Bharatanatyam (Tamil Nadu)

A Journey from Temple Sanctum to Global Stage

If Indian classical dance is a vast ocean, Bharatanatyam is one of its most ancient and structured streams. It is not merely a dance form — it is discipline, devotion, geometry, and poetry combined.

Let us understand it:

Origin and Early History

Bharatanatyam originated in Tamil Nadu and was earlier known as → Sadir | Sadirattam | Dasi Attam.
It evolved from the art of Devadasis — temple dancers dedicated to divine service.

📜 Literary Evidence

Dance references appear in Sangam literature → Silappatikaram, Manimegalai
These epics describe performance traditions and artistic culture in ancient Tamilakam.

🛕 Temple Evidence

Sculptural carvings in Kanchipuram temples (6th–9th century CE) depict dance postures.
The gateway of Chidambaram Nataraja Temple (12th century CE) shows 108 Karanas (dance movements described in Natya Shastra).

These sculptural poses prove:
👉 Bharatanatyam has deep temple roots.
👉 Dance was considered sacred architecture in motion.

Devadasi Tradition

Devadasis were temple dancers dedicated to deities. They were also known as Kalavanthalu — meaning performing artists.
Their role was → Ritualistic, Devotional, Artistic
But during British rule, the Devadasi system was criticised as:
→ “Debased erotic culture”
→ “Slavery to idols”

This led to a ban on temple dancing under colonial moral reform movements. Thus, Bharatanatyam faced decline.

The Revival and Renaming (1932)

The turning point came in 1932. Two major revivalists → E. Krishna Iyer, Rukmini Devi Arundale.

They proposed renaming Sadirattam as Bharatanatyam to → Remove social stigma; Restore dignity and; Reorient it as classical theatre art

Meaning of “Bharatanatyam”

Bha → Bhava (emotion)
Ra → Ragam (melody)
Ta → Talam (rhythm)
Natyam → Dance

Thus, Bharatanatyam harmoniously expresses emotion, melody, and rhythm.

Bharatanatyam as Theatre Art

It was the first Indian classical dance to be refashioned as a modern stage art and showcased nationally and internationally.

Today, it is:

The state dance of Tamil Nadu
A globally recognised classical form

The Thanjavur Quartet – Structural Architects

The Pillai Brothers

The Thanjavur Quartet consisted of → Ponniah, Chinniah, Sivanandam, Vadivelu
They belonged to the Brihadeshwara temple dance lineage in Thanjavur.

Their Contributions

They:

Formalised the Margam (performance sequence)
Codified Adavus (basic dance steps)
Created dance-specific musical compositions
Integrated Western instruments Clarinet and Violin (into Carnatic music)

They transformed Bharatanatyam into a fully structured performance system with codified pedagogy and specific musical accompaniment

They served:

Maratha King Serfoji II of Thanjavur
Royal courts of Mysore
Travancore under Maharaja Swati Thirunal

Vadivelu even composed pieces for Mohiniyattam.

Social Reform – Dr. Muthulakshmi Reddy

A woman of many firsts:

First woman medical graduate of Madras University (1912)
First Indian woman legislator (1927)

She introduced the Anti-Nautch Bill (1928) which later became part of the Madras Hindu Religious Endowment Act (1929).

This Act:

Freed Devadasis from temple obligation
Was part of the broader Anti-Nautch movement

Thus, Bharatanatyam’s temple roots were legally severed.

Custodian of Original Sadir – R. Muthukannammal

R. Muthukannammal

Born 1937, Trichy
Seventh-generation Sadir dancer
Last woman to undergo Pottukkattutal (temple dedication ceremony)
Continues to call her art Sadir, preserving original identity
Awarded Padma Shri (2022)

She represents the living continuity of pre-reform tradition.

Main Features of Bharatanatyam

If you observe Bharatanatyam carefully, you will realise something profound: It is sculpture in motion. The dancer’s body forms geometric patterns — triangles, straight lines, symmetrical extensions. It is almost architectural.

Let us now examine its core features:

1️⃣ Physical Grammar of Bharatanatyam

Bharatanatyam is characterised by:

Fixed upper torso – dignified and stable
Bent legs (Araimandi posture) – knees flexed outward
Intricate footwork – rhythmic stamping
Precise mudras – codified hand gestures
Expressive eyes and facial muscles

The stance resembles temple sculptures of Nataraja — balance and symmetry dominate.

2️⃣ Musical Foundation

It is performed to Carnatic music.

The accompanying ensemble includes → Vocalist, Mridangam (percussion), Flute / Violin / Veena; Nattuvanar – the conductor who recites rhythmic syllables and plays cymbals

Thus, Bharatanatyam is not silent movement — it is an integrated performance.

3️⃣ Thematic Content

Themes are primarily drawn from → Hindu myths; Puranic stories; Ramayana and Mahabharata; Bhakti literature. However, contemporary Bharatanatyam has expanded to include social and philosophical themes.

4️⃣ Scriptural Basis

It follows principles laid down in → Natya Shastra, Abhinaya Darpanam
Thus, every gesture has textual authority.

5️⃣ Repertoire of Languages

Compositions are rich in → Telugu, Tamil, Sanskrit. This reflects South India’s cultural synthesis.

6️⃣ Solo and Group Performance

Traditionally a solo art form, but modern stage productions include group choreography. Both men and women perform Bharatanatyam today.

Banis (Styles) in Bharatanatyam

“Bani” means tradition or stylistic lineage — usually linked to a guru or school.

1️⃣ Pandanallur / Thanjavur Bani

Developed in the Thanjavur royal court by descendants of the Thanjavur Quartet.
Features → Broad sweeping movements; Graceful lines; Emphasis on posture and geometry

2️⃣ Kalakshetra Bani

Developed by Rukmini Devi Arundale
Features → Greater linearity; Refined geometry; Avoidance of explicit erotic gestures; Spiritualised interpretation of Sringara
This style institutionalised Bharatanatyam education.

3️⃣ Vazhuvoor Bani

Created by Ramaiah Pillai of Vazhuvoor.
Features → Feminine grace (Lasya emphasis); Fluidity; Eye-catching poses; Expressive elegance
Padma Subrahmanyam later developed a modified form called Bharatanrityam, focusing heavily on Karanas and Abhinaya.

4️⃣ Mysore Bani

Traced to the court of Krishna Raja Wodeyar III.
Features → Emphasis on Nritta (pure dance); Beautiful, aesthetic Abhinaya; Courtly refinement

Margam – The Performance Order

The Margam is the structured sequence of Bharatanatyam performance. Think of it as a spiritual journey from invocation to culmination.

1️⃣ Alarippu

Meaning: Blossoming | Pure dance (Nritta) | Seeks blessings | Acts as warm-up

2️⃣ Jatiswaram

Combination of rhythm and melody | No emotional expression | Purely aesthetic

3️⃣ Shabdam

Introduction of expression | Devotional themes | First item with storytelling

4️⃣ Varnam

The heart of the performance.

Longest segment (30–45 minutes) | Combines Nritta + Nritya + Natya
Complex storytelling | Technical and emotional peak

5️⃣ Padam

Slow and expressive | Focus on Rasa | Includes Keertanam or Javali

6️⃣ Thillana

Rhythmic climax | Fast-paced | Celebratory

7️⃣ Shlokam / Mangalam

Final salutation | Blessings for audience

Thus, Margam moves from body awakening to spiritual completion.

Costume in Bharatanatyam

Costume features:

Silk saree with gold zari
Fan-like pleats that open especially during Araimandi (half sitting) and muzhu mandi (full sitting)
Temple jewellery | Elaborate make-up | Ghungroo (anklets)

The costume enhances geometric symmetry.

Major Personalities

🌺 Rukmini Devi Arundale

Revived Bharatanatyam
Founded Kalakshetra (1936, Chennai)
Removed socially controversial elements
First woman nominated to Rajya Sabha (1952)

She transformed Bharatanatyam into an elite, institutionally accepted art form.

🌍 Ragini Devi

American-born dancer
Popularised Bharatanatyam, Kathakali, Odissi abroad
Founded India Dance Theatre in New York
Authored Nritanjali and Dance Dialects of India

She globalised Indian classical dance.

🌸 Other Famous Exponents

Balasaraswati, Mrinalini Sarabhai, Mallika Sarabhai, Vyjayanthimala, Alarmel Valli, Sonal Mansingh, Sudha Chandran, Anita Ratnam

Each contributed to either preservation, innovation, or globalisation.