As a dedicated dance student in Kalakshetra, I gained valuable insight in the makings of an artist, learning from only the best, I was privileged enough to observe and interact with the most highly qualified Dancers of South India, giving me invaluable insight into the various techniques the art form requires. This has equipped me with a one-of-a-kind insight, into the traditional Indian way of thought. „Kalakshetra is an institute not merely for the development of art. It exists in order that youth may be educated, not to ecome artists alone, but to have the right attitude to life, the right attitude to art in order that they may be of great service to our country” Rukmini Devi (1904-1986). An art form such as this, can only be learned through the Gurukula style of learning, where sacred information is verbally passed to the student, and never written down in text books!
Kalakshetra College of Fine Arts
Founded by Rukmini Devi Arundale in 1936, the Kalakshetra Foundation was established as a space for artistic expression, classicism and ancient traditions. Stretching out over almost 100 acres, it is one of the most important centers for studying fine arts in South India with a focus on developing Indian values through Bharatnatyam dance and Gandharva Veda music.
Origin of Bharatanatyam
‘Bharata’ and ‘Natyam’ , where ‘Natyam’ in Sanskrit means, dance and ‘Bharata’ is a mnemonic comprising ‘bha’, ‘ra’ and ‘ta’ which respectively means ‘bhava’ that of emotion and feelings; ‘raga’ that of melody; and ‘tala’ that of rhythm. Thus, the word refers to a dance form where bhava, raga and tala are expressed.
History
One of the oldest and most popular forms of classical dance that originated in Tanjore district in Tamil Nadu in South India. It is a highly complex movement language that is an amalgamation of physical energy and spiritual ideals. The origin of this dance can be traced to the sage Bharata Muni’s Natyasastra (the theoretical foundation). It consists of about 6000 verses structured into 36 chapters. The text describes the theory of Tāndava dance – male energy/aspect (Shiva), Lasya dance – female Energy (Parvathi), the theory of expression (rasa, bhāva), gestures, acting techniques, basic steps, standing postures. The dance has traditionally been a form of an interpretive narration of mythical legends and spiritual ideas from the Indian texts.
Expressionism and purpose of Bharatanatyam
Bharatanatyam expresses South Indian religious themes and spiritual ideas, particularly of Shaivism, Vaishnavism and Shaktism. This dance used to be taught by Nattuvanars (dance gurus/teachers) and was originally practiced by a group of temple dancers called the Devadasis who danced regularly during important festivals, ceremonies, and also at the time of worship in temples. Bharatanatyam declined under the British colonial rule in India but was later revived by Rukmini Devi Arundale and E. Krishna Iyer. Both of them were dancers as well as activists. Rukmini Devi Arundale established a cultural academy called Kalakshetra (holy palace of arts) to revive the traditional arts of India. This Dance were modified mainly the Pandanallur style of dancing bringing it to global attention, removing the sringaar (erotic) elements from the dance, which were the legacy of its Devadasi association in the past.
Recognition in the Art world
Sangeet Natak Academy, the others being: Kathak, Kuchipudi, Odissi, Kathakali, Mohiniyattam, Manipuri and Sattriya. Bharatanatyam expresses South Indian religious themes and spiritual ideas, particularly of Shaivism, Vaishnavism and Shaktism.
Ancient text Silappatikaram
Description of Bharatanatyam by 2nd century CE is noted in the ancient Tamil epics Silappatikaram and Manimegalai taken from the 6th century. The ancient text Silappatikaram, includes a story of a dancing girl named Madhavi; it describes the dance training regimen called Arangatrau Kathai of Madhavi in verses 113 through 159.The carvings in Kanchipuram’s Shiva temple that have been dated to 6th to 9th century CE suggest Bharatanatyam was a well developed performance art by about the mid 1st millennium CE.
Temple embedded in history:
A famous example of illustrative sculpture is in the southern gateway of the Chidambaram temple (12th century) dedicated to the Indian Lord Shiva, where 108 poses of the Bharatnatyam, that are also described as Karanas in the Natya Shastra, are carved in stone.
Repertoire of Bharatanatyam:
Bharatanatyam is traditionally a team performance art that consists of a solo dancer, accompanied by musicians and one or more singers. The theory behind the musical notes, vocal performance and the dance movement trace back to the ancient Natya Shastra, and many Sanskrit and Tamil texts such as the Abhinaya Darpana.
Attire:
The solo artist (ekaharya) in Bharatanatyam is dressed in a colorful Sari, adorned with jewelry who presents a dance synchronized with Indian classical music. Their hand and facial gestures are codified sign language that recite a legend, spiritual ideas or a religious prayer derived from Indian Vedic scriptures, the Mahabharata, the Ramayana, the Puranas and historic drama texts.
Movements:
The dancer deploys turns or specific body movements to mark punctuations in the story or the entry of a different character in the play or legend being acted out through dance (Abhinaya). The footwork, body language, postures, musical notes, the tones of the vocalist, aesthetics and costumes integrate to express and communicate the underlying text.
The purpose of Dance
Bharata Natyam is an art which consecrates the body the dancer, who dissolves her identity in rhythm and music, makes her body an instrument, at least for the duration of the dance, for the experience and expression of the spirit.
Order of Bharata Natyam recital
Alarippu, Jatiswaram, Varnam, Padams, a Thillana and ends with a Sloka.
Three categories of performance in the Natya Shastra:
Nritta –Nirutham:
The Nritta performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement in Bharatanatyam, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect. It is a technical performance, and aims to engage the senses (prakriti) of the audience.
Nritya- Niruthiyam:
The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Indian dance traditions. In a Nritya, the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message. This part of a Bharatanatyam repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.
Natya –Natyam:
The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Natya incorporates the elements of a Nritya.