Bharatanatyam

Bharatanatyam is the most popular Indian dance and belongs to the South Indian state of Tamilnadu. And also it is the oldest dance forms of India. It was nurtured in the temples and courts of southern India since ancient times and it was a part of the religious. Bharata Natyam is a concoction of complex rhythm patterns, dozens and dozens of hand movements, several graceful body moves and postures, and, perhaps most importantly, a dazzling variety of precisely drawn facial expressions.

Indeed, the broad range of facial expressions are truly unique to Indian dance—no other dance tyle in the world deals with as many subtle states of emotion as Indian dance does. It presents a unique spectacle for the viewer because it depicts myths drawn from the ancient Indian texts—as well as from the collective Indian imagination—through the usage of expressive hand movements and striking foot patterns set to voiced rhythmic syllables. The abstract gestures render the beloved stories alive, so the facial expressions are imperative, unlike in the most other forms of dance.

The name Bharatanatyam is a simple derivation from the four most important spects of dance (in Sanskirt). Bha from Bhaya meaning emotion. Ra from Raaga meaning music or melody, Ta from Taala meaning rhythm, and Natyam meaning dance. Thus Bharatanatyam is the dance that encompasses music, rhythm, and expressional dance. It is also an attempt to embody the divine beauty, charm, rhythms and symbols that exist in heaven. It is a means of spiritual elevation both for the dancer and the audience. The music of Bharatanatyam is based on Carnatic classical music. The instruments used are Veena, Flute, Mridangam and Violin.

Songs re mainly in the Tamil, Telugu and Kannada languages. The themes are from Indian mythology, the epics and the Puranas. The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity as dancers and musicians forming part of the elaborate rituals. The techniques of communicating a message are Abinaya. Here the emphasis is more on facial expressions and gestures. The Abinaya is comprised of Angik Abhinaya, Vachik Abhinaya, Aharya Abhinaya, and Satvik Abhinaya. In Angik

Abhinaya, communicating the meaning of the songs using the body, i. e. head, hands, legs, etc. The Bhedas come under Angikabhinaya. Vachik Abhinaya is communicating the story using narrations. Aharya Abhinaya is a use of costumes, Jewellary, make-up etc. Satvik Abhinaya is expressions of Bhava(moods). In Satvik Abhinaya, there is nine main or primary emotions termed as Rasas (Moods): Love, Mirth, Heroism, Anger, Terror, Disgust, Wonder, Compassion, and Tranquility. To perform for such long hours one must have good stamina and concentration. This time is divided into two parts.

In the first half the Bharatnatyam artists generally performs PushpanJali or Alaripu - a traditional invocation Jatiswara - a strict composition based upon the different time signatures. Shabda - descriptions of the nature of God In the second half: Padam - a narrative slow tempo dance on a specific mood of love. It narrates expression of divine love or pangs of separation in love. Ashtapadi or Devaranama - an extremely romantic composition, which contains 24 songs. Tillana - a purely abstract form devoid of narrative. Mangala - the end of performance, which contains a short prayer in praise of God.