What Is Indian Classical Dance

Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni (400 BC). Definition Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms. Dances performed in royal courts to the accompaniment of classical music were called Carnatakam. This was an intellectual art form.

bharathanatyam

Bharathanatyam is a classical Indian dance form originating in the South Indian State of Tamil Nadu[1][2],[3][4][5]. This dance form denotes various 19th and 20th century reconstructions of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. Bharatanatyam is usually accompanied by the classical music. It has its inspirations from the sculptures of the ancient temple of Chidambaram. Bharatanatyam, as the name depicts is the combination of: Bha- Bhavam (means expression), Ra- Ragam (means music), Ta- Talam (means beat or rhythm) and Natyam (means dance) in Tamil. Bharatanatyam is a traditional dance-form known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over the world.[6][7][8]

Traditional Roots

Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam (தொல்கப்பியம்), as well as the later Silappadikaram (சிலப்பதிகரம்), testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played a major role.[9] In ancient times it was performed as dasiattam by mandir (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsara's, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers. In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya). The Tamil country especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatanatyam in Tanjore. Originally, they formed a community by themselves and most of them were Saivite non-Brahmins.

Expression (Ahbinaya)

The techniques of communicating a message are Abinaya. Here the emphasis is more on facial expressions and gestures. While some authentic Bharatnatyam styles, such a Melattur style, emphasise a highly expressive, spontaneous and elevated mode of abhinaya, the late Balasaraswaty tradition's abhinaya was extremely subtle and understated, while the Kalakshetra style expressions are largely theatrical. Some contemporary styles, such as the one propagated by Shobana, favour the Bollywood-type expressions. While gestures can be seen from any distance even in a large dance hall, the subtle facial expressions can only be seen from the front rows. This is the main feature that distinguishes Bharatnatyam from the western ballet. Thus, unless a Bharatnatyam recital is held in a small hall, a close-up, high-resolution video is the only adequate medium of presenting the Abhinaya. Bharatnatyam is essentially ekaharya performance: a single dancer presenting various characters, regardless of their gender. The Abinaya is comprised of Angikabhinaya Vachikabhinaya Aharyabhinaya Satvikabhinaya Angikabhinaya : communicating the meaning of the songs using the body, i.e. head, hands, legs, etc. The Bhedas come under Angikabhinaya. Vachikabhinaya : communicating the story using narrations. Aharyabhinaya : use of costumes, jewellary, make-up etc. Satvikabhinaya : expressions of Bhava(moods)

Adavus and Bhedas & Eye Movement

Adavus Series of steps, adavus, are a relatively recent desi component in Bharatanatyam. The dance steps were first categorized into adavus by Tanjore Quartet. The execution of adavus varies greatly from style to style. Most schools recognize 108 principal adavus, while some styles include over 150 adavus. Few professional dancers use more than 60. A combination of adavus is called jathis, which make up the Nritta passages in a Bharatanatyam performance. Unlike the margi Nritta composed of the Karanas, the adavus do not convey any rasa Bhedas and eye movements Bharatanatyam technique includes many other elements, such as elaborate neck and eye movements. While Natya Shastra contains the largest number of the movements, and the most detailed descriptions, Abhinaya Darpanam, for instance, has defined only 9 head movements, 4 neck movement and 8 eye movements (compared with 36 of Natya Shastra) which are used extensively throughout the dance. Head Movements (Shiro bhedas): Sama, Udhvahita, Adhomukha, Alolita,Dhutam, Kampitam, Paravruttam, Utkshiptam and Parivahitam. Neck Movements (Griva bhedas): Sundari, Tirashchina, Parivartita, Prakampita Eye Movements (Drishti bhedas): Sama, Alolita, Sachi, Pralokita, Nimilite, Ullokita, Anuvritta, Avalokita [who looks down]