswamy and poems of Andal, and are organized into sequences taught in gharanas and schools associated with families of Tanjore Quartet lineage.

Technique and Training

Technique emphasizes adavus, abhinaya, and tala proficiency transmitted within the parampara of gurus from lineages tied to maestros such as Balasaraswati, Rukmini Devi Arundale, Kumari Kamala, Chitra Visweswaran, and T. Brinda. Training involves practice of adavus akin to syllabi promoted at conservatories like Kalakshetra, rhythmic study with mridangam artists from traditions of performers like Palghat Mani Iyer, and expressive study referencing literary sources by Subramania Bharati and devotional poets. Pedagogy historically relied on the devadasi system and later incorporated examination systems from bodies such as the Central Board of Dance and university diploma programs in institutions like Annamalai University.

Costume, Makeup, and Stagecraft

Costume conventions derive from court and temple aesthetics seen in artifacts from Chola bronzes and court portraits of the Vijayanagara Empire, standardizing sari-drapes, bells (ghungroo), and jewelry modeled after pieces in collections at the Government Museum, Chennai. Makeup and hair conventions reference iconography of deities in Brihadeeswarar Temple reliefs while stagecraft draws on proscenium techniques developed in venues such as the Vivekananda House and festivals like the Chidambaram Natyanjali. Lighting and set design in contemporary festivals often involve collaborations with institutions like the National School of Drama.

Music and Accompaniment

Musical accompaniment is rooted in Carnatic music tradition with melodic frameworks of ragas codified by composers such as Tyagaraja, Muthuswami Dikshitar, and Syama Sastri. Percussion accompaniment typically features mridangam exponents from schools associated with artists like Umayalpuram Sivaraman and melodic support from violinists in the lineage of Lalgudi Jayaraman. Vocalists often perform compositions by Muthiah Bhagavatar and poets like Kambar, while tambura drones follow tuning practices found in concert systems endorsed by organizations like the Music Academy, Chennai.

Themes, Repertoire, and Narrative Forms

Narrative themes draw on episodes from the Ramayana, Mahabharata, and Puranic stories of deities such as Krishna, Rama, and Shiva, with lyrical sources including the verses of Jayadeva and Kambar. Repertoire embraces ashtapadis, padams, javalis, and tillana forms composed by figures like the Tanjore Quartet and later composers such as Papanasam Sivan and Oothukkadu Venkata Kavi, while abhinaya showcases characterizations inspired by performers like Balasaraswati and narrative conventions preserved in schools associated with Rukmini Devi Arundale.

Institutions and Lineages

Key institutions include Kalakshetra Foundation, Music Academy, Chennai, Sangeet Natak Akademi, and university departments at University of Madras and Annamalai University, while prominent lineages trace to the Tanjore Quartet, devadasi families, and modern gurus such as Rukmini Devi Arundale, Balasaraswati, Leela Samson, and Chitra Visweswaran. Archival collections at the National Centre for Performing Arts and scholarship funded by bodies like the Indian Council for Cultural Relations document choreographic notations and audio recordings tied to these lineages.

Contemporary Practice and Globalization

Contemporary practice spans repertory experimentation by choreographers like Mallika Sarabhai and Shobana, institutional pedagogy at international conservatories such as Juilliard via exchange programs, and diasporic communities in cities like London, New York City, and Singapore. Global festivals and touring circuits organized by entities such as the British Council and Goethe-Institut have promoted cross-cultural collaborations, while debates in forums like the International Dance Council address questions of authenticity, adaptation, and intellectual property linked to choreography preserved in archives at institutions like the Sangeet Research Academy.

Category:Classical dance in India