History & Evolution of Bharatnatyam

Natyashastra translates to the “science of dance”. It was written by Bharata Muni in order to satisfy the need for a Veda that could be understood by common people. The existing four vedas are Rig, Sama, Yajur, and Atharva vedas. Natyashastra is a combination of the four vedas. Each of the vedas have their own significance.

• Bharata took the pathya (words) from - Rig Veda

• Abhinaya from - Yajur Veda

• Geeth from - Sama Veda

• Rasa from - Atharva Veda

Bharatamuni combined these elements to form the Natyaveda (the fifth Veda). The myths have it that Bharata performed Natya along with Gandharvas and Apsaras to please lord Shiva. Natyashastra is the final book of reference as far as Bharatnatyam is concerned.

The History of Bharatnatyam can be categorized vaguely into three periods:

1. The initial pre-historic period where references of dance in some form can be traced to ancient cave paintings, engravings, older civilisations, Vedic references in Puranas, Upanishads, Bramhana, epics, etc.

2. The period starting from the 2nd century B.C. through 9th Century A.D., in which we see references about dancing from the monuments of ancient dynasties, Buddhist stupas, caves of Ellora and temples in various parts of India, ranging from Kashmir to Kanyakumari. These temples showcase sculptures of dancers performing different dance forms.

3. The most recent or the modern phase is the period covered from the 10th Century A.D. to the present time. This period witnessed the development and growth of this art to a great extent towards. It saw the art form flourish in all aspects including regional, architectural, sculptural, pictorial and musical fields.

The different styles of classical Indian dancing were practiced and nurtured by artists as well as dancers of different periods belonging to different regions, tribes, castes etc. The hindrances of political developments and foreign invasions have influenced each dance form. Each style developed as a different system or tradition in different regions. The contributions made by eminent artists, personalities and masters enabled the growth of these art forms even though they lacked academic knowledge. Especially on account of lack of formal education and unfamiliarity with the language of formal writings, which was usually Sanskrit.

It is strongly believed that Sadir or Nautch (dance form) was the precursor of Modern Bharatanatyam. Sadir evolved during the 17th to 19th centuries. The word Sadir is of Marathi origin, and it means to press. In Sangeet Saramritha, King Thulaja says that Sadir evolved during his time. He also explains the technique of dance. But even before that, Sanskrit disquisitions developed separate chapters on dance and works. Chapters about Natya were also written by eminent scholars. It was the Tanjore Quartet, who refined and theorized Bharatnatyam as it is today. Bharatnatyam can be considered as the successor of the ancient Tamil dance style known as Koothu. In Silappadikaram and Manimekalai, we find references about the two types of Koothus, namely Shanti Koothu and Vinoda Koothu. The first is considered classical and highly scholarly, and the second is meant mainly for Vinoda or entertainment.

The British were also not interested in the development of these classical dances, music and related arts. They denied the permission to present or perform these in temple deities, imposing Victorian morality on Indians. This caused a gradual decline in the status of these artforms, which were earlier patronized by rulers and eminent or wealthy people. The prohibitions and presentation of these art forms in public places and temples and also among the upper-class/wealthy society circles led to the decline of these divine art forms. However, with the progression of time, there was a revival, to the extent that these divine forms started to get recognition. The interest in dance was developed as a part of reviving and building up the glorious culture and heritage of India.

Afterwards, E. Krishna Iyer, another eminent artist popularized the art form among the public and thus removed the stigma attached to it. He used to perform in the role of both male as well as female characters.

Bharatnatyam is one of the oldest dance forms of India and it was nurtured in the temples and courts of southern India. Since ancient times Bharatnatyam is known to be handed down as a living tradition from generation to generation under the Devadasi system. In the devadasi system women were dedicated to temples to serve the deity as dancers and musicians forming a part of the elaborate rituals.

During its course of development, Bharatntyam has refined a lot, at the same time implementing the trends and traditions followed in South India from the ancient time. The Devadasi nritham which is prevalent in ancient Indian temples can be considered as the precursor of Modern Bharatanatyam. The devadasis employed in the temples to please the Lords, Kings, as well as the royal households, contributed much towards the preservation of this art form. The Bharatnatyam we see today, has grown from the various dances which were prevalent in South India. The term Devadasi Attam is believed to have evolved from Thevar Adichi Attam, which means the dance of the dasis of Devas or Lords. During the Mahratta rule, the Devadasi Attam came to be known as Sadir or nautch. During Serfoji’s time, The Tanjore quartet consisting of the four brothers- Ponnayya, Chinnayya, Vadivelu, and Sivanandam were appointed as Vidwans. They refined this crude dance form and gave it its present-day form and shape.

The efforts of Rukmini Devi blossomed when Kalakshetra was established and it became a Centre of Excellence in Bharatnatyam for Indians as well as foreigners. By giving systematic and intense training, the art form attained high standard and status. She abolished the unpleasant elements from the dance, and instead devised artistic costumes, removing the stigma attached to it. Kalakshetra became a center for propagating this art form and became a meeting place for eminent artists, scholars, musicians and gurus of the time.

Today, Bharatnatyam has attained an exalted status and immense popularity. Learning of Bharatanatyam has become the status symbol for most, irrespective of social status and rank. Within a short period of five decades, this art form has reached the masses from the four walls of the temples. It has attained worldwide fame and has become part of the International dance forums.

Bharatnatyam is one of the oldest dance forms in the world. The art form has been evolving and being passed on from generation to generation. Bharatnatyam in the 21st century is very different from Bharatnatyam in ancient times. For example, we now have fusions between Bharatanatyam and other art forms, we have explored performing Bharatnatyam on different types of music, and lastly artists are portraying real life situations, and problems they are facing through this art form.

Description of Bharatanatyam

Bharatnatyam is a multi dimensional form of dance that includes movements of different parts of the body, rhythmic footwork, facial expressions, gestures of the hand, music as well as costumes, among others. This form of dance is well developed in the present with each of the above aspects organized on the basis of (to a large extent) what has been documented in the ancient Natyashastra scriptures. The form of dance today and what I will predominantly be writing about is the description of this dance primarily for the unfamiliar spectator, not the student/professional dancer.

Rukmini Devi has said that “the difference between a technical expert and an artistic genius is the ability to master the technique and then forget it”. By excelling technique and forgetting oneself, a dancer enters the spirit of the dance and expresses it. In the same way, those of us interested in Bharatanatyam can benefit by knowing a little about the technique and language of the art form. Otherwise, we can get distracted or puzzled by details of technique or appearance, and miss the deeper meaning.

Any Bharatanatyam performance today is a solo dance usually presented by male/female dancers. It could also be performed by a group of artists according to a theme or presentation of a story. In the olden times, there were multiple dancers and priestesses in Hindu temples in southern India, known as devadasis. The devadasis used to sing, dance (usually Bharatnatyam), and play different musical instruments as their profession. They were fluent in languages such as Sanskrit. One of the reasons Bharatnatyam was originally known as Dasi Attam was because it was performed by devdasis. The government banned the practise of Devdasi in 1988, because of the strict rules they had to follow and the fact that they had no freedom. Even though it is illegal, the Devadasi system is still prevalent in some southern states of India.

During the 3rd century AD, Balasaraswati promoted the traditional art of the devadasis, maintaining that reforms were unnecessary and detracted from the art. Balasarswati had a lineage of devadasi rituals. She wanted to stay true to that, and therefore, continued a career in Bharatnatyam.

As Bharatnatyam renewed its popularity in Indian society, many artists such as nattuvars continued their training or education in the field. As the art renewed its awareness, more people entered the field of classical dances, especially Bharatnatyam. With its renewal, many different styles started to gain recognition such as Pandanallur, Vazhuvur, and Thanjavur. These dance styles were named after the villages the nattuvars came from. Rukmini Devi’s passion for the art form and the desire for it to regain its ‘full spiritual potential’, motivated and encouraged reforms. The reforms led to multiple creations, and one of the most popular ones is known as the kalakshetra style of Bharatnatyam. The art form quickly gained popularity and soon became one of the most widespread as well as popular Indian classical dances. Bharatnatyam has not only achieved international recognition but is also known as one of India’s cultural treasures.