Bharatanatyam

Bharatanatyam
Name	Bharatanatyam
Origin	Tamil Nadu, Chennai
Genre	Indian classical dance
Years active	Since Sangam period–present

Bharatanatyam is a major Indian classical dance form originating in Tamil Nadu and institutionalized in Madras (now Chennai). It synthesizes expressive storytelling, rhythmic footwork, and codified gestures developed through temples, courts, and modern academies such as Kalakshetra Foundation and institutions connected to figures like Rukmini Devi Arundale and Balasaraswati. Over two centuries the form engaged with performers, scholars, and social movements including performers like Uday Shankar, patrons like T. M. Krishna, and revivalists such as E. Krishna Iyer.

History

Emergence traces link to ancient South Indian traditions recorded in Sangam literature and codified practice reflected in the Natya Shastra attributed to Bharata Muni, with later commentary by Abhinavagupta and regional treatises from Kerala and Andhra Pradesh. Temple-linked performers such as the devadasi communities in Tanjore and choreographers patronized by the Nayak dynasty and Maratha rulers shaped repertoire and ritual usage. Colonial-era reforms involved figures including Ananda Coomaraswamy and E. Krishna Iyer, while 20th-century revivalism was led by Rukmini Devi Arundale, Balasaraswati, Tanjore Balasaraswati, and institutions like Kalakshetra Foundation and Sangeet Natak Akademi. Post-independence developments intersected with cultural policy from Ministry of Culture (India) and international festivals such as the Edinburgh Festival and venues like Lincoln Center.

Repertoire and Styles

Repertoire categories include traditional margam items such as alarippu, jatiswaram, sabdam, varnam, padam, javali, thillana, and mangalam, as performed by exponents like Balasaraswati, Padma Subrahmanyam, Alarmel Valli, S. N. Natarajan and Yamini Krishnamurthy. Regional and stylistic schools include the Pandanallur, Vazhuvoor, Thanjavur, and Kalakshetra bani linked to gurus such as Chokkalingam Pillai, M. K. Saroja, Kalanidhi Narayanan, and P. V. Narasimha Bharathi. The canon absorbed compositions by composers like Muthu Thandavar, Papanasam Sivan, Tyagaraja, Mysore Vasudevachar, and Oothukkadu Venkata Kavi while contemporary choreographers including Shobana and Arunachalam Murugan expanded thematic scope.

Technique and Components

Technique emphasizes adavus (basic steps), hasta mudras (hand gestures), abhinaya (expressive acting), and nattuvangam (rhythmic recitation) coordinated with mridangam, nattuvangam cymbals, and nattuvanar conductors like Chidambaram-based nattuvanar lineages and gurus such as Sankara Raman. Training stresses tala systems from the Tala tradition, raga-based melodic frameworks influenced by composers like Muthuswami Dikshitar and vocalists such as M. S. Subbulakshmi, and codified grammar from the Abhinaya Darpana by Nandikeshvara. Notable accompanists include mridangam artists like Palghat Mani Iyer, violinists like Lalgudi Jayaraman, and nattuvangam practitioners including Balasaraswati's traditional collaborators.

Costumes, Makeup, and Music

Costuming draws on temple and court aesthetics seen in sari draping styles, jewelry traditions linked to Tanjore craftsmen, and ornaments such as kamarbandh and odiyanam used by artistes like Rukmini Devi Arundale and Sonal Mansingh. Makeup and expressive eye techniques were codified by teachers like Kalanidhi Narayanan and stage designers from Kalakshetra Foundation, while music accompaniment integrates Carnatic vocalists and instrumentalists such as Semmangudi Srinivasa Iyer, Palghat Raghu, and Emani Sankara Sastry. Repertoire presentation occurs in sabhas like The Music Academy, Chennai and festival circuits including the Madras Music Season and international venues like Sydney Opera House.

Training and Institutions

Pedagogy uses guru-shishya parampara exemplified by lineages established by gurus such as Rukmini Devi Arundale, Balasaraswati, Padma Subrahmanyam, and institutions including Kalakshetra Foundation, Nrityagram, Shanmukhananda Hall and university departments at University of Madras and Banaras Hindu University. Examination and accreditation involve bodies like Sangeet Natak Akademi and state academies such as Tamil Nadu Eyal Isai Nataka Manram, with competitions and awards including the Padma Shri and Sangeet Natak Akademi Award recognizing practitioners like Alarmel Valli and Mallika Sarabhai.

Contemporary Practice and Global Influence

Contemporary practice features interdisciplinary projects by choreographers like Arun Khopkar, Uday Shankar-inspired modernists, and diaspora artists performing at institutions such as Lincoln Center, Royal Albert Hall, and universities like University of California, Berkeley and SOAS University of London. Global pedagogy expanded through festivals like Dance Umbrella, collaborations with composers such as Ilaiyaraaja and A. R. Rahman, and exchanges with practitioners from Kathak, Odissi, Kuchipudi, and world dance communities; prominent advocates include T. M. Krishna, Uma Sharma, and Shobana. Contemporary debates involve cultural heritage policy discussions in forums like Ministry of Culture (India) and academic conferences at Central Institute of Classical Tamil and ongoing research by scholars associated with Jawaharlal Nehru University and American Dance Studies programs.

Category:Indian classical dance