Culture

Bharatanatyam -
Classical dance form of India
I
was first introduced to Bharatanatyam at the age of
three while attending a dance performance. The first
thing that fascinated me must have been the brightly
colored costumes and the quick changing expressions
of the performers. I was formally introduced to this
form of dance when my mother admitted me into the
dance school at the age of seven.

Though I opted to perform Bharatanatyam as a hobby, to

me it's more of a discipline than just an art form. My
studies and the daily trips to the dance school not only
taught me how to dance, but also gradually, over time,
changed my personality, adding grace and spirituality to
my life. Through the practice of this art form, I was able to
bring the aesthetics and egalitarianism of the art world
into my workspace.

"A child sings before it speaks, dances almost before it

walks. Since rhythm is in our hearts from the beginning."
~Pamela Brow

I whole-heartedly agree with this quote. No matter what

name we give to the dance form, the bottom line is that it
is monogram for expression. In India we may choose to
call it Bharatanatyam, Kathak, Kuchupudi, or
"A child sings before it speaks,
dances almost before it
walks. Since rhythm is in
our hearts from the
beginning."
~Pamela Brow
Mohiniattam, while in Korea it may be named Salpuri,
Hallyangmu , Nammu, or Sungmu. Dance is a fantastic
way of portraying one's feelings without words and
crosses cultural, social and language barriers. This is a
short introduction to Bharatanatyam, one of the classical
dance forms of India.
Bharatanatyam, a two thousand year-old art form, has
had many modifications during its journey to the present
day style.

The general interpretation, translated from the Sanskrit

alphabet is:
BHA va (expression), RA ga (music), TA ( rhythm) and
NATYAM (dance).

In a performance, all the various elements of the

presentation are focused on the dancer and become
unified in the performer.

There are two main categories, the masculine and the

feminine. The masculine form, Nritta or abstract dance, is
expressed exclusively by the feet, while the feminine form,
Abhinaya, consists of more graceful expression.

Abhinaya is a medium of presentation to convey ideas

26 Gwangju News August 2007

and emotions, not by use of speech, but by means of
mudras, which are hand gestures. Other ways of
expression are mime, facial expression and movements of
the body. It is like describing a story without uttering a
word. The bhavas (emotions) that a dance depicts
represent the emotions of daily life.
These emotions, in their stylized form, are hasya
(humorous), karuna (fierce), satvika (peaceful), vira
(heroic), bheyanaka (fearful), bibatsa (disgusted),
sringara (erotic) and bhuta (wondrous). The rhythm of
the piece and these emotive expressions join together in
harmony to create a beautiful whole.
When learning Bharatanatyam, a student begins by
learning the adavus, or basic steps. These basic first steps
can be compared to learning the alphabet in a language
which leads on to forming words, complete sentences and
finally, compositions. Adavus steps are performed in five
rhythms and at three different speeds. To perform an
adavu aramandi, bending of the knees while you squat is
very important.
Hand gestures (hasta) are as important as the foot work.
There are 28 single and 24 double hand gestures, each
with defined usage called Viniyoga.
Bharatanatyam follows dance rules from the Natyasharta,
which is a treatise for all the dance forms in India,
according to which the entire physical body is divided into
Anga, Pratyanga and Upaanga.
Anga (gross classification of the physical body)
Anganyatra shirohastau vaksha paarshwakateetatau
Paadaviti shaduktaani greevamapyapare jaguh (as
mentioned in Natyasatra)
Head, Hands, Chest, Waist, Legs.
Pratyanga (sub-classification of the physical body)
Pratyangaani twathaskandhau baahoo prushtam
tathodaram ooroo janghe shadityahurapare
manibandhakau
jaanooneekoorparamiti trayamapyadhikam jaguhu (as
mentioned in Natyasatra)
Shoulders, Arms, Stomach, Thighs, Knee.
Upaanga (finer classification of the physical body )
Drushtibhrooputatarashcha kapolau naasikaahanuhu
Adharodashanaa jihwaa chubukam vadanam tatha
Upaangani dwadashitaanyanyaanyangaani santi cha
Paarshnee gulbautathangulyaa karayoho padayostale
(as mentioned in Natyasatra)
Sight, Eyebrow, Eyelids, Eyeballs, Cheeks, Nose, Gums,
Lower Lip, Teeth, Tongue, Chin, Face.
According to the Natyasharta, Pratynaga and Upaangas
should move along with the Angas, such as, “where the
hand goes, there the eyes should follow, where the eyes go
there the mind will follow, where the mind is, there
emotion/mood is felt, where the mood is felt, there the
flavor is experienced.”
Even though Bharatanatyam has evolved and changed
through the decades, it is deeply rooted in the rich
mythological heritage of India. Both male and female
artists take part in modern performances. While a few
practitioners are professionals, many are passionate
amateurs. Whether as a hobby or a profession,
Bharatanatyam requires a great deal of practice,
concentration and dedication.
As the embodiment of asceticism, dancers have the power
to educate their audiences, encourage them to go out and
change the world and even their own lives. Through the
power and beauty of dance, the eyes of many can be
opened, effecting positive changes in our world. So the
next time you have an opportunity to attend or watch a
performance, be open and immerse yourself in the total
experience.
By Shilpa Ramesh
Shilpa has been in Gwangju for the past ten months, and is
presently working at GIST as a researcher. She started
learning Indian classical dance at the age of seven. Though
she would like to call Science her passion, dance has always
been her second love. She would love to learn some form of
Korean classical dance during her stay here.
Gwangju News August 2007 27