Recently making headlines, renowned Bharatnatyam dancer, Priyadarshini Govind, was honored with the prestigious Nritya Kalanidhi Award. This honor was bestowed upon her by the Madras Music Academy in recognition of her outstanding performances and her tireless efforts to propagate this time-honored art form.
The Heritage of Bharatnatyam
Bharatnatyam holds a coveted position as one of the eight classical dances of India. Historically, its performance was entrusted to Devadasis – females pledged to the service of divinities in southern Indian Hindu Temples. As such, it is also widely recognized by the name ‘Dasiattam’. Born out of the cultural richness of regions like Tanjore and others across South India, specifically Tamil Nadu, Bharatnatyam may well be the oldest classical dance form of India, with a history spanning approximately 2000 years.
Origins and Development
The Abhinaya Darpana by Nandikesvara stands as a prime source of scholarly material for anyone seeking to understand the nuances of body movement techniques and grammatical aspects integral to Bharatnatyam. The dance itself is classified as ‘ekaharya’, indicating that a single performer embodies multiple roles during a performance.
Unique Elements of Bharatnatyam
Bharatnatyam involves intricately choreographed transitions involving the legs, hips, and arms. A prominent feature of this dance form is the expressive use of eye movements and hand gestures to portray various emotions. The dance manifestation encompasses Bhav (emotion), Rag (melody), Ras (sentiment), and Taal (rhythm).
Performance and Orchestra
Bharatnatyam’s vibrant orchestra typically comprises a vocalist, a mridangam player (traditional Indian percussion instrument), a violinist or veena player, a flautist, and a cymbal player. The Nattuvanar, or the dance conductor, guides the recitation during the performance.
| Parts of Performance |
|---|
| Alarippu |
| Jatiswaran |
| Shabda |
| Varna |
| Pada |
| Thillana |
| Sloka |
The Legacy in Temple Art and Revival
Bharatnatyam’s legacy is visible in temple art, particularly on the gopurams (towering gateways) of the Chidambaram temple in Tamil Nadu. Eminent figures like E. Krishna Iyer and Rukmini Devi Arundale were pivotal in reinstating the popularity and prestige previously associated with this ancient dance form.