Bharatanatyam - classical Indian dancing

Bharatanatyam is one of the oldest and most celebrated religious dance forms in India. It is dedicated to the praise of God through the depiction of religious stories. The history of the Bharatanatyam dance form begins around 2,000 years ago. Originally, it was performed by devadesis - women who performed religious dances in Hindu temples. However, the religious dance has evolved into one of the most popular and revered dance forms in India.

Bharatanatyam is composed of two different types of dance. The first is nritta, or pure dance, and is composed mainly of the intricate movements of the feet and the abstract movements of the rest of the body. The second is abhinaya, or expressional dance, which includes facial expressions and movements of the hands to express moods or feelings.

While modern dance can be studied as a technique, the symbolic and devotional aspects — which are an integral part of Bharatanatyam — cannot be completely understood or mastered in only a few years of study. In Indian Classical Dance, the spiritual experience of the artist has to communicate itself to the audience.

The main musician who supports the performances, and who is usually the teacher, also often sings as well as playing the rhythms. Musical accompanists often include mridanga, violin, flute, vina and tabla players.

The costume is a brocaded sari/saree which is worn a little above the ankles.  There are also many pleats in the front which open like a fan in the aramandi sitting posture. The face is made up and the eyes drawn beautifully; the palms and feet are painted red with alta. The jewellery is Thalai Samanam: earring, nosering, necklace, armlets, waist belt, anklets, etc. Flowers are also used in a generous way.

Bharatanatyam today

Bharatanatyam has been affected through competition with other dance forms, especially the fast paced western ones which are geared to large spaces. In order to cover the stage, jatis have become extended, more frenetic and with more leaps and spins. Even angika abhinaya has stretched, using the arms and legs more than was used in the past, where the dancer could rely on the audience being able to see the subtlest facial expression.

Perhaps the most far-reaching change to the dance can be seen in the methods of teaching. For a very long time only males were allowed to teach. These men would grow up watching their sisters and mothers perform, and then begin to teach but never perform themselves.

Thus there was a division between teachers and performers: those who performed never taught, and those who taught never performed. Nowadays both males and females perform, as well as teach. While this has helped teachers to understand the nuances of performing better, it has also led to the problems that a performing guru faces; of juggling his or her own career, including tours and trips, alongside training students.

Bharatanatyam has been affected by the influence of other styles, especially western styles that have become popular through music television channels. In fact, while films have constantly had a symbiotic relationship with the classical dances, television is as yet a largely unexplored medium for dancers.

Dance has survived because it has adapted itself to changing situations and changing audiences.  There is no reason to believe that the same evolution will not continue in the days to come, as artists venture into unfamiliar territories and conquer them.

Dance Ihayami & Torotor Edinburgh-based Indian dance company Dance Ihayami last year collaborated with Torotoro, a Maori dance company from New Zealand, in a reflection of the multi cultural society we live in today. The companies performed together at Edinburgh Fringe Festival and United States of Celebration at the Sky City Theatre in New Zealand.