Bharathanatyam – Comprehensive Study Notes

Introduction to Bharathanatyam

  • Bharathanatyam = Bha (Bhava – Expression) + Ra (Raga – Melody) + Ta (Tala – Rhythm) ➜ holistic art form blending emotion, music & meter.

  • Classified under Indian Classical (Margi) dances as opposed to Folk (Desi).

  • Roots traced to \approx 2 000 – 3 000 years; codified in Natyasastra by Sage Bharata (circa 200 BCE–200 CE).

  • Originated in Tamil Nadu; temple–court dance of Devadasis; today performed worldwide on proscenium stages.

  • Capable of portraying religion, philosophy, science, myth, yoga, daily life through codified gesture language.

Alagappa Performing Arts Academy (APAA) Programmes

  • Certificate (1 – 3 yrs): fundamentals, history, Nritta/Nritya/Natya, instruments, basic adavu; practical – Alarippu, Kavittuvam/Shabdam.

  • Advanced Certificate (+1 yr): Abhinaya, chari, variants of Alarippu, Jathiswaram, Shabdam, Keerthana, Kavadi Chindu.

  • Diploma (+1 yr): Varnam, Padam, Thodayamangalam/Pushpanjali, Jawali, Tillana; focus on Rasas & Bhavas.

  • Bachelor’s (+1–2 yrs post-Diploma): choreographic synthesis, Nattuvangam, creation of traditional & new pieces.

Historical Evolution

  • Pre-historic: gesture + rhythmical sound = proto-dance.

  • Sangam Age (500 BCE–400 CE): Koothu, Kuravai; literature – Silappadikaram, Manimekalai mention Ahakkutthu (Nritya) & Purakkutthu (Nritta).

  • Devadasi Institution: Deva (God) + Dasi (servant); temple dancers (Periya Melam) & court dancers (Rajadasi); hereditary Isai-Vellalar community.

  • Chola/Pallava era (4th–12th CE): Royal patronage; 108 Karana sculptures at Brihadiswara (81 completed), Sarangapani, Chidambaram.

  • Thanjavur Quartet (Chinnayya, Ponnayya, Sivanandam, Vadivelu; 18th CE) – codified Margam & Adavu system.

  • Colonial decline; revival by E. Krishna Iyer (1920s) & Rukmini Devi, Balasaraswathi, Ram Gopal et al.

Temple Sculpture & Dance Iconography

  • Lord Nataraja’s Ananda Tandava embodies Panchakriya = {Srsti,Sthiti,Samhara,Tirobhava,Anugraha}.

  • South India:
    • Mahabalipuram cave temples (7th CE), Brihadiswara (11th CE), Nataraja—Chidambaram (Cosmic centre; Akasha Linga; 108 Karanas on gopurams), Sarangapani-Kumbakonam, Kapalishwarar-Mylapore.

  • North India:
    • Sun Temple-Konark (13th CE)—24 wheels (hours), 7 horses (days); annual Konark Dance Festival.
    • Khajuraho (10-11th CE) – Kandariya, Duladeo: erotic & daily-life sculptures.
    • Ellora, Ajanta, Elephanta: Buddhist/Jain/Hindu narrative panels; Kailasa monolith; Trimurti.
    • Satara “Uttara Chidambaram” – modern 108 Karana array (Padma Subrahmanyam).

Theoretical Foundations

  • Natya = drama (Nrtta + Nritya + aharya + vacika).

  • Nrtta: pure dance; tala & laya centric; “Nrttam–tala–layasrayam.”

  • Nritya: expressional dance (Abhinaya + Nrtta).

  • Abhinaya (communication):

    1. Angika – body/gesture.

    2. Vacika – speech/song.

    3. Aharya – costume/make-up.

    4. Sattvika – psychological, Sthayi_bhava.

  • Rasa Theory: aesthetic relish; artist’s bhava + spectator’s imagination = rasa (flavour). Requires informed, receptive “rasika.”

  • Dharmi: Natyadharmi (stylised) vs Lokadharmi (realistic).

Vocabulary of Movement

  • Anga (major limbs) & Upanga (minor); Hasta: {\text{Asamyuta},\text{Samyuta},\text{Nrtta}}.

  • Sthana (static postures): Samapada, Araimandi (Ardhamandali), Muzhumandi.

  • Cari: coordinated waist-thigh-shank-foot locomotion.

  • Recaka: graceful linking motions.

  • Mandala: battle/fight groupings; also full-sit sequences.

Basic Adavu Classification (16 primary groups)

  1. Thattadavu – sole strikes.

  2. Nattadavu – heel-toe anchitam.

  3. Mardhita/Mittu – full-swing “tha-thai-thai-tha.”

  4. Pakka – side transfers; (a) “thai-thai-tham”; (b) moving.

  5. Villu – bow-arched torso.

  6. Kutthu/Ettadavu – toe jumps “thath-thai-tha-ha.”

  7. Thattimettu – toe-heel permutations (3,4,5,7,9 counts).

  8. Kudhitthu-Mettu – jump on toes, heel drop.

  9. Sarikai – gliding “thai-ya-thai-yi.”

  10. Simir – opening, oblique lines.

  11. Mandi – knee floor work.

  12. Sarukkal – sliding + peacock flourish.

  13. Sutral/Bhramari – spins/whirls.

  14. Paichal/Utplavana – leaps & aerials.

  15. Korvai – compiled sequences (Svastika, Paichal, etc.).

  16. Theermanam/Makuta – concluding crowns “dhi-dhi-thai” & “kita-thaka-thari-kita-thom.”

  • Korvai ends with 3-repetition Theermanam finishing phrase.

Music, Laya & Tala

  • Sangita = Gita (vocal) + Vadya (instrumental) + Nrtya (dance).

  • Laya: {Vilambita (slow), Madhyama (medium), Druta (fast)}.

  • Jati (sub-divisions per beat):
    • Tisra =3(“ta-ki-ta”)
    • Chatusra =4(“ta-ka-dhi-mi”)
    • Khanda =5(“ta-ka-ta-ki-ta”)
    • Misra =7(“ta-ka-dhi-mi-ta-ki-ta”)
    • Sankirna =9(“ta-ka-dhi-mi-ta-ka-ta-ki-ta”).

  • Sapta Tala system (Adi family): Dhruva (14), Matya (10), Rupaka (6), Jhampa (10), Triputa/Adi (8), Ata (14), Eka (4); defined by laghu + dhrtam + anudhrtam.

Classical Texts & Literature

  • Natyasastra – 36 chapters; 108 Karanas; stagecraft; rasas.

  • Abhinaya Darpana (Nandikesvara) – 324 sloka; gestures catalogue.

  • Sangita Ratnakara, Nritta Ratnavali, Bharatarnava, Sangita Saramrita (Tulaja II).

  • Tamil sources: Tolkappiyam, Silappadikaram, Paripadal, Kottanul.

  • Modern scholarship: Padma Subrahmanyam (Karana research), Anne-Marie Gaston, Mohan Khokar.

Margam (Concert Repertoire)

  1. Alarippu – invocatory rhythmic blossoming.

  2. Jathiswaram – pure dance on swara patterns.

  3. Sabdam – simple lyrics + jathi (intro to abhinaya).

  4. Varnam (Pada Varnam) – central, longest; alternates Nrtta & Abhinaya.

  5. Padam – slow, expressive love/bhakti.

  6. Javali – lighter, faster romantic pieces.

  7. Keerthanam – devotional episodes.

  8. Tillana – brisk Nrtta with mnemonic syllables; ends with sahitya + composer’s mudra.

  9. Mangalam – benedictory conclusion.

Dance in Classical & Sangam Context

  • Koothu generic term for theatre; Vadhiyar, Thalaikol, Thoriya roles.

  • Categories: Muntherkuravai (front-of-chariot victory); Pintherkuravai (rear); Val Amalai (sword dance).

  • Kuravanji dance dramas (18th CE) – temple festivals; group production vs solo Sadir.

Devadasi, Nattuvanar & Orchestra

  • Devadasis dedicated via Agamic rites; performed daily rituals & annual utsavams; supported by temple lands.

  • Decline post-1855 (Sivaji II) + British morality laws ➜ financial insecurity.

  • Nattuvanar: male conductor; strikes nattuvangam cymbals, recites sollukattu, sings, controls tempo; modern practitioners now include women & musicians.

Contemporary Scope & Benefits

  • Physical: posture, stamina, eye/hand coordination, flexibility; aligns body-mind like yoga.

  • Psychological/Spiritual: rasa experience, devotion (Bhakti), self-realisation; bridge to moksha per Natyasastra.

  • Socio-economic: teaching, performing, choreography, research, cross-cultural exchange; global schools across diasporas.

Glossary (select)

  • Adavu = basic step unit.

  • Araimandi = half-sit stance.

  • Sthayi Bhava = dominant emotion.

  • Karana = combined hand-feet movement (108 list).

  • Tattukazhi = wooden block & stick for practice.

  • Saustava = erect body alignment.

Examination Style Pointers

  • MCQ samples: Devadasi types, Tala counts, symbolism of Panchakriya.

  • Short answers: temple-dance relationship; Kuravanji, Thalaikol usage.

  • Practical: demonstrate Thattadavu in 3 kalams; recite Adi tala structure; enact “Hastha Suci” (Lokadharmi vs Natyadharmi).