"There Are Times When the Simple Dignity of Movement Can Fulfill the Function of a Volume of Words" -- Doris Humphrey
Tanjore Temple
Bharathanatyam (also spelled Bharatanatyam, Bharatnatyam or Bharata Natyam) is a classical dance form originating in South India that traces its roots back to more than 2,000 years ago. Bharathanatyam evolved in the courts and temples of South India, where it was performed as an essential part of daily worship of the presiding deity. The main features of Bharathanatyam are Bhava (expression), Raga (melody) and Tala (rhythm). Bharata Natyam has three distinct elements to it: Nritta (rhythmic movements of pure aesthetic value), Nritya (movements in which abhinaya or facial expressions of emotions, and Mudras, or hand gestures are emphasized), and Natya (dance with a dramatic aspect). The word Bharata, interpreted as the dance form created by sage Bharata, has within it theessence and uniqueness associated with Bharathanatyam: Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Tha for thala or rhythm.
Arangetram - An Arangetram is the debut on-stage performance of a Bharatanatyam student, after undertaking many years of training. In Tamil "Aranga" means a raised stage and "etram" means climbing. Thus Arangetram literally means climbing the stage or reaching the stage. It represents the graduation ceremony when the Guru presents his/her pupil to the public.
Arangetram marks the beginning of a dancer's life, when he or she may cross the threshold from student to professional artist. The dancer presents a two-hour solo performance based on a traditional repertoire much resembling the one established by the Thanjavur brothers at the end of the 19th century. The brothers’ selection of dance pieces, from Alarippu to Thillana, became the repertoire of choice during the renaissance of bharata natyam at the beginning of the 20th century, and remains a legacy to this day. The arangetram celebrates the years of dedication of both student and teacher to the bharatanatyam form.
Bharata could refer to either the author of the Natya Shastraor to a legendary king after whom the country of India was supposedly named, and natya is Sanskrit for the art of dance-drama.
Arangetram - An Arangetram is the debut on-stage performance of a Bharatanatyam student, after undertaking many years of training. In Tamil "Aranga" means a raised stage and "etram" means climbing. Thus Arangetram literally means climbing the stage or reaching the stage. It represents the graduation ceremony when the Guru presents his/her pupil to the public.
Arangetram marks the beginning of a dancer's life, when he or she may cross the threshold from student to professional artist. The dancer presents a two-hour solo performance based on a traditional repertoire much resembling the one established by the Thanjavur brothers at the end of the 19th century. The brothers’ selection of dance pieces, from Alarippu to Thillana, became the repertoire of choice during the renaissance of bharata natyam at the beginning of the 20th century, and remains a legacy to this day. The arangetram celebrates the years of dedication of both student and teacher to the bharatanatyam form.
Bharata could refer to either the author of the Natya Shastraor to a legendary king after whom the country of India was supposedly named, and natya is Sanskrit for the art of dance-drama.
Nataraja
Traditional Roots
Bharatanatyam is thought to have been created by Bharata Muni, a Hindu sage, who wrote the Natya Shastra, the most important ancient treatise on classical Indian dance. It is also called the fifth Veda in reference to the foundation of Hindu religion and philosophy, from which sprang the related South Indian musical tradition of Carnatic music.Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. Dance originated and became a part of the temple because its aim was to attain spiritual identification with the eternal. The center of all arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and 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 the dance be conceptualized.
The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Shiva has four arms: One right hand holds the "damaru", symbol of creation through the primordial sound, and the other right hand makes a reassuring gesture. In one of the left hands, he holds the purifying fire, a symbol of transformation; with the other left hand, he makes the protecting gesture. His left foot, lifted up, evokes liberation and salvation, while his right foot crushes the demon of ignorance and evil.
Bharatanatyam is a traditional dance-form known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India.
Essential Ideas
Bharatanatyam is the manifestation of the South Indian idea of the celebration of the eternal universe through the celebration of the beauty of the material body. 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.
Natya Shastra 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 the erotic sentiment (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practice it properly".
Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts on Bharatanatyam), must possess the following qualities. She has to be youthful, slender, beautiful, with large eyes, self-confident, witty, pleasing, well aware of when to dance and when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), with splendid costumes, and of a happy disposition.
Techinique
Abhinaya - a dramatic art of story-telling in Bharatanatyam.
Nritta - pure dance movements usually performed as an opening item in Bharatanatyam, reflecting different rhythms of the universe.
Nritya - combination of abhinaya and nritta
Elements
Although most of the contemporary Bharatanatyam ballets are popularly viewed as a form of entertainment, the Natya Shastra-based dance styles were sacred Hindu ceremonies originally conceived in order to spiritually elevate the spectators. Bharatanatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava (the dance of Shiva), masculine aspect.
Typically a regular performance includes:
Ganapada Vandana - A traditinal opening prater to the Hindu god Ganesh, who removes all obstacles
Allarippu - A presentation of the Thala puncutated by simple syllables spoken by the dancer. Tis really is sort of an invocation to the gods to bless the performance.
Jathiswaram - An abstract dance where the Mridangam (drums) set the beat. here the dancer displays her versatility in elaborate footwork and graceful movements of the body.
Shabdam - The dancing is accompanied by a poem or song with a devotional or amorous theme.
Varnam - The center piece of the performance. It is the longest section of the dance punctuated with the most
complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
Padam - Probably the most lyrical section where the dancer "speaks" of some aspect of love; devotion to the Sipreme Being; or devotion to theSupreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Thillana - The final section is an abstract dance when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
Costume - There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (aura), in the material world.
Music - The music is the Carnatic style of South India
Ensemble - Instruments needed for Bharatanatyam are
Mridingam (drum)
Nadaswaram (long black wood pipe horn made from a black wood)
Flute, Violin & Veena (stringed instrument traditionally associated with Saraswathi the Hindu goddess of the arts and learning)
Languages - Snaskrit, Telugu, Tamil and Kannada are traditionally used in Bharatanatyam.
Bharatanatyam is thought to have been created by Bharata Muni, a Hindu sage, who wrote the Natya Shastra, the most important ancient treatise on classical Indian dance. It is also called the fifth Veda in reference to the foundation of Hindu religion and philosophy, from which sprang the related South Indian musical tradition of Carnatic music.Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. Dance originated and became a part of the temple because its aim was to attain spiritual identification with the eternal. The center of all arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and 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 the dance be conceptualized.
The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Shiva has four arms: One right hand holds the "damaru", symbol of creation through the primordial sound, and the other right hand makes a reassuring gesture. In one of the left hands, he holds the purifying fire, a symbol of transformation; with the other left hand, he makes the protecting gesture. His left foot, lifted up, evokes liberation and salvation, while his right foot crushes the demon of ignorance and evil.
Bharatanatyam is a traditional dance-form known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India.
Essential Ideas
Bharatanatyam is the manifestation of the South Indian idea of the celebration of the eternal universe through the celebration of the beauty of the material body. 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.
Natya Shastra 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 the erotic sentiment (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practice it properly".
Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts on Bharatanatyam), must possess the following qualities. She has to be youthful, slender, beautiful, with large eyes, self-confident, witty, pleasing, well aware of when to dance and when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), with splendid costumes, and of a happy disposition.
Techinique
Abhinaya - a dramatic art of story-telling in Bharatanatyam.
Nritta - pure dance movements usually performed as an opening item in Bharatanatyam, reflecting different rhythms of the universe.
Nritya - combination of abhinaya and nritta
Elements
Although most of the contemporary Bharatanatyam ballets are popularly viewed as a form of entertainment, the Natya Shastra-based dance styles were sacred Hindu ceremonies originally conceived in order to spiritually elevate the spectators. Bharatanatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava (the dance of Shiva), masculine aspect.
Typically a regular performance includes:
Ganapada Vandana - A traditinal opening prater to the Hindu god Ganesh, who removes all obstacles
Allarippu - A presentation of the Thala puncutated by simple syllables spoken by the dancer. Tis really is sort of an invocation to the gods to bless the performance.
Jathiswaram - An abstract dance where the Mridangam (drums) set the beat. here the dancer displays her versatility in elaborate footwork and graceful movements of the body.
Shabdam - The dancing is accompanied by a poem or song with a devotional or amorous theme.
Varnam - The center piece of the performance. It is the longest section of the dance punctuated with the most
complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
Padam - Probably the most lyrical section where the dancer "speaks" of some aspect of love; devotion to the Sipreme Being; or devotion to theSupreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Thillana - The final section is an abstract dance when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
Costume - There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (aura), in the material world.
Music - The music is the Carnatic style of South India
Ensemble - Instruments needed for Bharatanatyam are
Mridingam (drum)
Nadaswaram (long black wood pipe horn made from a black wood)
Flute, Violin & Veena (stringed instrument traditionally associated with Saraswathi the Hindu goddess of the arts and learning)
Languages - Snaskrit, Telugu, Tamil and Kannada are traditionally used in Bharatanatyam.