Bharatanatyam
The predecessor of the present-day Bharatanatyam is Sadirattam/Thevarattam performed by the Devadasi community which was dedicated to the prominent Hindu temples. As temple-dancers, they enjoyed lots of privileges and high level patronage. The ancient Tamil Epic, Silappadikaram, of 2nd century CE and Manimegalai of 6th century CE carry descriptions of the form of Devadasi-dance exclusive to Tamil Nadu. The temple sculptures, especially those of Kanchipuram and Chidambaram, of the latter period, suggest that the dance form was cultured, codified and elegant. The arrival of the East India Company in the Indian sub-continent in the 18th century followed by the establishment of British colonialism had an adverse impact on Dasiyattam leading to its steady decline. The British disdained the Devadasi system prompted by a strong sense of Victorian prudishness. An anti-dance movement was launched in the 19th century and the practice of dancing by the Devadasis in the temples was banned in the very first decade of the 20th century.
Coupled with the Indian National Movement for Indian Independence, there took place a cultural renaissance all over south India as part of which the English educated elites came forward to revive and safeguard the cultural and artistic legacy of their homelands. In Tamil Nadu, E. Krishna Iyer and Rukminidevi Arundale spearheaded a Movement that aimed at the resurrection of Dasiyattam by liberating it from the confines of the temples to the public sphere. Sadirattam was renamed as Bharatanatyam together with wide-ranging reforms in its craft and content. Rukminidevi founded Kalakshetra in 1936 which became the first public platform for aspirants cutting across the barriers of caste, community, creed and religion to learn and perform Bharatanatyam. Two eminent dancers viz. Balasaraswathy and Yamini Krishnamoorthy emerged to become the flag-bearers of Bharatanatyam during the renaissance-period.
Based on the doctrines of sage Bharata’s Natyasastra, the chaturvidhabhinaya (fourfold concept of acting namely angika, aharya, vachika and satwika) of Bharatanatyam attained a high degree of stylistic purity and grace. The solid foundation of Bharatanatyam is characterized by the prevalence of three dominant schools; Pandanalloor, Melattoor and Vazhavoor. Pandalloor Meenakshisundaram Pillai regarded as the doyen of the Pandanalloor School was appointed the principal Guru of Bharatanatyam at the Kalakshetra. Rukminidevi thus ensured that the quintessence of the Sadirattam must be kept intact over and above the refinements and refurbishments effected by time.
In the latter half of the 20th century, highly talented dancers flourished in the field of Bharatanatyam. From Kalakshetra, the Dhananjayas and several other dancers came out with flying colours and soon established themselves as eminent dancers. The gifted young dancers who had the privilege to be trained under the veterans in the Pandanalloor, Melattoor and Vazhavoor Schools rose to become celebrities. Dr. Padma Subrahmanyam, Vyajayanthimala Bali, Chitra Viswesaran, Alarmel Valli, Malavika Sarukkai and others raised the art of Bharatanatyam to unimaginable heights. Of all the Indian classical dances, Bharatanatyam is noted for its dynamism and aesthetic profundity which have won for it international acclaim and recognition.
Conceived and choreographed as a solo-dance, the traditional Bharatanatyam recital begins with Pushpanjali by which the dancer presents flowers and salutations to the Gods, Goddesses as well as to the Guru as a token of respect. This ‘prayer’ is followed by Alarippu, a pure-dance piece. Executed without melody, the item is meant to be a good exercise for the body of the dancer who pays respect to the deities, to the Guru and to the audience. With the next item, Jathiswaram, the dancer moves to the non-textual dance. Here he/she combines the rhythm, corresponding beats on the the percussion-instrument and multiple body-movements. Sabdam that follows is a short composition focussing on Nritya as the meaning of the words sung by the vocalist is clearly expressed complemented by the respective moods. Varnam is the piece de resistance of a Bharatanatyam recital. The compositions of the Tanjore Quartet or those of the renowned Vaggeyakaras/Nattuvanars form the themes of the Varnam. The competence of the dancer is very well revealed through his/her performance of the Varnam which is an amazing amalgam of Nrithya (textual dance) and Nritta (pure dance). Jathis and swaras add spice to the Varnam. The heroine can be the one lamenting her separation with the Lord or the one awaiting reunion with the Lord. Myriad moods of the Nayika find comfortable space in a Varnam.
In a traditional Bharatanatyam performance, the dancer, after the Varnam, goes in for a Padam which amply brings out his/her prowess for abhinaya (mainly emotive acting). The mood of the Nayika here can either be sringara or bhakti. Lyrics of the Padams performed are often simple while enriched by elegant images. Short Kritis of various Vaggeyakaaras including Javalis are choreographed by the dancers. One of the most beautiful Padams popularly performed in Bharatanatyam is Enna thavam cheyvane…. by the celebrated Papanasam Sivan. The concluding item of a Bharatanatyam recital is Tillana. A pure-dance piece, Tillana is a remarkable synthesis of non-textual movements, music and rhythm. The recital ends with a shlokam or mangalam through which the dancer seeks the blessings of the audience.
The facial make-up, costumes and the jewellery and hair-dressing of the dancer do have a certain resemblance to those of a Tamil Hindu bride. Like the aharya of any other Indian classical dance, there is a certain amount of stylization in facial make-up, costumes and ornaments of the typical Bharatanatyam dancer. The dancer widely employs stylized, semi-stylized and at times realistic hand-gestures, body-movements and facial expressions for intense communication with the spectators. Vocal music structured along the Karnatic Music compositions, violin, mridangam and flute forms the background music of Bharatanatyam. Jathis are articulated by the Guru wielding Nattuvankam. Bharatanatyam has for nearly a century been the most sought after dance-form in India and elsewhere.
“Make the world your stage”