All the extant classical dances of India (i.e. This treatise meticulously details, classifies and expounds the deep-rooted thought system, practical application, the fundamental purpose and nuance of Indian classical dance. The Nāṭyaśāstra, written more than 2500 years ago, by Bharata, is the oldest extant treatise on dramaturgy, dance and music and still is the authority today. Without this point of view, Bharatanāṭyaṃ will not be understood and will be reduced to a mere materialistic art. To comprehend the essence of Bharatanāṭyaṃ and Indian aesthetics, one needs to step back and view this art from within the frame of reference of its origin – Hindu philosophy. The dancer does this through the dance, the dance steps and the emotive portrayals and storytelling.
RASA MEANING SERIES
Much as Yoga is not just a series of stretches and is a systematized practice, called Sādhana, in which the practitioner aims to achieve a higher state of consciousness, Bharatanāṭyaṃ is also a systematized artistic Sādhana, in which the artist aims to achieve a higher state of consciousness and evoke this state in the audience, so that they can experience it as well. To go above the mundane, limited world and realize a greater reality is a fundamental (and unique) concept in Hinduism. The aim of Bharatanāṭyaṃ is to elevate the audience to experience a higher state of consciousness. It is not just a performance art that is limited to evoking beauty and creating a pleasant experience for the audience. There is a definite aim in Bharatanāṭyaṃ. The performance of Bharatanāṭyaṃ is akin to a type of Yoga and is a form of embodied knowing. Bharatanāṭyaṃ embodies the thought system, profound philosophy and practice of an ancient and sacred art originating from a few millennia ago in India. The history of Bharatanāṭyaṃ also is often misunderstood and wrongly bears the mantle that it had to be reformed and many erroneously believe that the current dance of Bharatanāṭyaṃ is a sanitized form of a previous version.īharatanāṭyaṃ is much more than just a traditional ethnic dance. Much confusion and misinformation persist among practitioners and teachers themselves, and among the public. Bharatanāṭyaṃ is often relegated as just another art form, a medium in which to voice opinions, or as a simple ritualistic dance of temples. Hailed as a beautiful dance of vibrant costumes and statuesque movements, the very soul of Bharatanāṭyaṃ is not seen or comprehended by many. Ironically however, the understanding of the dance, its fundamental aim, origins and core philosophy has almost reached a nadir. In recent years, Bharatanāṭyaṃ has seen an extraordinary increase in popularity and presence, both in India and globally it is danced by a diverse group of people, throughout the world, from wide-ranging educational, linguistic, racial, religious and economic backgrounds. Experienced Bharatanāṭyaṃ dancers and teachers may understand the subtler aspects of the performance, but for the most part, the very cornerstone of the art is only grasped by few. There is something to delight in for everyone and unfortunately, for most people, these prosaic features are the totality of Bharatanāṭyaṃ.
And yet others may like the subtle interpretation to a venerated classic. Others might appreciate the challenging foot movements (Nṛtta) or the dancer’s expressive portrayals (Abhinaya). Some connoisseurs might delight in the rare Rāgams of the songs or an unusual composition in the repertoire.
Those discerning audience members will recognize the stories and characters portrayed in the dances.
The audience is charmed, stirred, entertained and may even recall the performance for some time afterward. The dancer pays homage to the Divine, dances in fast rhythmic movements consisting of complex patterns and portrays characters from the many grand epics. By Prakruti Prativadi ( About the author)īharatanāṭyaṃ conjures images of statuesque dancers, adorned in fragrant flowers and beautiful temple jewelry, wearing vibrant costumes made from the finest sarees dancing to melodic classical Indian music.
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