Bharatanatyam

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A profound medium of storytelling, spirituality, and artistic expression, Bharatanatyam, is one of the most revered and ancient classical dance forms of India. The term “Bharatanatyam,” coined only in 1932, is believed to be derived from three key elements: Bhava (expression), Raga (melody), Tala (rhythm), and Natya (dramatic art). Traditionally, Bharatanatyam was performed in temples as part of ritualistic worship, known as Sadir Attam. It played an important role in preserving mythology through movement.

According to legend, Sage Bharata presented a play about the events of the Samudramanthan (Churning of the Ocean) before Lord Shiva. Pleased, Lord Shiva performed the tandav, comprising 108 transitory poses made up of body postures, hand gestures, and leg movements, known as karanas. However, he felt the performance was incomplete without softer movements and expressions and taught his consort the lasya. These formed the basis of dance recorded in Sage Bharata’s Natya Shastra, which was later performed at temples as part of worship.

Evidence of this dance being performed has been recorded in the Tamil epic Silapathikaram, dating to the 2nd century CE. The epic extensively describes the life of Koothu (one of the older names for Bharatanatyam) dancers, their training, and the intricacies of dance and music in ancient Tamil society.

The strong link between Bharatanatyam and Tamil society is evident in the sculptures of many temples. Temples built during the Chola, Pallava, and Vijayanagara periods depict intricate carvings of dancers in graceful Bharatanatyam poses. These sculptures not only showcase the dance’s aesthetic and technical aspects but also serve as records of its evolution. Temples such as the Chidambaram Nataraja Temple (12th-13th century CE), the Brihadeeswara Temple in Thanjavur (11th century CE), and the Meenakshi Temple in Madurai (16th century CE), among others, serve as great examples of Bharatanatyam sculpture.

Mythologically, it is believed that Urvashi, an Apsara from Indra’s court, taught this dance to the devadasis, the temple dancers of South India. The term devadasi is derived from Deva (deity) and Dasi (devotee), signifying their dedication to temple service. Young girls were ceremonially married to the deity in a ritual called pottukattal, during which they wore a bottu (golden chain) around their necks. Devadasis were often referred to as nitya sumangali (eternally married and free from widowhood).

Once initiated, the devadasis are trained in Sadir Attam, which also came to be known as Dasi Attam, under the guidance of a Nattuvanar or Koothiliar (teacher), who ensures the art’s transmission across generations. After rigorous training, an Arangetral or Arangetram marked their first public performance, earning them the title of thalaikole.

Patronised by royalty and aristocrats, the devadasis performed in temple natyamandapas (dance halls) as part of worship rituals. They also participated in other temple duties and special ceremonies. Depending on the occasion, they were known by different titles. They were known as Alankara Dasis when they performed at weddings and religious events, and Rajadasis when they entertained royalty. The Chola king, Raja Raja Chola I, is said to have patronised nearly 400 devadasis who performed at the Brihadeeswara Temple in Thanjavur.

Bharatanatyam had flourished under royal patronage in South Indian courts, particularly in Tamil Nadu. It slowly spread to northern India through marriage alliances and cross-cultural exchanges. The Princess of Thanjavur (later Maharani Chimnabai I of Baroda), upon her marriage to the Maharaja of Baroda, Sayajirao Gaekwad III, in 1883, is believed to have brought Bharatanatyam (Sadir attam) dancers with her as part of her entourage. A patron of the arts, he established the Kalavant Khatha, a department to manage and employ performing artists. This patronage enabled the dancers to flourish and successfully established Bharatanatyam in North and West India.

For centuries, devadasis held a revered status in society; however, this changed with colonial rule. The British viewed Indian dance traditions as inferior and discouraged their practice. They equated the temple dances with immorality and the activities of courtesans, miscomprehending it as ‘nautch.’ Many temples stopped supporting dancers, and the art form was seen as outdated and associated with social evils. As British rule weakened indigenous kingdoms, the traditional funds and support for Bharatanatyam diminished. Over time, the devadasis lost their patronage and social standing. Deprived of support, many were forced into prostitution to survive. As their status declined, the term devadasi became stigmatised, marking the downfall of this time-honoured tradition.

Additionally, the Anti-Nautch Movement, which emerged in the late 19th and early 20th centuries and was led by British missionaries and Indian social reformers, aimed to abolish the devadasi system and suppress temple dances, which were wrongly equated with immorality. Additionally, laws such as the Madras Devadasis (Prevention of Dedication) Act, 1947, further criminalised the tradition, pushing it to the brink of extinction.

However, classical art revivalists began working together to resurrect the art form. Lawyer, activist, and classical artist E. Krishna Iyer became involved in the fight to revive this traditional dance form. He also fought for the cause of the devadasis. Iyer was arrested on charges of rebellion during the freedom movement. While incarcerated, he advocated for the revival of Bharatanatyam. He is credited with founding the Madras Music School to promote the classical arts.

Another notable figure was Rukmini Devi Arundale, who trained in Bharatanatyam, transcending the orthodoxy that held that girls from upper-caste families must not learn the art of temple dancers. She introduced modifications to Bharatanatyam to make the dance form more accessible to a wider audience while maintaining its traditional essence. She also founded Kalakshetra, an institution aimed at promoting dance among the public and providing them with an opportunity to learn the dance form.

Additionally, T. Balasaraswati’s efforts helped preserve the dance’s traditional depth. Unlike Rukmini Devi, who adapted and restructured Bharatanatyam, Balasaraswati remained deeply committed to its devadasi heritage. She preserved the original structure of Bharatanatyam, emphasising the intricate connection between dance, music, and spirituality.

The revival also saw Bharatanatyam move from temple courtyards to theatre stages, making it more widely appreciated both in India and internationally. Among the temple complexes and stages across the world, Bharatanatyam is one of the most widely known classical dances of India. It is taught at various academies and dance schools. It has even attracted young students from other nationalities who come to learn and deepen their understanding of the intricacies of this art form.

Bharatanatyam has evolved with time, trying to sustain itself in this fast-changing environment. Today, it does not restrict itself to Carnatic music but to songs of other origins, highlighting the intermingling of diverse cultures. Originally a solo dance form, Bharatanatyam is now performed in group settings on themes related to society, science, and culture. Despite all these changes, the essence of this dance form remains constant.