Bharata Natyam or Chadhir Attam(Tamil: பரதநாடடயம), is a classical dance form from the South Indian state of TamilNadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music. Its inspirations come from the sculptures of the ancient temple of Chidambaram. Shiva Nataraja (Lord of the Dance) seen in a Bharata Natyam pose Texts surviving from the golden age of Tamil literature and poetry, known as the Sangam Age, such as the Tolkappiyam (ொதாலகபபயம), as well as the later Silappadikaram (சலபபதகரம), testify to a variety of dance traditions of Koothu which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, during which the arts of music and dance were highly developed and played a major role.[1] In ancient times Bharata Natyam was performed as "sadir attam" (sadir refers to the square stage, 'chatura' in Sanskrit) by Kovil (temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam karanas or dance postures. In fact, it is the celestial dancers (apsaras) who are depicted in many scriptures as dancing the heavenly version of what is known on earth as Bharata Natyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" — among which are music and dance to please the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers. In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and the Carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect) and Nritya (combination of Nritta and Natya). The Tamil country especially Tanjore, has always been the seat and centre of learning and culture. It was the famous Tanjore quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharata Natyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various forms like the Alaripu, JathiSvaram, Varanam, Sadanam, Padam and Tillana. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharata Natyam in Tanjore. Originally, they formed a community by themselves and most of them were Saivite non-Brahmins. It is believed that Bharata Natyam is mainly a renewal of Cathir, the ancient art of temple dancers. This dance form denotes 19th and 20th century reconstructions of Cathir. [edit] Fire dance Bharata Natyam is considered to be a 'fire dance' — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that includes Odissi (water), Mohiniattam (air), Kuchipudi (earth) and Kathakali (sky). The movements of an authentic Bharata Natyam dancer resemble the movements of a dancing flame. Contemporary Bharata Natyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools. Bharata Natyam proper is a solo dance, with two aspects — lasya, the graceful feminine lines and movements, and tandava Ananda Thandavam (Tamil) (the dance of Shiva), masculine aspect — which is identical to the Yin and Yang in the Chinese culture. [edit] Spiritual symbolism Bharata Natyam is the manifestation of the ancient idea of the celebration of the eternal universe through the celebration of the beauty of the material body. Some Bharata Natyam techniques can be traced back to the Kaisiki style. The Natya reads, "I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures ("Mridu Angaharas", movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly." Apart from the Kaisiki style, Bharata Natyam imbibed some others. These reflect other yogis spiritual revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and the destruction of which brings enlightenment. Sivanandam and Vadivelu of the Tanjore Court. one of the constituents of the Sodasa Upacharam. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharata Natyam in Tanjore. during the rule of Maratha King Saraboji II (1798–1832). hiding the transcendental essence behind the garb of apparations (tirobhava). concealing. such as karanas. loss of memory" called in Tamil Muyalaka (மயலக).[2] ad to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord. maintenance or duration (sthiti). The sacred dance. in 1936 Rukmini Devi Arundale founded the Kalakshetra school outside the city of Madras to teach her own Kalakshetra style of Bharata Natyam and to promote other studies in Indian music and art. The fall of the Hindu kingdoms in the South marked the eventual decline of Natya. bestowing grace through a manifestation that accepts the devotee (anugraha). true wisdom. veiling. destruction or taking back (smhara). pouring forth. "forgetfulness. that were meant to spiritually enlighten the spectators. but the rajanarthaki's dance was meant to be an entertainment. The Bharata Natyam recitals and ballets started more and more popularly viewed as a form of desi entertainment. Having studied the Pandanallur style for three years. Ponniah. The Natya Shastra-based margi elements. as the Muslim invasion in the North has completely wiped out Natya there. She was one of first . Originally. Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa. was replaced by rice offerings. The Tanjore Quartet of Chinnayya.manifestation of the eternal energy in five activities (panca-kriya): creation. and favoring. made a rich contribution to music and Bharata Natyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various items. unfolding. and release from the bondage of existences.[3] Rukmini Devi Arundale was instrumental in bringing it to the attention of the West. who represents ignorance. Krishna Iyer was one of those who raised the social status of Bharata Natyam and greatly popularized it. were gradually replaced by desi karanas which were later replaced by adavus. they formed a community by themselves and most of them were Shaivite non-Brahmins. [edit] Modern rebirth Bharata Natyam ballet E. lip and chest movements) from the Pandanallur style. Krishna Iyer said about Rukmini Devi. have appropriated certain Devadasi traditions while disassociating themselves with other aspects of the contemporary devadasis' practices. such as hip. Not all love was portrayed. called nattuvanars. Rukmini Devi raised Bharata Natyam to a puritan art form. was exclusively performed by women. often Brahmin women. Bharata Natyam recitals are usually not performed inside the temple shrine but outside it. Mysore.teachers to instruct men to perform the dance. According to Shri Sankara Menon. the adapted. Learning Bharata Natyam normally takes many years before the arangetram (debut). or "semi-classical". E.[4] The dance. While the Pandanallur style. Tanjore or Thanjavur. neck. some others. while men. the Sringara. [edit] Technique . at least outside parameters considered "chaste". at that time. The development of the Bharatnatyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian dance historian have seen it as a means by which many women. certain emotional elements evocative of the erotic. Kancheepuram were based on the art of rajadasis and are exoteric in nature. Most contemporary performances are given on the stage with a live ensemble. divorced from its recently controversial past by "removing objectionable elements" (mostly. At present. Many people choose to learn Carnatic music along with Bharata Natyam as they go together. which was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Vazhuvoor. There are academic and commercialized dance institutes in many countries. Balasaraswati said that "the effort to purify Bharata Natyam through the introduction of novel ideas is like putting a gloss on burnished gold or painting the lotus". She introduced group performances and staged Bharata Natyam-based ballets. and even outside the temple compounds at festivals. like the Melattur style and Balasaraswati's style grew out of the devadasis' distinctly different esoteric art. In popular culture. the art was dead and gone or that it saw a renaissance only when she started to dance or that she created anything new that was not there before”. Bharata Natyam has been exposed largely through depiction in popular movies and television programs. “There is no need to say that before she entered the field. It is worth noticing that most of the contemporary Bharata Natyam dancers do not satisfy the criteria for a professional dancer stated in the scriptures. had been teaching Bharata Natyam without performing it. e. [edit] Hastas See also: List of mudras A distinctive feature of Bharata Natyam is the use of expressive hand gestures as a way of communication. [edit] Karanas Karanas are the 108 key transitional movements that punctuate Bharata Natyam and other classical Indian dances. Hastas refers to the hand symbols that a dancer can use. Anjali is often used as a salutation when a person greets another person. The eyes are directed towards the Supreme Lord..dramatic art of story-telling in Bharata Natyam Nritya . The left hand's fingers are in Alapadma Hasta. The left leg is lifted. as a medium of visual depiction of rhythms In the margi form nritta is composed of karanas. The Tamil text Koothanool contains descriptions of over 300 hastas and mudras.This Bharata Natyam dancer's right hand is in the Katakamukha Hasta. For example. Includes • • Abhinaya or Natya . Many of these hand gestures are well known. static pose as a base. the rotating lotus of spiritual light. while the desi nritta consists mainly of adavus. symbolizing the swift ascent of the consciousness in one step from the Earth to the Heaven. i. the three joined fingers symbolizing the sacred syllable Aum. the dancer is usually supposed to stop and maintain it for a very brief duration. Most of these 108 Karanas have a central.pure dance movements. . Few Bharata Natyam schools use the full range of these. base.) and 24 Samyukta Hastas and their usage viniyoga.It is a word derived from the language Tamil. Tripataka. respectively). Unlike the margi Nritta composed of the Karanas. Mhushtishya. Padmakosha. A combination of adavus is called jathis. The main adavus are: • • • • • • • • • • Tatta Adavu Natta Adavu Visharu Adavu Tatti Metti Adavu Teermanam Adavu Sarikal Adavu Kuditta Metta Adavu Sutral (Murka) Adavu Jaati Adavu Mandi Adavu [edit] Bhedas and eye movements . etc. although Natya Shastra mentions many more. and what the dancer is trying to convey to the audience. The execution of adavus varies greatly from style to style. the adavus do not convey any rasa. Arala. Mayuryakyo. The dance steps were first categorized into adavus by Tanjore Quartet. Khatakamukhyo. Shikharakhachya. which make up the Nritta passages in a Bharata Natyam performance. Sarpashiras. The gestures used in nritta are called nritta hastas. Shukatundako. Abhinayadarpanam describes 28 Asamyukta Hastas (Pataka. for 'beat of the foot'). depending on the song accompanying the dance. [edit] Adavus See also: List of Adavus The basic unit in Bharata Natyam dance composition is the 'Adavu' (derived from 'adu' 'adi' foot. Chandrakala. Few professional dancers use more than 60.There are two types of Hastas: Asamyukta and Samyukta (single and combined. The usages stated in Abhinavabharati differ considerably from those of Abhinayadarpanam. [5] Adavus are a relatively recent desi component in Bharata Natyam. Ardhapataka. Many hastas can be used in more than one way. Ardhachandrashya.Khapitya. Karktarimukha. which is a relatively recent text. while some styles include over 150. Suchi. and are described in detail as part of karanas in Natya Shastra. Most schools recognize 108 principal adavus. Kampitam. . such as elaborate neck and eye movements. See also Pushpanjali Jatiswaram . Shabdam .Dhutam. While Natya Shastra contains the largest number of the movements. Pralokita. Prakampita Eye movements (Drishti bhedas): Sama. Paravruttam.The dancing is accompanied by a poem or song with a devotional or amorous theme. four neck movement and eight eye movements (compared with 36 of Natya Shastra) which are used extensively throughout the dance. Nimilite.A traditional opening prayer to the Hindu god Ganesh. Alolita. Ullokita. Alolita. containing rhythmic syllables sung for jathis. Sachi.An abstract dance where the drums set the beat. Tirashchina. Anuvritta. who removes obstacles.Bharata Natyam technique includes many other elements. Abhinaya Darpanam. Adhomukha.Ancient temple dance item performed in the beginning of the recital.A presentation of the Tala punctuated by simple syllables spoken by the dancer. Ganapati Vandana . A Bharata Natyam performance lasts about two hours[6] and includes six or more of the following parts: • • • • • Allarippu . has defined only nine head movements. • • • Head movements (Shiro bhedas): Sama. Udhvahita. Avalokita (who looks down [edit] Items Thattukuzhi and mannai are baton and plank used to keep rhythm. This really is sort of an invocation to the gods to bless the performance. Parivartita. for instance. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. Neck movements (Griva bhedas): Sundari. and the most detailed descriptions. Kautuvam . Utkshiptam and Parivahitam. • • • • • Apart from these items. or the love of lovers separated and reunited. pure abhinaya types of compositions of light and pleasing nature. Javali . Padam 8. Swarajathi.Hymn in praise of a deity that may contain a feigned mockery. When a dancer has mastered all the elements of dance. there are items such as Shlokam.This is a devotional song on Lord Shiva and an item dance in bharatnatyam. • Angikam . Alaru (Alarippu) 4. It is the longest section of the dance punctuated with the most complex and difficult movements. as a coming out performance. Jaya stuti 2. Abhinaya Padam 10. such as Tharanga Nritham and Suddha Nritham.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. See also Stotra Koothu . It can be performed in byapti slow motion. Varnam 7.Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being.Javalis are relatively new. the format of a traditional Bharata Natyam performance followed this order: 1. Thillana . Thillana . Before the Tanjore Quartet. Stuti . Positions of the hands and body tell a story.The center piece of the performance.• Varnam . Sollu 5. The performance concludes with the chanting of a few religious verses as a form of benediction. Krithi etc. Certain styles include more advanced items. the sequence of items in most solo performances follow either of the two different margam sets: the Tanjore Quartet margam and the devadasi margam. usually of love and the longing for the lover. etc.Item containing a lot of dramatic elements. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava. Shabdam 6. or of love of mother for child. Currently. Swarajati 9. Sharanu Sharanu 3. Padam . he or she generally performs an Arangetram (debut). Vibhatsa Rasa 7. A brief description about the Nava Rasas are given below: 1. Raudra Rasa 3. Taana Varnam mostly gives importat to music or the song. Hasya Rasa 5. Adbhuta Rasa 8. angry. Sringara Rasa 2. Abhinaya Padam 12. Veera Rasa 4. Shanta Rasa . Shloka Varnam 17. Karuna Rasa 6. Geetham 14. in Varnam we show different bhava of a nayika for example: smile. blue. [edit] Nava Rasas in Bharatanatyam Bharatanatyam owns a unique place of pride in the world. Pada Varnam gives importance to Tala. So. can be proud of this wonderful and life-science rather. There are 2 typrs of Varnam: Taana Varnam and the Pada varnam. Kavuthuvam 18. Our motherland. Triputa 16. sad etc. orange. Because there are different colours for example: pink. red etc. Jakkini Padam 13. Mangale (Mangalam) About Varnam: Varnam literally means colour. There are a lot of things that Bharatanatyam—the art of Dance teaches us and emotions are quite elegantly described as Abhinayas. India. Varnam is the centre piece in te recital of Bharatnatyam. Prabandham 15.11. disappointed. It is a very long rachana and can last from 30 minutes up to an hour. Bhayanaka 9. South Indian instruments are used in the ensemble.From the ancient texts and sculptures.aura). caused the devadasis to wear a special. Telugu and Kannada are traditionally used in Bharata Natyam. while the others do.also known as ghungroo. the Hindu goddess of the arts and learning). Ensemble . • Costume . • [edit] Ideal qualities of dancers .The accompanying music is in the Carnatic style of South India. heavy saree that severely restricted the dance movements. the mridangam (drum). There are several varieties of Bharata Natyam costumes. The medieval times. Music . with the puritanistic drive. nadaswaram (long pipe horn made from a black wood).Bharata Natyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the performance. as their purpose is to project the dancer's sukshma sharira (cf. one can see that the original costume did not cover most of the dancers' bodies. Languages . violin and veena (stringed instrument traditionally associated with Saraswati.Mostly. Thattukazhi and mannai is a wooden block and stick used by the teacher to keep rhythm.[edit] Other aspects A male Bharata Natyam performer • Jewelry . the flute.Tamil. The modern costumes are deeply symbolic. These include. in the material world. some of which do not restrict the dancer's movements. • • • • Ankle bells or Salangai . capable of practising various arts and crafts. with well-rounded breasts. with large eyes.Bharatnatyam dance performance in Surrey. Sthirathvam (Steadiness). [citation needed] The Natya Shastra states the qualities required of a female dancer narthaki. Shramaha (hard work). courteous in behaviour. always bold. and of a happy disposition. skilled in dancing and songs. beautiful. The Abhinaya Darpana has a sloka that describes Patra Prana Dasha Smrutaha — the ten essentials of the dancer: Javaha (Agility). are known as female dancers. pleasing. free from indolence. Drishti (glance). free from female diseases. the true dance is connected to the beauty of the body. As Sangitaratnakara puts it. A professional dancer (patra). witty. United Kingdom in 2010. able to follow the flow of songs and music. Medha (intelligence). must possess the following qualities. A professional Bharata Natyam dancer must demonstrate a number of qualities. Shraddha(devotion). well aware of when to dance and when to stop. and Geetam (singing ability). She has to be youthful. who excel by their beauty.1246). and to dance to the time (thalam). are clever. are conversant with the sixty-four arts and crafts (kala). therefore any other dance is simply a parody (VII. Rekha (graceful lines). brilliance and other qualities all other women standing by. slender. self-confident. "Women who have beautiful limbs. youthfulness. Vacho (good speech). Bhramari(balance in pirouettes).[7] [edit] Similarities with classical dances . according to the Abhinayadarpanam (one of the two most authoritative texts on Bharata Natyam). with splendid costumes. inured to hard work. History of Tamizh's Dance. ^ O'Shea 2007. pp. 4. 120–121. Encyclopaedia of Hinduism: (H . ^ Kilger. At Home in the World: Bharata Natyam on the Global Stage. New Delhi. Tamil Culture and Civilization. ASIN B002Q40LNY. Odissi – Orissan classical dance Many other South East Asian dances have much similarities with Bharata Natyam. Bharata Natyam in Cultural Perspective. Kuchipudi – Telugu classical dance 2. 6. 2. Retrieved October 11. 3. X. O'Shea. (2010). (2001) Tradition and Transition. 2.The following Indian classical dance forms share more common elements with Bharata Natyam: 1. New Delhi: Manohar American Institute of Indian Studies. Janet (2007). Thani (1970). Mohiniyattam – Keralan classical dance 3. ^ Raghuraman.S. Middletown. S.. Volume 3. George (1993). ISBN 0819568376. ^ Devi 1990. India: Motilal Banarsidass Publishers Pvt.South Asian arts. pp.Q). • • • _____________________________________________________________________________________ . ^ Nayagam. India: Sarup & Sons.. London: Asia Publishing House. Connecticut: Wesleyan University Press. Sehgal. Ltd. pp. Devi. (2007). 35 ^ Khokar. 2010. Ashish. pp. 50 ^ Encyclopædia Britannica. Ragini (1990). New Delhi. Dance dialects of India. ISBN 8120806743. India: Nandini Pathippagam. [edit] References 1. Sunil (1999). 7. ISBN 8176250643. 5. The general interpretation for the name is Bhava(expression) + Raga (music) + TAla(rhythm) + NATYAM(dance) = Bharatanatyam Origin of Bharatanatyam The Gods & Godesses pleaded Lord Brahma to create another veda which would be simple for the common man to understand. Thus the divine dance form Bharatanatyam was introduced to the mankind. This divine art form . daughter of Banasura. sage Bharata wrote Natyashastra or the Science of Dramaturgy. After creating this natyaveda. There is also another story which says that Godess Parvathi tought this dance form to Usha. It is believed that considering this request Lord Brahma created the Panchamaveda. tenderness. abhinaya (gesture) from the Yajurveda.Bharatanatyam dance. Thursday. Natyaveda. Brief overview of Bharatanatyam.Lord Shiva is considered as the supreme lord of dance. a great. 2009 Origin of Bharatanatyam This is a very popular dance form in South India. Dance of mind & soul. An embodiment of beauty. April 23. comprehensive work on the science and technique of Indian drama. an essence of the other four vedas. worshiper of the Divine. It is oldest of all classical dance forms in India. staturesque & sculpturesque poses.The dancers still follow this work to perform. Bharatanatyam dancers. purity. a demon. It is believed that he has taken pathya (words) form the Rigveda. Dance Programmes Bharatnatyam is a classical dance from Tamil Nadu in South India. Natyaveda. The dancer is considered as a worshiper. Fifth veda. It uplifts the dancer and the beholder to a higher level of spiritual consciousness.Bharatanatyam might have got its name from sage Bharata also. Lord Brahma gave the same to sage Bharata and asked him to popularise this veda on earth. geet (music and chant) from Samaveda and rasa (sentiment and emotional element) from Atharvaveda to form the fifth veda. In Indian mythology. History of Bharatanatyam. It is extremely traditional and known for its grace. Usha taught the same to the Gopikas of the city of Dwaraka. charm and gracefulness. dance and music. Following the words of Lord Brahma. Lord Krishna's birth place. Bharatanatyam pictures. and introduced a different sequence of items which integrated the various aspects of dance and music into a . dance. Some scholars call Lasya as the feminine version of Tandava. Ponniah and Vadivelu. Sivanandam. the four managed to organize all the basic dance movements of pure dance into a progressive series of lessons [adavu chapters]. The dance performed by Goddess Parvathi is known as Lasya. Tripura Tandava. In addition the brothers composed new music specifically for the dance. There are few people who believa that there are 16 types of Tandava. which depicts his violent nature as the distructor of the universe. who would perform in the temples. There are 7 types of Tandava. In the first half of the 19th century the dance tradition was revitalized and defined anew through the contributions of four talented brothers (known today as the Tanjore Quartet)Chinniah. performed in the courts of kings who gave them shelter. Jarita Lasya and Yauvaka Lasya. brisk movements. Uma Tandava and Gauri Tandava. graceful and sometimes erotic also. play many instruments. in which the movements are gentle. In olden days it was performed mostly by female artists. By coordinating their diverse talents. Namely Ananda Tandava. Kaali tandava.is performed by Lord Shiva & his wife Goddess Parvathi. The Dance performd by Lord Shiva is known as Tandava.Even these were accomplished artists like devadasis. Sandhya Tandava. They were called Devadasis. Each adavu (basic unit of motion) was taught in systematic order and then combined with others to produce choreographed sequences based upon the rhythmic contour of a musical composition (Krishnamoorthy Pillai). Then dance entered the royal courts. The art form has definitely gone through lot of changes over the years. The tandava performed with joy is called Ananda Tandava and performed in violent mood is called Rudra Tandava. The next well-documented period of dance history is far more recent. Lasya has 2 kinds. Tandava has vigourous. These devadasis were accomplished artists who would sing. They were well worsed in sanskrit & other languages which helped them to interpret compositions which they would perform. Here the artists called Rajanartakis. But this tradition came to an end as the devadasis lost their position in the society. Samara Tandava. The 13 Nritta Hastas (explained later) are used to perform nritta. Nritya and Natya . 3 to 4 Khandas make a Mandala. Mahabharata etc. eg. Even though Bharatanatyam has gone through lot of changes. 108 Karanas and 32 Angaharas are defined in Natyashatra. Whether taken as a hobby or a profession it certainly needs lot of practice. Pada etc. rhythmic gaites and postures. The contribution of Udayshankar. 4 to 5 Angaharas also make a Mandala. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of Indian dance. 3 Karanas make a Khanda. Many learn as a hobby and few make it as a profession. Nritta : Rhythmic Element. Movement of a leg is called Chari. Nritya : Combination of Rhythm with Expression. in the 20th century. The rythmic body movements along with hand gestures are called Aduvus.Interprits the language of rhythm with the help of body movements.carefully coordinated. cannot be forgotten at this juncture. Natya : Dramatic Element. About Bharatanatyam Bharatanatyam is evenly divided between three elements Nritta. Movement of both the legs is Karana. 4 to 9 Karanas make a Angahara. it still has its roots deep into the religious and rich mythological heritage of India. Angahara and Mandala. Shabda. There are varieties of Aduvus like • Tattaduvu • Mettaduvu • Nataduvu . Jati will generally end with a Muktaya or Teermana.Performing for a theme like Ramayana. Karana.Conveys poetic meaning with the help of expressions. Varna. Nritta Nritta can be broadly divided into Chari. aesthetically sound progression. Number of aduvus constitute a Jati. Rukminidevi Arundale and Balasaraswathi. In the modern day scenario it is performed by both male & female artists.concentration and dedication. Hands. are described below.Circling Movement . Pratyanga Pratyangaani twathaskandhau baahoo prushtam tathodaram ooroo janghe shadityahurapare manibandhakau jaanooneekoorparamiti trayamapyadhikam jaguhu Shoulders. Teeth. Chest. Some people include Wrist. Bottom. Tamilnadu. Pratynaga and Upaangas should move along with the Angas.Head Movement • Greevabhedha . Legs are the Six Angas. Knee are the Six Pratyangas. To perform an aduvu aramandi.• Kattaduvu • Kudittamettaduvu • Maiaduvu • Mandiaduvu • Jati • Nadai • Ardi There are 12 aduvus in each of the above explained. The aduvus are more or less Karanas. The 108 Karanas or Aduvus are carved in the Chidambaram Temple in Tanjore.Eye Movement • Paadabhedha o Mandala . Arms. Eye balls. Feet. Stomuch.Leaps o Bhramari . Chin and Face are the 12 Upaangas. bending of the knees is very very important. Eye lids. Gums. • Shirobhedha . Lower Lip. Anga Lakshana. Hence can be concluded that there are 108 aduvus. Only about 70 . elbow and Ankle also.80 are in practice. India. Waist. Pratyanga and Upaanga. Upaanga Drushtibhrooputatarashcha kapolau naasikaahanuhu Adharodashanaa jihwaa chubukam vadanam tatha Upaangani dwadashitaanyanyaanyangaani santi cha Paarshnee gulbautathangulyaa karayoho padayostale Sight. Hence 120 aduvus exist in total. Cheeks. thighs. Tongue. the way of moving body parts. Anga Anganyatra shirohastau vaksha paarshwakateetatau Paadaviti shaduktaani greevamapyapare jaguhu Head.Standing Posture o Utplavana . Some people include Neck also. The entire body is divided as Anga.Neck Movement • Drushtibhedha . Few people include Heels. Palm also into upaangas. Nose. Eyebrow. Fingers. o Chari . which talks about all aspects of Bharatanatyam. Angikam bhuvanam yasya Vachicam sarva vangmayam Aharyam chandra taradi tam vande satvikam shivam. Hands. Make-up etc. The Abinaya is divided as • Angikabhinaya • Vachikabhinaya • Aharyabhinaya • Satvikabhinaya Angikabhinaya : Expressing the meanings of lyrics using the body parts like Head. Here the emphasis is more on facial expressions than rhythmic movements. The Natyashastra. meaning perfect. The Bhedas which i have explained above come under Angikabhinaya. . in a dance comes under Aharyabhinaya.Charecteristic walks and • Hastas or Mudras . Aspects of Abhinaya The expressions which are shown to express poetic meanings is Abinaya. Jewellary. Lord Shiva is praised as the embodiment of the above 4 types of abinaya in this following shloka. Anga meaning body parts and shudhi. Aharyabhinaya : Imitating the Costumes. Legs etc.Leg Movement • Gatibhedha . Any dancer should try to achive this perfection. is Angikabhinaya. Satvikabhinaya :Showing the Bhava(moods) come under Satvikabhinaya. quotes shlokas to perform all the above movements.Hand Movements o Asamyuta Hasta o Samyuta Hasta o Deva Hasta o Dashavatara Hasta o Navagraha Hasta o Jaati Hasta o Bandhu Hasta o Nritta Hasta When all Angas(main body parts) coordinate (along with pratyanga and upaanga) the artist is said to have Angashudhi. Vachikabhinaya : Expressing the Story using narrations in the dance drama is Vachikabhinaya. All the above said movements are dealt in detail in the respective links. Heroism • Roudra . express different feelings. called Ashtanayika bhavas. There are nine main or primary emotions.Tranquility Vatsalya(Parental fondling) rasa is also sometimes included as one of the stayibhava.symbolising a new awakening his left hand holds fire .Mirth • Veera . his right hand holds the drum of creation . Vibhava (cause of emotion).. The Nayika Bhava The shastras have classified the basic mental status of woman.Love • Hasya .Wonder • Karuna . Whose song and poetry are the essence of all language. These divisions portray the heroine in different situations. Sthayibhavas. sentiments & reactions. • Shringara .Disgust • Adbhuta . It is also termed as Rasa(Mood).Anger • Bhayanaka .Terror • Bheebatsa .representing destruction of the old order his other right hand is raised in blessing the other left hand points to his left foot.Meaning for the above shloka is We bow to Him the benevolent One Whose limbs are the world. which has crushed demon Muyalaka ." In Lord Shiva's well-known pose of NATARAJA..representing ignorance.Compassion • Shanta . the Nayika. Now i would like to talk about Nayika(the Heroine) and Nayaka (the Hero) bhavas. Whose costume is the moon and the stars. Anubhava (effect of emotion) and Sanchari bhava (subordinate emotions) constitute the state of rasa. The Ashtanayika bhava are • Abhisarika • Kalahantarika . into Eight divisions. Madhyama . This Pragalbha Nayika is further classified as • Dheera • Adheera • Dheeraadheera Sweeya . by decorating herself and her surroundings. javali or Ashtapadi.She is the one who is angry with her lover for causing dissapointment.She is the one who is proud of her husband's or beloved's love and loyalty.She is the one who is repenting her hastiness in quarrelling with her lover.Self-controlled & tolerant.A free woman. Pragalbha .She is the one who is seperated from her lover & is yearning for reunion. Kalahantarika .Matured in the art of love. Jyeshta .Inexperienced in love. which has resulted in their seperation.Literally the middle one. who is away on a long journey.if any. from the . Vasakasajjika . This Companion is the one to whom the Nayika will convey her feelings. Madhya . she is the one who will take the message.The preferred one. Kanishta . to provide a pleasent welcome to her lover. Samanya . Further classifications are Uttama . who truly belongs to any man for a price. who has no self restraint.Married & faithful to her husband.Literally the low one.She is the one who is dissapointed that her lover has not turned up at the tryst as he promised.• Khandita • Proshitapathika • Swadheenapathika • Vasakasajjika • Virahotkantita • Vipralabda Abhisarika . who gives as she gets. Vipralabda .Married but in love with another man.She is the one who is suffering in the absence of her beloved.Partly Experienced in love.She is the one who is preparing for the arrival of her beloved. Swadheenapathika . Khandita . Adhama .The other woman. Parakeeya . Proshitapathika . The Companion to the Nayika plays an important role in any padam. Virahotkantita . Other classifications of the Nayika bhava are Mugdha .She is the one who boldly goes out to meet her lover. Lord Rama • Dheeroddhata eg.Aranga meaning raised floor and Etram meaning climbing in . she is the one who will sort out the differences between the nayika & the nayaka.Married & faithful to his wife. Lord Krishna Most of the ashtanayika bhavas are experienced by the Nayaka also though the depiction of ashtanayika is more than the nayaka. the moods and emotions of the hero are also classified into different divisions.The deceitful one.Friend • Kaaroo .Woman from a lower caste • Chatriya .nayika to the nayaka. pleads to be accepted by his woman. Demon Ravana • Dheeralalita eg.Nayika herself as a messenger The Nayaka Bhava Just like the heroines.Neighbour • Lindini .Saint • Shilpani .Artist • Swaa . This companian is categorised as • Peetamardhana • Vita • Cheta • Vidooshaka Arangetram Arangetram is a tamil word. This companion is usuallly a girl who is close to the Nayika. Upapati . Arjuna Drishta . Buddha The other classification is Pati . • Daasi . eg.Step Sister • Prativamshini .Servant • Sakhi .Loves all his wives or women.When rejected. Lord Rama Dakshina .One who pays & enjoys women. Vaali Shatha . eg. The classification of the Companion is as follows. Vatsaraaja • Dheerashanta eg. Vaisika .Married but in love with another woman. eg. Nayaka's Companion plays an important role too. Further Nayaka classifications Anukoola .Faithful to the Woman. eg. The main division is • Dheerodaatta eg. Violin player and ofcource the Natuvanga. This is the testing time for both the guru & the shishya(deciple) as the guru's knowledge & the deciple's talent both are judged by the public. Usually duration of an arangetram will be 2 1/2 . These people sit in the corner of a stage or in a place in front of the stage which will be in a lower level than that of the stage. In their first performance. Hence. Accompaniments play a major role in the making of a memorable dance performance. After learning bharatanatyam under the guidance of an accomplished guru. this is the occation for the proud guru to present his/her deciple to the public.For a dancer. This arangetram was known as Gejjepooje in old mysore district. Jingles are a must. To perform for such long hours one must have good stamina and concentration. Veena.3 hours. In the first half the artists generally perform • Pushpanjali or Alaripu • Jatiswara • Shabda • Varna In the second half • Padam • Ashtapadi or Devaranama • Tillana • Mangala .Flute and other instruments are optional. Ranga meaning Stage and Pravesha meaning Enter.one of the south indian languages.Tamil.12 years of training is necessary to give a comendable performance. This time is divided into two halves. make-up and a specially stitched dress. meaning worshiping the jingles in kannada. Ideally this should be the first public performance of an artist. Atleast 10 . In olden days. jingles are considered devine. another south indian language. wear them & then perform.Basic accompaniments are a Singer. The artist will wear lot of jewellery. It is also called Rangapravesha in Kannada. a south indian language. the guru will decide when the deciple is ready for public appearence. they were made to worship the jingles. Mridangam player. deciples were not allowed to wear jingles till their first public performance. the yearning soul). It comprises of set of movements without any meaning or expression. Eventhough there is no meaning. praising a king etc. To perform this item one should have lot of stamina & concentration. Divine Lord)& Nayika(Heroine. Shabda This is a dance item with both nritta & abinaya.Padams will have Nayaka(Hero. The complexity of the movements gradually increase. This item is a warmup item where the artist prepares the body for the next few hours of vigorous performance. Varna can also have shrigara rasa as its theme. praising a king etc.The movements here are leisurely. This is also a warmup piece to prepare the body for the next few hours of performance. Supreme lover. The movements are performed for syllables set for a beat(Tala). The lyrics can be devotional. guru and the audience. Jatiswaram This is also an item where the movements will not convey any meaning or theme. This is a musical composition set to a raga unlike alaripu which has only syllables. Heroine will talk to her . Usually the theme of the lyrics will be devotional like praising lord krishna. Alaripu This is a tamil word.Alar meaning to bloom.guru and the audience. Here the steps are more complex than the previous items.Pushpanjali This is an item where the artist salutes to god. Padam In this dance item the dancer's abhinaya is put into test. The steps are so formed that it looks like a bud blooming into a flower. depicting lord krishna's childhood . This can be treated as a benchmark to judge the artist's talent. It narrates expression of divine love or pangs of seperation in love. The tempo is slow and the performance is based on a specific mood of love.The item will contain many complex steps and will have lot of room for expressions also. Varna This is the item where the dancers are tested for their capacity to perform abinaya & nritta. The composition can have amazing postures and teermanas or muktayas (ending of a jati). this can also be considered as an item where the artist salutes god. Languishing Krishna • Chaturachaturbhuja .Blissful Krishna • Supreetapeetambara . This is a pure abhinaya item with almost no emphasis on nritta.Careless Krishna • Mugdhamadhusoodhana . Kanakadaasa. This is mainly a nritta piece which might have a charana. The songs are sung by Krishna or Radha or by Radha's maid. Needs lot of grace.Abashed Krishna • Mandamukunda . Tillana is full of complicated movements & postures. Mangala . Each Canto is named differently considering Krishna's status of mind.Tender Krishna • Saakankshapundareekaksha . an extremely romantic composition.Indolent Krishna • Naagaranaaraayana . The artist should be mature enough to understand the lyrics and the situation to show the rasas. describing the god etc. Devaranama This item is a devotional piece where the lyrics are in praise of god. Ashtapadi These are poet Jayadeva's Sanskrit compositions called Geetagovinda. The compositions are popularly known as Daasa Sahitya. Devotion and Peaceful Co-Existance. Usually the lyrics are in Kannada. ending of any step or aduvu. It describes the love of Krishna and Radha in twelve cantos containing 24 songs. a meaningfull lyrics for which abinaya is shown. It is a devotional literatures written in simple language understood by common man. These songs are the compositions of great mystics like Purandharadaasa. It has made remarkable contribution to the spiritual and cultural upliftment of people by preaching phylosophy of Love. how she is angry with her beloved hero etc.Bewildered Krishna • Snigdhamadhusoodhana . Tillana This is usually the last item in any bharatanatyam performance. Vyasaraaja to name a few. Vijayadaasa.Joyful Krishna • Aakleshakeshava . This will also have complicated Muktayas or Sholkattu.friend(sakhi) and narrate her feelings towards her hero. how he has delayed the arrival. • Saamodadamodara .Longing Krishna • Kuntavaikunta .Cunning Krishna • Vilakshalakshmeepatihi .Ecstatic Krishna Expressions are given foremost importance while performing these poems. The lyrics can be about how the hero has betrayed.Intellegent Krishna • Saanandadamodara . guru & the audience for making the performance a success.Meaning ending the performance. Here the artist will again salute god. .