Dance
Bharata Natyam
Bharata Natyam is one of the forms of classical Indian dance, developed in the South Indian state of Tamil Nadu. It is possible that the name “Bharata” is derived from the syllables Bha from Bhava (emotion), Ra from Raga (melody) and Ta from Tala (or rhythm).1
The form of dance that is taught and performed today, has roots in several schools of dancing: Sadhir, Kurabhangi, Bhagavatamela and Kuchipudi2. In the eighteenth century, four brothers from Tanjore blended elements from these styles into what is today called Bharata Natyam3. Traditional repertoire consists of items depicting the basic dance grammar, combining pure dance movement with simple expressions, involving more subtle expression and mime, complicated footwork patterns, sculpturesque poses and varied combinations of speed and rhythm.
It begins with the first dance, Alarippu, which is short, simple and meant to introduce the basic dance grammar – standing posture, movements of neck, shoulder and arm, ardhamandali position (the demi-plié in ballet) and mandali position (grand-plié). This is followed by Jatiswaram which involves larger movement sequences in patterns, accompanied to melody (the Alarippu consists only of mnemonic syllables) and varied tempos and rhythms. Next is the Shabdam which is the first dance item in which the music contains lyrics with meaning, and the dancer describes the storyline using hastas (hand gestures with meaning) and abhinaya (expression). Following this progression of complexity in movement, music and expression, the Varnam is generally a much longer dance (sometime 30 to 60 minutes), combining pure dance, expression and improvisation, as well as testing the dancers stamina and ability to captivate the audience. Varnam is followed by dances referred to as Padams, which are softer in tone, and focus on characterization and drama. The culminating item is the Tillana, which is a fast and uplifting dance that incorporates complicated footwork patterns, designs across the performance space, sculpturesque poses, and varied combinations of tempo. Often, a program is concluded with a Mangalam, a quiet, expressional piece bringing the audience back to a serene mood.4
1. Id. at 28.
2. Bose at 29.
3. Kothari at 92.
4. Id.at 92-103.
