What is Bharatanatyam

Nakrabm · Posts: 60 Location: Montreal, Quebec

Bharatanatyam is one of the most cherished and the most popular of classical Indian dance-forms, not only within the country but also outside it. It is considered the epitome of Indian cultural expression.

Lately, Bharatanatyam is also the focus of criticism. It is damned as archaic and irrelevant to the modern times, especially those who frown on its predominant nayika-nayaka theme.

At the same time, even among its practitioners, it is often misperceived as being bound with bhakti alone, while sringara or love has been its dominant motif.

Generally the practitioners of dance (choreographers as well as performers) fall into four broad categories: those content with whatever they have been taught and staying the course without adding anything of their own; those adding their own creativity, a minty freshness even to the traditional repertoire; those exploring new dimensions within the framework of tradition; and of course the rootless ones of modern times who, not knowing which way to go, tinker with the art to the point they degrade it.

The middle two categories overlap to an extent. Those who use the technique of Bharatanatyam as only one element in their composite works embracing martial arts, etc. are a group apart, outside the penumbra of Bharatanatyam. There is an urgent need to review the dance-form in depth and clarify the issues.

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What is Bharatanatyam?

Historically, Bharatanatyam is a dance-form christened as such by the Music Academy of Madras in the early nineteen thirties. It was known earlier as Dasiattam, Sadir or Karnatakam.

It thrived in the south of India. It then spread to other parts of the country. Now it is a world art and heritage, flourishing particularly in the Indian diaspora.

Its grammar and aesthetics are today traced by many to Natya Sastra and to later works like Abhinaya Darpana. However, while we properly do not know what the dance was like before the early nineteenth century, what we know today as Bharatanatyam has developed from the shape it was given by the Tanjavur Quartet. And this legacy was preserved in practice mostly by the gurus and performers belonging to the Isai Velalar community of Tamil Nadu.

The sacred and the secular

During the period of the Quartet and for many decades afterwards, the dance was performed both in the temple and the courts of kings, princes and the landed gentry. Apart from being offered as upachara or ritual, the dance was performed even in the temple and in temple-related processionals as art, to attract believers to the presence of god. Outside the temple, it was indeed an art-form, though sometimes it was presented as cheap entertainment. Bharatanatyam as performed today on the proscenium stage – even in some temple complexes as in Chidambaram – belongs to the category of art dance, even if a given performance is mediocre or worse.

The architecture

The margam, or linear format of a traditional secular Bharatanatyam recital consists of Alarippu, jatiswaram, sabdam, varnam padam/javali, tillana and sloka. As described by the late T. Balasaraswati, the format reflects a marvelous scheme of aesthetic progression, as well as a unique cultural conception.

At a lecture delivered at the Tamil Isai Sangam, translated from Tamil by the late S. Guhan, and reproduced in Bala on Bharatanatyam, a monograph published by the Sruti Foundation (now out of print), the legendary exponent said:

As the above passage reveals, Balasaraswati believed Bharatanatyam is grounded in bhakti and that “it is justified in being called a yoga because it is a spiritual discipline perfecting the mind to thought-free serenity”.

But the traditional margam is no longer considered de rigueur. In other words, what was once considered the format of Bharatanatyam has been modified many a time by all and sundry. It has yielded place to many variations, as well as dance-dramas and miscellanies presented by groups of dancers trained in Bharatanatyam.

Thus, while the margam can be considered most suited to unfold the major dimensions of the dance it cannot be held that, unless it is used, a Bharatanatyam recital ceases to be one.

Bharatanatyam and religion

Bharatanatyam is misperceived as inevitably bound to the Hindu faith. Perhaps the first person in modern times to put this perception across forcefully as a philosophy was the late Dr. Ananda Coomaraswamy. (See Dance of Shiva) Coomaraswamy’s position was that, in India, religion and art are inextricably bound together, and that art, in fact, is an expression of religion. But it is not, despite its one-time association with the Hindu temple.

Bharatanatyam is a dance of India, not a Hindu dance, even though its performance corpus has historically been focused on persona and narratives enveloped by the Hindu faith. As in yoga, its technique is value neutral. The technique and vocabulary of this dance-form can be used to convey a variety of themes and artistic conceptions. Not surprisingly, they have been used to present not only themes associated with the Hindu faith and way of life, but also Christian and Buddhist themes. Additionally, they have been utilized at least once to project perceptions of Islam. Of course, choreographers and dancers have as well used them in recent times to present abstract ideas like nationalism, feminine power (Sakti) and the sanctity of the environment.

Purpose of Bharatanatyam

Since a long time ago, many have perceived Bharatanatyam as a medium for worship, a vehicle for bhakti. But it is a misconception of the art to believe its purpose is to express devotion to god, notwithstanding the instances of artists offering music and dance ostensibly as anjali. If we would adapt Ashok D. Ranade’s broad categorization of music as primitive, folk devotional, art and popular, similarly to categorize dance also, we would see that what we call classical dance belongs to the art category. Indeed it lends itself admirably to artistic interpretations of various subjects- ideally, in consonance with the Indian conception of aesthetics. Thus, Bharatanatyam performed on the proscenium stage, even badly, should be recognized as an art-form, and its purpose as the elicitation of the rasanubhava or rasanubhooti or aesthetic relish. Its purpose must be seen as going beyond mere entertainment, to encompass the elevation of the empathetic onlooker to another higher level of experience beyond the mundane. In this sense, it can be said to have a spiritual thrust, even as the non-religious, non-verbalized symphonies of Beethoven do.

Depending on individual perceptions, this subjective experience may yet transcend the aesthetic and may seem religious to some, or spiritual to others. As one rasika of music – Peggy Holroyde, an admirer of sitar maestro Ravi Shankar’s music making – has said in her book titled The Music of India, that her experience of one of Panditji’s recitals resulted in an orgasm.

Yes, the perceptions of individuals may vary, but this does not alter the fact that, within the framework of Indian aesthetics, the purpose of Bharatanatyam, like that of other secular dance-forms, is to pave the way to an aesthetic experience.

Not gender specific

Bharatanatyam is not gender specific. It has space for both the male and the female; and it accommodates tandava as well as lasya without reference to gender. We believe the greatest of all dancers is Siva-Nataraja, a purusha. Historically, the dancers were almost all females, but during the last seven decades, many outstanding male dancers have emerged. It is notable, in this context, that the dancer has essentially remained ekaharya, that is, a dancer in a single costume portraying indirectly or directly more than one character, regardless of their gender. It has been a different case in the dance-dramas presented in the idiom of Bharatanatyam.

Since however, virtually all the other classical dances of India are also not gender specific, Bharatanatyam does not stand alone in this respect.

Two aspects

Bharatanatyam has two aspects to it, namely:

Primacy of music

An important feature of Bharatanatyam is that it does not exist separately from music. Balasaraswati has said: “Bharatanatyam, in its highest moment, is the embodiment of music in its visual form…For more than a thousand years the sastras have confirmed that an individual dedicated to dance must be equally dedicated to music and receive thorough training in both the arts.” She has also disclosed: “In demonstrating the art of Bharatanatyam abroad, I have made a practice of showing audiences how delicately linked is the realization of movement to raga expression in abhinaya, including the subtle expression of gamakas, intonation of sruti and the unfolding improvisation in niraval. In the same way that we look for perfect blending of the raga and tala and raga and bhava in abhinaya, so it is also essential that the raga and the sahitya be perfectly matched in accordance to the necessities of expression in dance.”

Balasaraswati’s observations confirm that music is an integral part of the dance and not merely incidental to it.

Song texts or lyrics are essential for the interpretation of songs in Bharatanatyam. For this reason, the song repertoire of Bharatanatyam is for singing, with the mridangam as the main instrument in the orchestra that supports the singer.

Recent history has, however shown that Bharatanatyam is not wedded to a particular kind of music, that is, Carnatic music alone. It is therefore difficult to identify an item as Bharatanatyam by its music alone.

Content & changes in it

Bharatanatyam has a vast song repertoire, accommodating varying content.

The lyrics of a substantial portion of the traditional items seek to convey sringara bhakti – devotion through the expression of love between man/woman and god; or only sringara, romance between man and woman, though even this last-mentioned relationship has been perceived by many as the yearnings of the jeevatma (human soul) for the paramatma (universal soul), obscuring the very real romantic liaison between nayika and nayaka, as in Jayadeva’s Geeta Govindam and Kshetrayya’s padas.

The traditional repertoire has been enriched, particularly in recent times by the addition of numerous items, which in practice, reflect bhakti alone, as well as items interpreting classical music compositions and folk or popular dances. The repertoire has also been expanded to include contemporary themes.

Furthermore, the repertoire has been expanded to include compositions in non-traditional languages including Hindi and its dialects Marathi and Bengali.

Thus, the dance form has been anything but static in regard to its repertoire; indeed it has shown remarkable capacity for absorbing innovations. At the same time, its traditional sringara-focused items have retained their relevance because they reflect timeless, universal human yearnings. Some present day dancers may feel they are passé or archaic, but those who are able to perceive and appreciate the inner core and the subtexts of the contents of the traditional repertoire would not disinherit them. They are like museum pieces only if the dancers present them mechanically like robots, without contextualising them, without interpreting them creatively and without expanding and further enriching the vocabulary of the dance.

Aharya: costume & ornamentation

Aharya – costume and ornamentation – has also undergone change. Rukmini Devi was the pioneer by introducing the costume that replaced those sported by the devadasi dancers earlier. Although this costume, as well as the ornamentation used with it, may seem to be distinctive enough to be identified with Bharatanatyam, clearly it was also subject to change within the framework of the ethos that envelops the dance. It is relevant to mention the ethos because, while technically it may be all right for a Bharatanatyam dancer to perform wearing a churidar-pyjama suit or even a pair of jeans and a shirt, such a costume would be out of character. Like it would be out of character for a Western ballet dancer to wear a churidar-pyjama suit or a saree.

Defining Characteristics

If Bharatanatyam shares the same purpose with other art dances, and if the format content and costume, as well as the idiom for the music, are variable although integral parts of dance, what can be considered the core or defining characteristics of Bharatanatyam?

By definition, the defining characteristics must be those which set Bharatanatyam apart from other Indian dance forms – set it apart not momentarily but forever.

By the process of elimination, this has to be the technique of Bharatanatyam given expression through the basic stance, the basic postures, the movements, the movement combinations (Adavus) and gestures (mudras). Different gurus and performers have given stylistic emphases of their own in using the technique and some have also extended the technique, but there is a corpus which may be said to be unique to Bharatanatyam, and which, therefore, taken as a whole, gives its distinctive identity.

This corpus includes the following:

Saushtavam, the basic aesthetic posture. In this posture of Bharatanatyam, the back is held erect, the torso is bent forward a fraction from the waist, and correspondingly, the fundament is pushed back ever so slightly. The body is held taut yet relaxed.
Ardhamandali or the basic half-sitting posture. This posture, in which feet are turned outwards, is the leitmotif of Bharatanatyam. This recurring motif gives rise to the distinctive geometrical movements of Bharatanatyam.
Muzhu mandi or poorna mandi, in which the dancer sits down till the fundament rests on the heels, with the feet and knees turned outward.
The Adavu system, consisting of many different adavus, which form the basis of the Nritta technique of Bharatanatyam. Each adavu comprises a coordinated pattern of movement of feet, knees, torso, arms and hands. Though there are stylistic variations of the adavus, the core remains the same. A number of adavus are used to present a dance sequence, called the teermanam. The adavus are set to the beats of a tala.
The Hasta Mudras. Each mudra is distinct and can convey different meanings depending on how it is used.

The abovementioned technique based components of the corpus carrying a distinct Bharatanatyam stamp may be said to be the dance form’s core or defining characteristics. It will be proper to consider as Bharatanatyam choreography or performance that retains or uses these core or defining characteristics exclusively.

Dancers’ responsibility

The sum and substance of the above analysis is that choreographies and performers who utilize these core characteristics of Bharatanatyam and yet add on extraneous elements like martial arts or aspects typical of other Indian dance-forms, or modern dance of the West are free to so, so long as they do not claim their works as Bharatanatyam. The same goes for those who water down the technique in favor of mere movement that falls short of the larger aesthetic purpose of Indian dance.

Packing a performance is a different matter – and a number of options may be utilized to suit personal preferences or performance contexts. The presentation may be long or short; it may not follow the traditional margam; it may use different stage arrangements; it may or may not use special lighting; it may have the dancer wearing non-specific or non-descriptive costume; or it may include in its orchestra instruments not used traditionally. These are among the variables available to a Bharatanatyam dancer in India as well as abroad.

But to qualify as Bharatanatyam, I believe a performance must employ the technique unique to it – without trashing it or watering it down. The dancer has the responsibility to fulfill the expectations of the discerning members of an audience in India, and of the interested innocenti abroad that what is on offer is the real McCoy.

Murari · Posts: 1 Location: Montrï¿½al

Definitely, this is a very important article for anybody who wants to get a good idea of what Bharata Natya is all about. Having been involved from the early 80s, I sometimes take everything for granted but while reading this article, I remembered all the other forms of Idian dances I have seen over the past 20 years: Katakali, Kutchipudi, Oddissi, etc. and although I don't want to minimize their importance and pertinence, it just became obvious that Bharata Natya is closer to the universal genre.

I have witnessed Western audiences reacting strongly and positively to all major performances by la Troupe Kala Bharati and expressing their enrichment in attending Bharata Natya. Most of the so-called "Hindu" Gods are brought back to human stature and they become easily understandable. No masks are needed, no artificial props... just the dancer, humble and dedicated, clean movements of the hands, the head and feet, a proper dance of the soul dancing for the audience's soul. A perfect dialogue.

No wonder Bharata Natya is among the major dance form on this planet. Rooted in India, it has been offered to the world as it rightly belongs to the whole universe.

Thanks for posting this great article.

Murari

Reeshu · Posts: 7 Location: (please specify)

This article made me realize how Bharatanatya may be mispercieved in many ways, and should be known more around the world. It explained very clearly all about Bharatanatya, for those who may not know.

One of the misperceptions made by people is that Bharatanatya is a religious form of dance, and simply just another way to worship Gods. I enjoyed very much how the article explained how it is not this, by giving many different examples and compairisons.

I learned some new things from this article that will help me with my progression as a Bharatanatya student.

Since the beginning, this dance form has been changing in different ways, and it should not be percieved as a boring or religious art.
Though there are different aspects of the dance that may be personalized, depending on the dancer, the core technique will always remain the same. This is the beauty of the art and anyone who learns it should feel special about it. I, myself, feel very lucky and proud to be a student of this beautiful dance form.
thank you for the information-filled article!
-Reesha

renu_chitra · Posts: 7 Location: Montreal, QC, Canada

Happy New Year to everyone!!

I would like to extend my gratitude to Mamata Aunty for envisioning this website. With the forum now in works, this allows dancers of Kala Bharati, participants of SRC and those individuals who hold Bharata Natya dear to heart to share their view points and information so we can keep learning about this ancient form of art.

The article written by Dr. Pattabhiraman on What is Bharata Natyam was so informative that I had to read it a few times to grasp all the detail, the concepts and to fully appreciate how intricate is Bharata Natya. I am also glad that this article initiated the forum discussions and that it sets the pathway to sharing view points from many interested in this art form.

I reflected back on my Ranga Pravesh practises when reading the section on margam. I was further more inspired when reading the passage describing the margam with the imagery of a temple by Balasaraswati. I do feel that a dancer should be taught the items to a traditional repertoire. but when thinking of going beyond, I also feel that Bharat Natya is a beautiful art form to express and create other dances as well.

It is very important to fully appreciate and learn about the characteristics of Bharata Natya. Not only those indicated in the article, but also those that are mentioned in the outline posted by Mamata Aunty. We have been given a framework of a dance form, within which we explore and create new dimensions but being careful not to break the overall structure. It makes me realize that there is a lot to explore, but being sensitive not to taint it with other forms of dances.

What I was glad to note was that Bharata Natya is not religion based nor is it bound to a particular language. Teaching abroad to many students who are of a host of different backgrounds can make teaching that much more challenging. But it doesn't cease to amaze me how many people here admire it and take on the learning serioulsy. Often I listen to hindi bhajans while driving or at home and I start to create a dance or interpret the line and having a solid base in Bharata Natya helps me tremendously! By accepting this, we also allow Bharata Natya to evolve.

This article has awakened my senses to Bharata Natya by appreciating the richness that it has and its ability to evolve with time and still maintain itself as a distinct art form. As a dancer and teacher I am lucky to learn an art from so profound with structure and yet giving me the freedom to express.

Hope the sharing of view points and teaching points continues in the forum.

-Renu

Bellaprincipessa · Posts: 2 Location: (please specify)

While I was reading the article “What is Bharata Natya?”, I came across a couple of very good points.

One point that really struck me was that of the one saying that Bharata Natya is not religious dance, but a cultural dance. Honestly, I had a feeling that it was a religious dance because it performed so much at temples. I also think that it should not only be taken as a form of worship, but also as a form art and entertainment.

Something that surprised me quite a bit was the fact that a lot more female dancers than male dancers.

After reading this article, I feel that I gave a learnt a lot more on this form of dance, and it has made me change my point of view of Bharata Natya. Furthermore, this article has me made appreciate the dance I am learning.

Thank you very much for posting this article!
-Reena

Sacha · Posts: 8 Location: Montreal, QC, Canada

As those who have commented before me, I would also like to extend my thanks to Mamata Aunty for creating such a wonderful website, in particular the forum. Not only does it serve to inform and enlighten those who are interested in this incredible art form, it also serves as a very versatile and valuable educational tool for everyone involved.

Immediately upon reading the opening to this article, I was struck by the line that Bharata Natya has come under criticism as an archaic and irrelevant art form. Anyone who believes that Bharata Natya has no place in the world today is sadly blind to the elements of this art form that make it pertinent and compelling across time and place.

As a dancer, I am particularly drawn to the imagery given by Balasaraswati of the margam as a path through a great temple. As I prepare for my Ranga Pravesh I am deeply immersed in the traditional margam and this imagery summons within me a deep awe as to the potential impact of each and every item I will perform. This imagery is incredibly inspiring as it speaks to a special connection to the art form as well as one with the audience. I will definitely aspire to deeply connect with and walk with the audience through a great temple on the special day that is my Ranga Pravesh.

In looking at the section on the purpose of Bharata Natya I totally agree with the author. When I perform I seek to make a special connection with the audience. That connection is not based upon a foundation of religious worship (it is not based upon sharing with the audience an act of worship) but rather upon a desire to give and share with the audience a very unique and special visual experience. I look upon the items in praise of gods and goddesses as an opportunity to express my deep respect for the culture and art form as well as an opportunity to introduce others to this beautiful art form and cuture. In the end, this section highlights one of the incredible aspects of Bharata Natya in that it transcends religion and can be used to reach anyone regardless of their faith, age or background.

In conclusion, I would like to comment upon the content & changes in itand the dancers' responsibility sections. These sections lend further support to the versatility, possibilities and uniqueness of Bharata Natya. As pointed out in the article, this art form is ideal venue for the creative mind. Those who are interested in this form find themselves a wonderful language from which to express all kinds of ideas and images. A creative mind will not be limited by Bharata Natya, rather such a mind is only bound by its own limits.

Finally, I would also like to make the distinction between that which is traditional, that which goes beyond tradition and that which is called modern. As the author has mentioned, Bharata Natya has very distinct charateristics. Traditional dance follows very closely the tradition and the defining characteristics. That which goes beyond tradition also follows the tradition and maintains an adherence to the defining characteristics. As such, dance that goes beyond tradition is rooted in the traditional technique, however, it seeks to explore the possibilities of the language. That which is modern maintains no solid commitment to the technique nor to the language. As a teacher and dancer I am strongly interested in and support traditional dance and that which goes beyond tradition. What I do have difficulty with is the modern forms that insist upon calling themselves Bharata Natya. We must always honour the tradition as well as those who come to see a particular art form by properly identifying what we are presenting (whether it be traditional dance, that which goes beyond tradition or modern dance).

Thank you.

nehal · Posts: 3 Location: Montreal

Reading this article and understaning it at the same time isn't something you can do in an hour.

After I read this article it took me a good couple of days to understand it and for me to be able to define what bharata natya to me is.

This article pointed out a lot of good points. One point that got me thinking was when it mentions that this dance form was danced in temples to attract believers to the presence of God. Just those words took a while to register in my mind. From what way I have thought about it , now a days if this dance form is danced in a temple or somewhere else, it's been able to attract non-believers to the presences of God also. I can say this from my own experiences. I'm not saying that I don't believe in God , of course I do. But to be pushed towards the presence of God I find is a whole different story.

I've seen many dance recitals and always thought that maybe they just have the dances in a specific order just by name. But after reading this article I've learned that it starts of with rythme and ends with dedication.

From reading and observing discussions I've also learned that this art form is not just all technique, it involves expressions, and as for the padas it majorly involves the dancers own creativity and imagination.

One point mentioned that also grabbed my attention was Bharata Natya is misunderstand as a medium for worship and a viecle for bhakti. I personally thought that it was a way for worship at the age of 8/9 years old. But from being explained and reading inspiring articles like this I've understood that it is not a short-cut or a way to bhakti. Bhakti from my opinion is something that you developpe within the heart on your own not something that you can gain by dancing. Yes you may be inspired and devoted to dance but thats not the bhakti within you. It may be a different bhakti within you that gives you the will to dance but not the one that gives you the will to believe in God.

Bharata Natya to me is another word for dedication, beleif and will. Dedication as in putting in effort to be a dancer, fulfilling its responsibilties. Belief as in believing your self and your values at the same time. Believing that part deep down inside you that tells you , that you want to continue dance. And will as in willling to dance and not doing it because someone else is telling you to, dance being your choice and not your parents'.

I'd like to end of my comment by thanking Aunty for posting this article so we can get a better understanding of it.

Thank you! Wink

neha · Posts: 6 Location: (please specify)

I would like to thank Mamata Aunty, for initiating and conceiving this forum. I am happy to see so many articles posted. It is a great way to share our ideas about them, and learn more about this art form.

To begin with, this article was quite informative, reinforcing a few facts I already knew, and of course offering so much more that I did not know.
While practicing this art form in a country outside it's origin, I was struck by the statement "It is considered the epitome of Indian cultural expression." in the 1st paragraph of the article. On t.v. here, I see many commericals that show multiculturalism. When I see the Indian culture being represented, I either see a woman in a sari, or so often, a Bharata Natya dancer. I had never realized it completely until reading this article, that indeed Bharata Natya expresses the very essence of Indian culture.
I have a bit of difficulty then seeing how Bharata Natya can be irrelevant to the modern times.

Another paragraph that stood out, apparently for many of us, was Bharata Natya being misperceived as bound to the Hindu faith. I am glad to note this, as I myself was not clear on the issue. I had known and read about this art form being practiced in temples in the past, so I began to believe that it was indeed a religious art form. However, this is not so, and I am glad since it allows us to spread and share the art form so widely with any other individual, culture or background. It reminds me of the numerous times Kala Bharati performs not only for Indian audiences, but almost any other audience. Shows at the Botanical Garden for example, are appreciated so much by so many that have never or heard of the art form. The art form can be embraced by so many, which I think, is why it is such an important representation of culture. This also I think, goes hand in hand, with the purpose of Bharata Natya proposed in the article. That is is, to pave the way to an aesthetic experience, rather than just a form of worship.

I liked very much, the paragraph of the traditional recital pattern being compared to a temple. Learning the items of a repertoire, I never thought of it in this light. It makes the order of the dance items much more significant. I usually wondered whether the order of items was set to accomodate the dancer's energy, stamina, or complexity of items, etc. The imagery was indeed quite inspiring.

The paragraph on content and changes in it, and the defining characterisitcs of Bharata Natya was quite interesting. It was related to a topic we have previously debated, what tradition is. I like the idea that the repertoire has been expanded to include other languages, (Hindi, Bengali, etc.) This reminds me of the dances we have danced to a Hindi bhajan, or Bengali. Bharata Natya is quite special in that it can be so open to different music, language etc. This allows us to be more creative, and innovative with the art form, while keeping a core of tradition, either with technique, or really, those defining characteristics of Bharata Natya.

This article has been very informative, but more important, let me reflect on many issues I have contemplated about, or experienced in my years of dancing. I am happy I could share these thoughts with other users of the forum, and read what they have thought also. Bharata Natya is a beautiful art form I am proud to share with others.

JayaSC · Posts: 6 Location: Montreal

My most respectful pranam and gratitude to Mamata Aunty, my guru, whose dedication to her students and commitment to the art of Bharata Natya are a true inspiration. Thank you Aunty, for creating yet another avenue for dancers and teachers “in distant lands” to share personal experiences and exchange views on an art which continue to nurture our spirits.

As a teacher at Kala Bharati for over 10 years now, it never ceases to amaze me how much I have yet to learn about the rich, ancient tradition of Bharata Natya. There is so much to absorb and still much to digest but I am eager to share my comments on what I have read until now. I must say that reading the articles posted on the forum so far, have provoked many thoughts I have previously pondered but never quite expressed. “What is Bharata Natya” is definitely an immense question and after reading Dr. Pattabhiraman ji’s article, I realize that it is even greater than I had imagined.

When I first started learning Bharata Natya, I thought of it as a form of dance and nothing more. As I grew a little order, its artistic nature was revealed to me. Later still, it took on a new meaning and became a form of worship. Now, after over 20 years of being with Bharata Natya, I realize that it has been a source of spiritual guidance for me and I know I have yet only dipped my toe into this vast ocean of knowledge. In fact, the undulations created decades ago are still making their way to this part of the world! Therefore, at different periods of my life, I have discovered a new facet of this tradition and so the journey continues… but then, I ask myself again, what IS Bharata Natya? Who defines it? Is it not the sum of all experiences, colours, characters and expressions created over history? Indeed it has a core of defining characteristics which set it apart from all other dances of India and I appreciate this point being underlined in the article. However, is it not equally the result of individual expressions of the spirit, which have had an influence on the way Bharata Natya has evolved and is taught/practiced today?

This brings me to some thoughts on what is tradition and what is beyond.

An analogy which came to mind is this: growing up in the province of Quebec, I had to learn the French language. Anyone who is familiar with French, spoken in Quebec will confirm that although the core language is the same, French in France would be spoken quite differently.
In this respect Bharata Natya has its core language which allows anyone to recognize its identity. However, it can be practiced and interpreted differently by different individuals, even when the traditional “margam” is followed. What makes Bharata Natya so beautiful is the fact that each spirit may reveal itself through movements which are exclusive to this art form, though it is no longer Bharata Natya if the dance which results can no longer be recognized as such. Just as French spoken in Quebec, with its variation on accent, pronunciation, vocabulary and so forth is still recognized as French, the moment the language evolves to a point where it no longer uses the core words or phrases, it assumes a new identity and should be given a new name. So also, if Bharata Natya loses its core defining characteristics (as mentioned in the article), it cannot and should not be considered Bharata Natya.

To sum up, Bharata Natya to me has always seemed much too rich to confine to any single definition which may limit it in any way. However, one must also be careful not to allow anything to be created in the name of Bharata Natya, if the core elements and defining characteristics are not present. Perhaps one could safely say that such a dance is inspired by Bharata Natya and draw the line there, so not to dismiss the rigour and ancient structure of this beautiful art which stands miles apart from so many others.

I appreciate this opportunity to exchange my thoughts with all of you and look forward to many more!

Jaya Srivastava Smile

(Montreal)

Niharika Chandra · Posts: 3 Location: (please specify)

I have had many different views on Bharatanatyam ever since I started learning this beautiful art. When I was a young child, I used to think that by learning Bharatanatyam I would become a dancer and I would know how to execute my movements gracefully just like other dancers. Later, I continued this dance to learn more about my culture and to stay in touch with my traditions. After all these years, I have grown and basically realized that there is more to Bharatanatyam. It is not only a classical dance form that originated in India, but it is an art that expresses emotions such as joy, love and devotion. It is a self-discipline, which constantly gives its practitioners beautiful and rewarding experiences. I believe that one can never stop learning about Bharatanatyam and that this article has further helped me to examine and make an opinion on this dance.

Just after reading the first part of this article I started to relate the facts with my own life. I realized that according to the different categories of practitioners, I would be placed under the first category of people who are "content with whatever they have been taught and staying the course without adding anything of their own". Throughout my training, I have only danced the way that my Gurus have taught me to and I have never incorporated my own ideas. This article has also mentioned about a group of dancers who add their own creativity and I believe that being in this category will help me to expand on my imagination and become a wonderful dancer.

I was also glad to read about many facts that now have cleared some of my uncertainties.
I was happy to be informed that Bharatanatyam has also been danced to present other religions, such as Islam and Christianity, in addition to Hinduism. It has also been danced in different languages, for instance Marathi and Bengali, in addition to Sanskrit.
It was fascinating to read that "Bharatanatyam is the embodiment of music in its visual form" and that it is not only presented with one kind of music, Carnatic music. I also believe that to completely understand how to dance and choreograph Bharatanatyam, the dancer should have some background in music.
In addition, I am very content that as Bharatanatyam has expanded throughout these centuries, it has not lost its traditional aspects.

Bharatanatyam is a very multifaceted classical Indian dance form that should be acknowledged all over the world and I believe that this forum is a great place to discover many facts about this art and its many different point of views. I want to thank Mamata Aunty for giving everyone this opportunity and helping us to expand our knowledge on Bharatanatyam.

Thank you.

Niharika Chandra
Kala Bharati Student