Bharatnatyam

History of this dance style is almost 2000 years. This style gets popular in the temple of Tanjavur City. Earlier only woman does the performance while males were restricted to be the teacher only. Now man are equally do perform dance recital quite often.

Classical dance in India are sanctioned by the extensive dance manual, the Natya Shastra (a Sanskrit treatise written by the sage Bharat) and has its basis in classical Indian music and since both the dance and music were originally part of temple art and ritual, the lyric is mostly spiritual in content. Classical dance is also strongly connected with the legend of the cosmic dance of Lord Shiva Natraj, the poetic description of which provides dancers with inspiration and visualization of this art form's ideal. Many classical dancers make their annual pilgrimage to the Temple City of Chidambaram, where the enshrined idol of Lord Natraj, the King of Dance, resides.

Bharatnatyam is one of the seven major classical dance forms, originated in south India. It has three main aspects: (1) Natya, the dramatic element where the dancer tells a story and expresses various sentiments using a very subtle facial expressions and hand gestures, (2) Nritta, the abstract dance aspect where the choreography is complex, precise and often very rhythmic. It is also called sometime the technical portion of the dance with no symbolic meaning, and (3) Nritya, which employs both dance and drama to emphasize the meaning of the lyric and mood in the music.

Bharatnatyam was known as Dasiattam, Performance of Devdasi, was widespread in Southern India especially in Tamilnadu earlier. People interested in south Indian culture definitely heard about Devdasi "Servant of the God ", Dancers who dances in temples of India. This dance as the constituent Temple service, where number of girls who were married to the God and trained to performing art and care taking of the God statue. They could not marry. From early childhood girls at a temple were trained to techniques of dance and singing. At the age of 16 years they married to the temple god as symbolical weddings, and after that they devoted their whole life to service to him. They were well educated and possess high respect in the society.

Devdasi had many classes, which executed various services at a temple. Rajadasi danced before a sacred banner. Alankardai - who dances on the public conventions. Devdasi - who dances in temples, and Swdasi - who performs on only special religious ceremonies. They wake up before a sunrise and fired the oil fixture, sang hymns to a deity, decorate the God statue and clean the temple premises washes, decorated, and sometimes feed the statue, danced during Spiritual Ceremonies. Their life's sole purpose was to dance in honor of the temple's presiding Deity. Sculptures of these graceful dancers in their arabesque poses can be seen chiseled in the ancient temple walls and gateways of temple complexes in Tanjore and Chidambaram.

The title of style "Bharatnatyam" has appeared only in 1940s, when the Indian dance was reemerging after a long years of persecutions. About this name Bharatanatyam many stories are famous.

1. Some people connect it with Bharat Muni. Who was a legendary dance teacher and disciple of God Brahma. Who learned Tandav from lord Shiva and spread his teaching all over the world and the writer of Bharatnatyashastra. In Bharatanatyam teachings of Bharatnatyashastra and the Abhinaya Darpan (book written by Nandikeshwar who himself known as incarnation of Lord Shiva) is followed.
2. Bharat is made of three alphabets of Sanskrit language namely:-
• Bha- stands for Bhav (feelings) or acting
• Rа- stands for Raga (Melody) or the tune.
• Та-stands for Tala or the rhythm. Dance in which story is explained with feelings, melody and rhythm is Bharatanatyam.
3. Bharat word is also have connection with the Bharam Tarayati iti Bharata, " those who go out of the society for the search of God and those Holy people prays with music and dance are is Bharats".
4. Disciples of Lava and Kush (Son of Lord Shri Ram) who sing, dance and tell the story are later on also called as Bharat. And Dramatist also called that time Bhritya, which may later on changed in to Bharat.

Obviously the dance styles and the inner aspects of the performing art depends very much on the situation, tradition and reaction of the mass of that time. We do not know it precisely what was the standards and style of Bharatnatyam when it came into existence. It undergone continues change in 18th and 19th century. However in modern repertoire, there are many archeological feature which remain as it were at the beginning.

Accompaniment

Instrument used in Bharatanatyam Performances are Mridangam, violin, Tanpura, Manjira, Ghatam.

Vocal is mostly composed in South Indian Vocal style. Litrature is taken from tamil or sanskrit text mostly connected with different incarnation of lord Vishnu or Shiva.

Costume

Costume of Bharatanatyam is Sari or Dhoti. Dhoti is wrapped around legs and the end of it covers the back and comes to the front from the right shoulders of the dancer. This end is well set and tightly kept on the waist of the dancer with the help of golden or decorated belt. Between both legs an other piece of cloths is stitched, more likely as Chinese fan which open up when the dancer bent or spread the legs during dance.

Head decoration is quite interesting and beautiful. Hairs and the Choti is decorated with white and orange buds and on the fore head wear 'Tika' with two head decoration.

Dance Performance Sequance

1. Allaripu- Bharatanatyam recital begins with Allaripu. In this dancer starts dance with offering flowers to the God. It is basically a technical dance sequence in which dancers repeat all the movements from both left and right side of the body, which shows the control of dancer on her body.
Earlier is was repeated 4 times in all the four direction so that people came in the temple can see the dance in the same way as the God see. Now when it is performed on stage, this is not required. Now the dancers perform this only one direction for the audience. In this dance shows the movement of the major body part and then proceed to minor and rather sensitive parts like eye balls, neck, eye brows and other Upaang. By her dance the performer prays the God. So that God will give success her in performance.
2. Jetiswaram- it is a pure technical sequence in which dancer show different rhythmical patrons. Show her body flexibility and strength and accuracy in fast speed.
3. Shabdam- in this step dancers introduce literature in her dance. With the vocal in background dancer shows prayer of God & King and shows Abhinaya (acting) on it.
4. Varnam- it is an important step of the dance sequence. In this portion of dance one can see the total combination of hand and leg movements, different poses of hand and the body. In this some poem is taken generally about the Heroiene (Nayika) who is waiting for her beloved. Each line of the poem is repeated number of time on which dancer shows Bhav (feelings) in variation. More experienced dancer more and more variation one can perform. Dancers has full liberty to show her talent in this portion of dance sequence.
5. Padam- this is further deep feeling portion of dance act. Poem from popular known or epical books is taken. Mostly all Padam are connected with the life of lord Krishna. Mostly during Padam dancer perform different Naika (Heroine).
6. Tillana- this is the 6th step in the sequence of Bharatanatyam. In this fast rhythem, strong foot work, fast and energetic movements of both body and foot. In back ground a special vocal which have no meaning as such but through the combination of words like Tana, Derena, Toom, Loom, Yalali, Na, Tadare, Dirdir, Tani etc. gives pleaure of music, song and rhythem.
7. Shlokam- this is the last step of the Bharatanatyam when dancer pray the Krishna or the Isht God with Sanskrit Shloka and with the Namaskar ends up her recital.

Exponents of this dance styles in India are Kandppa Pillai, Gauri Amma, Balsaraswati, E. Krishna Ayyar, Ramgopal, Rukmini Devi Arundel, Yamini Krishnamurthy, Vaijanti Mala, Kamla, Mrinalini Sarabhai, Kupaiya and Govindraj Pillai. Mahalingam Pillai, Parvati Kumar and Kalyan Sundaram.