Diljit Dosanjh

Bharatanatyam is one of the most ancient and revered classical dance forms of India. Originating from Tamil Nadu in South India, this dance form has transcended geographical, social, and cultural boundaries over centuries to become a global symbol of Indian art and spirituality. More than just a performing art, Bharatanatyam is deeply intertwined with the cultural, religious, and philosophical traditions of India, particularly rooted in Hindu temple traditions.

The dance form is known for its fixed upper torso, bent legs, intricate footwork, expressive hand gestures (mudras), and elaborate facial expressions (abhinaya). The name 'Bharatanatyam' itself is symbolic: 'Bha' stands for Bhava (emotion), 'Ra' for Raga (melody), 'Ta' for Tala (rhythm), and 'Natyam' means dance in Sanskrit.

Origins and History

The roots of Bharatanatyam can be traced back over 2000 years to the Natya Shastra, a comprehensive Sanskrit treatise on the performing arts written by the sage Bharata Muni. This ancient text laid the foundation for classical dance, drama, and music in India, describing various aspects of performance, including hand gestures, expressions, and postures. Bharatanatyam, as mentioned in this text, was traditionally performed in Hindu temples by Devadasis, or female temple dancers, who dedicated their lives to the worship and service of the temple deity.

In the early days, Bharatanatyam was known as Sadir or Dasiattam, performed primarily in the temples of Tamil Nadu. The Devadasis would perform as part of temple rituals, festivals, and special religious ceremonies. Their dances were offerings to the deities, making the dance form not only artistic but also highly spiritual. However, with colonial rule, the tradition of Devadasis began to decline, and the dance form faced significant opposition and stigma.

Renaissance in the 20th Century

The early 20th century saw a revival of Bharatanatyam, thanks to pioneers like Rukmini Devi Arundale and E. Krishna Iyer, who reformed the dance form and brought it to the proscenium stage. Rukmini Devi, in particular, played a crucial role in redefining Bharatanatyam and presenting it as a sophisticated art form rather than a practice confined to temple rituals. She established Kalakshetra in Chennai in 1936, which became a pivotal institution in the teaching and propagation of Bharatanatyam. With her modern vision, Rukmini Devi helped Bharatanatyam shed its religious connotations, making it accessible to a broader audience, including men, which was rare until then.

Structure of Bharatanatyam

The structure of Bharatanatyam is a complex interplay of Nritta (pure dance), Nritya (expressive dance), and Natya (drama). The repertoire, known as the Margam, follows a set sequence of items that gradually increase in complexity and emotional depth, offering a complete range of expression. The Margam traditionally includes the following items:

1. Alarippu: The opening piece, which is a pure dance item designed to awaken the body and mind of the dancer and set the tone for the performance. The word 'Alarippu' means the blossoming of a flower, symbolizing the awakening of the dancer's energy.

2. Jatiswaram: A nritta (pure dance) piece where the dancer showcases intricate footwork and rhythmic patterns, accompanied by swaras (musical notes). There is no abhinaya or emotional expression in this item.

3. Shabdam: This is the first expressive dance (Nritya) item in the repertoire, where the dancer begins to incorporate abhinaya. The lyrics are devotional or narrative, and the dancer tells a story through gestures and expressions.

4. Varnam: The central and most elaborate piece of the Margam, combining both Nritta and Nritya. The Varnam tests the dancer's technical prowess and emotional depth, as the dancer alternates between pure dance sections and intricate abhinaya passages. Varnams often portray stories of devotion, love, or longing, particularly towards gods like Krishna, Shiva, or Muruga.

5. Padams: These are slower, more lyrical pieces that focus entirely on abhinaya, allowing the dancer to express deep emotions like love, sorrow, devotion, or jealousy. The dancer portrays characters from Hindu mythology, and the narrative often revolves around divine love or relationships between devotees and deities.

6. Tillana: A pure dance item that comes towards the end of the performance, characterized by brisk and vibrant footwork, fast-paced movements, and rhythmic patterns. It is a joyous celebration of dance.

7. Shlokam or Mangalam: The concluding item in the Margam, where the dancer offers a prayer for peace, prosperity, and the well-being of the audience and the world.

The Aesthetics of Bharatanatyam

Bharatanatyam’s aesthetics lie in the balance of Angika, Vachika, Aharya, and Satvika—the four elements of performance as described in the Natya Shastra.

• Angika refers to the body movements, which include hand gestures (mudras), footwork (adavus), and postures. The precision of the body language is critical in conveying the meaning of a dance.

• Vachika includes the spoken or sung words, which in Bharatanatyam are rendered through Carnatic music, a classical South Indian music tradition. The lyrics are usually devotional and often composed in languages like Sanskrit, Tamil, Telugu, or Kannada.

• Aharya refers to the costumes, jewelry, and makeup, which play a vital role in enhancing the visual appeal of the dance. The dancer typically wears a sari specially designed for dance, along with jewelry that represents traditional South Indian culture.

• Satvika is the emotional element, where the dancer portrays the true essence of the character or the situation through subtle facial expressions and deep inner feeling. This is perhaps the most difficult aspect of Bharatanatyam and requires years of practice and emotional maturity.

Mudras and Abhinaya

The use of Mudras or hand gestures is an integral part of Bharatanatyam. Mudras are classified into two types: Asamyukta Hastas (single-hand gestures) and Samyukta Hastas (double-hand gestures). Each mudra carries specific meanings and can represent objects, actions, or emotions. The language of gestures allows the dancer to tell stories and convey abstract ideas, making the dance highly communicative.

Abhinaya, or the art of expression, is another hallmark of Bharatanatyam. The dancer uses facial expressions to convey emotions like love, anger, compassion, and devotion. These expressions, combined with mudras, allow the dancer to narrate stories from Hindu mythology, making the performance a deeply emotional and spiritual experience.

Bharatanatyam and Spirituality

Bharatanatyam is often regarded as a spiritual practice, akin to yoga or meditation. Traditionally, the dance was considered an offering to the gods, and even today, many dancers view their performances as a form of worship or devotion. The stories told through Bharatanatyam are often drawn from Hindu epics like the Ramayana and Mahabharata, and themes of devotion to deities like Lord Krishna, Shiva, or Vishnu are prevalent.

The spiritual aspect of Bharatanatyam is also reflected in the relationship between the guru (teacher) and the shishya (student). Learning Bharatanatyam is not merely about mastering technique; it is about imbibing the values and philosophy of the art form. The guru-shishya tradition emphasizes discipline, respect, and dedication, all of which are crucial to both the artistic and spiritual growth of the dancer.

Contemporary Relevance and Global Reach

In modern times, Bharatanatyam has evolved and expanded beyond its traditional roots. Today, it is performed not only in India but also by artists across the globe. The dance has found new expressions and interpretations, as dancers experiment with contemporary themes, cross-cultural collaborations, and fusion with other dance forms. While some purists may view these changes with caution, others see them as a necessary evolution that keeps the art form alive and relevant in a rapidly changing world.

Despite these innovations, the core of Bharatanatyam remains deeply connected to its traditional values of devotion, discipline, and storytelling. Many modern-day dancers continue to draw inspiration from ancient texts, temple sculptures, and classical music, ensuring that Bharatanatyam remains a timeless art form.

Conclusion

Bharatanatyam is a dance form that embodies the essence of India's cultural and spiritual heritage. It is a dynamic and evolving art form that has managed to retain its traditional roots while adapting to modern sensibilities. Through its intricate technique, expressive storytelling, and deep spiritual undertones, Bharatanatyam continues to captivate audiences worldwide, serving as both a performing art and a medium of personal and cultural expression.

In every graceful movement, in every rhythmic beat of the feet, Bharatanatyam narrates stories that transcend time and space, making it not just a dance, but a journey of the soul. Its ability to express the full spectrum of human emotions, combined with its deep spiritual significance, ensures that Bharatanatyam will continue to thrive as a cherished and revered art form for generations to come.