Origins: Dance Born in the Temple
Bharatanatyam is widely considered the oldest surviving classical dance form of India, with roots tracing back over two thousand years to the temples of Tamil Nadu. Historically performed by devadasis — women dedicated to temple service — it was an act of worship as much as performance, offered to deities as a form of naivedya (sacred offering).
The dance draws its theoretical foundation from the Natya Shastra, the ancient treatise on performing arts attributed to the sage Bharata Muni. The name "Bharatanatyam" itself is often interpreted as an acronym: Bha (bhava/emotion), Ra (raga/melody), Ta (tala/rhythm), and Natyam (dance).
The Margam: A Classical Recital's Structure
A traditional Bharatanatyam recital follows a structured sequence called the margam, which gradually builds in complexity and intensity:
- Alarippu: An invocatory piece that warms up the body and salutes the audience, musicians, and deity.
- Jatiswaram: Pure rhythmic dance (nritta) set to a raga without narrative.
- Shabdam: First piece with expressive content, usually devotional.
- Varnam: The centerpiece — a long, complex piece combining both pure dance and expressional elements.
- Padams and Javalis: Lyrical expressive pieces exploring themes of love, longing, and devotion.
- Tillana: A vibrant, rhythmically complex finale of pure dance.
- Mangalam: A short closing benediction.
The Three Components of Bharatanatyam
Bharatanatyam is built on a trinity of elements:
- Nritta (Pure Dance): Rhythmic, non-narrative movement focused on the beauty of form and technical precision. Think of it as dance for dance's sake.
- Nritya (Expressive Dance): The combination of rhythm with emotion and meaning, where the dancer interprets lyrics and tells stories through gesture.
- Natya (Dramatic Dance): Dance-drama where characters, narrative arcs, and theatrical elements come together.
Hastas: The Language of the Hands
Perhaps the most iconic element of Bharatanatyam is its use of hastas (hand gestures). The Abhinaya Darpana, a key textual source, catalogues dozens of single-hand gestures (asamyuta hastas) and combined gestures (samyuta hastas), each with specific meanings.
For example, the Pataka gesture (open palm, fingers together) can represent a cloud, a forest, the sky, night, or even a horse — depending on context and accompanying movement. This rich symbolic vocabulary allows a skilled dancer to "speak" in a language that transcends words.
Adavu: The Building Blocks of Movement
The foundational units of Bharatanatyam technique are called adavus — specific combinations of foot movements, body positions, and gestures. Beginners spend years learning and perfecting these units before they are assembled into full compositions. The characteristic bent-knee posture (aramandi or half-seated position) is central to the form and requires years of practice to execute with strength and grace.
Abhinaya: The Art of Expression
Abhinaya — the art of conveying emotion and meaning — is what transforms Bharatanatyam from athletic display into a profound communicative art. The dancer portrays navarasas (nine fundamental emotions): love, humor, sorrow, anger, courage, fear, disgust, wonder, and serenity. A truly great performer moves between these states with subtlety and depth, drawing the audience into an emotional and spiritual experience.
Bharatanatyam Today
After a period of suppression during colonial rule and the anti-devadasi movements of the early 20th century, Bharatanatyam was revived and reformulated largely through the efforts of artists like Rukmini Devi Arundale and the Kalakshetra institution in Chennai. Today it is one of the most widely practiced classical dance forms in the world, taught in academies from Mumbai to Toronto.