Natya Shastra

Every Bharathanatyam student is constantly reminded of the Natya Shastra (Science of Drama); the ultimate text of all arts. This 2000-year-old book seems to hold the very foundations of the art and is reportedly credited to the legendary scholar Bharatha Muni. Although the tradition mentions a publication of 12,000 verses, the most examined form of the Natya Shastra had over 6000 verses that can be identified; structured into 36 chapters describing the following: Techniques of a Tandava Dance Theory of Rasa, Bhavam & Expressions, Characteristics of a Playhouse Types of Scenic Gaits, Hand Gestures & Acting Techniques Stage Properties & Make Up, Success of a Drama Theory of Prosody, Genesis of Dance Instruments & Their Uses. Bharatha had clearly expressed these intricate performances are an inherent path to express the devotion to spiritual ideas.

Origin Evidences

As time nurtures the art, less ambiguous mentions were made to Bharathanatyam in the well-known Tamil texts ‘Silapathikaram’ and ‘Manimegalai’; both originating a few years after Jesus was born. Within the verses 113 to 159, A character named ‘Madhavi’ is seen dancing in Arangatrau Kathai; a dance training programme. More evidence that Bharathanatyam was an exquisite and intricate dance at this stage is seen in the carvings of Kanchipuram’s Shiva Temple where statues are seen to hold poses fundamentally similar to the we know Bharathanatyam today. In fact, there are many examples of Shiva sculptures held in these poses that often date back to 601 CE; the Badami cave temples have Shiva (Nataraja) dancing Tandava in a beautiful geometric pattern with each of the 18 hands holding gestures similar to the mudras we know today.

Devadasi Culture

There are several colonial Indologists that claim that the roots of Bharathanatyam lies in the Devadasi culture; a culture that highlighted the high social status of a woman that dedicates her life to the worship of the Hindu gods. These women, on top of their duties to perform intricate rituals, had performed the fundamental steps of Bharathanatyam and Odissi. The definite origin of this tradition is still unknown due to the lack of textual or even archaeological evidence, leading scholars to question this theory.

However, during the 3rd century AD, Meghadūta of Kālidāsa, Xuanzang (a Chinese traveller) and Kalhana (a Kashmiri historian) mentions these cultured traditions. An engraving dated to the eleventh century recommends that there were 400 Devadasi joined to the sanctuary at Tanjore in South India. So also, there were 500 Devadasi at Someshwer hallowed place of Gujarat. Between the sixth and thirteenth hundreds of years, Devadasi had a high position and pride in the public eye and were especially wealthy, and were viewed as the defenders of music and dance. During this period, evidence suggests royal patrons had gifted them with land, property and jewellery. However, due to British colonisation and the culture being rebranded as prosititution, this culture faded away with the socio-economic deprivation of the folk dances in India.

The Ban Of Arts

The 1910 ban of the devadasis activated incredible dissents against the stereotyping and dehumanization of traditional dancers. The Tamil community were worried that a notable and culturally rich artform was being exploited under the weak reason of social reform. E. Krishna Iyer had inquiring as to why prostitution needs long periods of learning and preparing for execution expressions, for example, the Bharatanatyam, and in what manner can slaughtering exquisite artforms end any injustice in a communiy? Iyer was captured and condemned to jail on charges of patriotism, who while serving out his jail term influenced his individual political ‘criminals’ to help Bharatanatyam.

The Resurrection Of Bharathanatyam

In this time of social and political unrest, rather than Bharatnatyam getting to be wiped out, it extended out of Hindu sanctuaries and was resuscitated as a standard move by Bharatanatyam craftsmen, for example, Rukmini Devi Arundale and Balasaraswati.They supported and played out the Pandanallur (Kalakshetra) and Thanjavur styles of Bharatanatyam, separately. Folk and classical arts were generally frowned upon and ridiculed during the colonial ban in the 19th century. British officers have used the ‘nautch girls’ dancing Kathak in the northern regions of India and the ‘devadasis’ dancing Bharathanatyam in South India as a reason to colonialise and overule India due to apparent implication that India had a ‘debased erotic culture’ with ‘slavey to idols and priests’. This led to Christian officers launching an ‘anti-dance movement’ which rebranded the devadasis’ dance form as prostitution.

In 1940, Rukmani Devi Arundale rebranded Sadhir into ‘Bharathanatyam’ and brought it global attention with her dance school ‘Kalakshetra’ after the colonial ban. She and her husband both introduced eye-catching costumes, set and lighting, jewellery (inspired by temple deities) and instruments like the violin. Both had removed the exaggerated sringaram and erotic elements from the dance to seperate the legacy of the Devadasis to their newly formed dance: Bharathanatyam.

The Natya Shastra clearly makes a notable classic that clarifies the starting point of Bharathanatyam. This Hindu Mythological story still captivates everyone as it starts a fire of interest. It is a story worth telling. It was during this significant time of boredom that all the Devas moved toward Lord Indra begging him to discover any form of amusement. Ruler Indra, who was additionally tired of the Asuras, moved toward Lord Brahma and requested that he help them. They made a solicitation to Lord Brahma that this strategy for stimulation ought to satisfy both the eye just as the ear, and that it ought to be appreciated by the majority of both higher and lower classes. Ruler Brahma gave a long pause to the nervous Lord Indra and then had chose to support them. Ruler Brahma went into a condition of profound contemplation. He brought to mind the four Vedas. Vedas are the soonest sacred writings of the Hindus. He refined the quintessence from every one of the Vedas. From ‘Rigveda’, he determined the words, from ‘Sama Veda’, he inferred the music, from ‘Yojurve Veda’, the code of motion and from ‘Atherva Veda’, the component of feeling or flavor. He mixed these fixings and included his own awesome genious. In this way, he made an altogether new action. Brahma named this action ‘Natya’, which was later renamed ‘Natya Veda’. Brahma had essentially made a strategy, however somebody was required for placing it into training. Ruler Brahma looked for the participation of Bharatha. Bharatha, with the assistance of his children, began working. Vishvakarma, theincomparable designer of paradise, at that point made an auditorium in the corridor of India’s court for the exhibition.

Bharat revealed to Brahma that specific characters of the move groupings must be performed by ladies. Brahma tackled the issue by making twenty-three delightful ‘Apsaras’. The majority of the arrangements were made in like manner, and for the absolute first time, the specialty of ‘Natya’ was performed before a crowd of people of Devas and Asuras. In this Natya, the Devas were depicted as triumphant and the Asuras as failures. The Asuras (evil presences) blew up and ascended in challenge and compromised much more dreadful outcomes. Brahma was shocked by this response to what he had planned to be a blameless and non-hostile past-time. He attempted to disclose to the Asuras that he was doing whatever it takes not to demonstrate predominance of any creatures over some other creatures, either in harmony or war. He told the Asuras that it was expected to show the temperances and advantages of good deeds. It typifies the very pith of all there is in the realm of learning and of workmanship.

Brahma advised Bharatha Munivarq that they need to play out their work, ‘Natya’, before Lord Shiva to get his endorsement and exhortation. When they discovered that Lord Shiva would observer the recently made craft of Natya, enormous and intensive arrangements were made to organize an exhibition. Two plays, ‘Amrita Manthan’ and ‘Tripura Dhena’, were introduced in the huge amphi theater of the Himalayas. Shiva praised Brahma on the technique for noteworthy introduction. He likewise referenced that while viewing the presentation, he was helped to remember his very own move. He included that it may be a smart thought to consolidate his move into the creation he had quite recently seen. Brahma preferred this proposal and mentioned Shiva to show the savvy Bharat to move. Shiva’s pupil, Tandu, gave Bharat the vital guidelines, and crashes the specialty of move came to be acquainted with Natya and turned into a necessary piece of it. While Tandu was teaching Bharat in Shiva’s move, the ‘Tandava’, Shiva’s associate Parvati, additionally trained him in her style, “lasya’, Later Parvati showed her style to Usha. Usha taught the ladies of Saurastra, and from that point it bit by bit spread to the remainder of the world. Indeed, even Tandu passed this uncovered craftsmanship on to humans on the earth.

Bharathanatyam held a significant portion of the South Indian culture. Therefore, it is not surprising to witness many archaeological evidences that take the form of paintings and statues. The list below highlights the biggest finds regarding the dance form:

1. Thanjavur temple: This temple has an incredible visualisation of the Karanas. However, although there are 108 Karanas, only 81 Karanas are discernable.
2. Chidambaram Temple: Shiva is seen to be exquisitely sculpted into the four gopurams that represent the Karanas
3. Amman temple: With a variety of poses, we can see several women dancers on the Sivakami shrine. This could be the first instance of group dancing with formations as such
4. Kailasanadha temple: This temple exquisitely presents the Lord Siva in various different poses that are currently fundamental to the art of Bharathanatyam.
5. Paintings: A Chola period temple is decorated beautifully with painted female dancers in the three familiar postural positions: sitting, standing and ‘aramandi’. With lotuses to define the true feminity and breathtaking visuals, these ancient canvases highlight the importance of dance within their culture.

The Natya Shastra is an incredible text that significantly influenced the dance, music and literary works of the modern art culture in India. Created around 2000 years ago, this literary text was written by the greatest literary commenter of Ancient India: Bharatha.

Initially, Bharata discusses the reaction and contribution of the audience in a show. The onlookers originate from all classes of society with no qualification, yet are required to be at any rate insignificantly started into the energy about theater. This is a direct result of the way that they may react appropriately to the workmanship as a compassionate sahridaya. Theater thrives in a tranquil situation and requires a state free from impediments. The main section closures underscoring the centrality and significance of show in accomplishing the delight, harmony, and objectives of life, and suggesting the love of the managing divinities of theater and the assembly hall.

The subsequent section sets out the standards for theater engineering or the prekshagriha for example assembly hall. This likewise shields the exhibition from all deterrents brought about by unfavorable nature, malignant spirits, creatures, and men. It portrays the medium-sized rectangular space as perfect for discernability and perceivability, evidently holding around 400 onlookers. Bharata likewise endorses littler and bigger structures, separately half and twofold this size, and square and triangular corridors. Bharata’s model was a perfect personal theater, considering the unobtrusive abhinaya of the eyes and other outward appearances which he portrayed in the second part of Natyashastra.

The third section portrays an expound puja for the divine beings and goddesses ensuring the assembly room, and endorses ceremonies to sanctify the space. Part four of the Natyashastra starts with the tale of a generation of Amritamanthana for example ‘Stirring of the Nectar’, a samavakara performed by Brahma’s guidelines on the pinnacles of Kailasa, seen by Siva.

After a significant period of time, a dima titled Tripumdaha or ‘Consuming of the Three Cities’ is arranged, relating Siva’s endeavors. Siva asks Bharata to consolidate tandava move in the purvaranga primers and coordinates his specialist Tandu to instruct Bharata. Tandu clarifies the segments of tandava, the classes of its developments, and their sythesis in choreographical designs. These structure the unadulterated move developments required for the love of the divine beings and the customs. This part likewise establishes the framework of angika abhinaya or physical acting created in later sections. The 6th and seventh parts outline humanity’s basic emotive thoughts and style of rasa and bhava. The bhavas, which incorporate the vibhavas, are imparted to observers through abhinaya, particularly angika. Hence it gets intricate treatment in sections 8-12.

The sections like 8,9,10, 11 and 12 accordingly arrange non-verbal communication dependent on a clear spectrum. Part 18 examines the ten noteworthy rupakas, or types of dramatization and natika, an assortment of uparupaka. The following section examinations the structure of show just as the incorporation of lasyangas or parts of ladylike moves got from well known choreographies and recitative structures in theater. Part 20 gives a detailed record of the vrittis. Section 21 arrangements with aharya abhinaya, which spreads make-up, ensemble, properties, veils, and negligible stage style. Section 22 starts with samanya or ‘normal’ abhinaya, which intensifies the four components of abhinaya agreeably. This section closes with an investigation of ladies’ attitudes, especially relating to love and terms of location, while the accompanying part 23 arrangements with male characteristics and examples of sexual conduct, just as order and phases of female youth.

The Natya Shastra holds many chapters that are simply dedicated to each of the three types of art: dance, music and literature. Although not analysed, the music and literature sections have significant involvement in today’s art and entertainment industry in India. With so many chapters dedicated to the forms and internal emotions of dance, it truly shows how the Natya Shastra lives up to its name as the most-evidence-backed origin, and a firm foundation, for Bharathanatyam.

The period from its reincarnation in the 1930s through the present day has been of explosive. It is doubtless that a lot of has modified throughout the past fifty years than throughout the other time within the history of Bharatanatyam. The ancient art form is exposed to a completely new environment and a fundamental change in culture. For hundreds of years, the survival of Bharatanatyam relied on a structure of dedicated dancers, lifelong teachers, and royal heirs, to all of whom the dance was an integral part of social and religious life. In today’s society, none of this still exists, and yet, Bharathanatyam continues to thrive on a global scale. In the crucial decades after its recovery, Bharatanatyam accomplished such regard that by the late twentieth century, the interest for learning Bharatanatyam surpassed the framework to help the workmanship and keep up its gauges. Today, it is the interest for learning it, as opposed to entertaining a group of spectators, that powers the inorganic spread of Bharatanatyam.

Dancers, instead of the nattuvanars, have turned into the caretakers of
Bharatanatyam. The age of nattuvanars that prepared artists during the restoration of this dance was the last age of true nattuvanars. Because of vast quantities of yearning artists, nattuvanars never again are the main mentors of artists. In foundations like Kalakshetra, experienced dancers are simply prepared as instructors teach the people to come. An increasing amount of students learn the art from individual dancers. The job of the nattuvanars during actual stage performances is taken by dancers or singers with unique preparations.

The quantity of artists additionally surpasses the accessibility of specific music artists. Artists frequently are weighed down with the high financial costs of hosting a dance program, with fixed costs like musicians, venue rent and other expenses despite the little income produced by this occasion. Many are compelled to utilize recorded music to minimize expenses. Artists today for the most part can’t bring home the bacon by performing. Performing Bharatanatyam today will not give the dancer a living wage. With a couple of exemptions, Bharatanatyam is today an optional vocation, or a career for those with family support. Barely any artists can give their whole lives to preparing and creating as artists. To use this dance skill, many usually start teaching even if they are a bad dancer themselves. These conditions have lessened the quality of the art form and have lessened the number of spectators.

Without nattuvanars, and with an ever increasing number of artists wanting to be educators, the solid ancestry of rules and guidance that kept up the respectability of the dance has been lost. In the hands of numerous artists as opposed to a couple of coaches, Bharatanatyam is currently subject to increasingly changing advancements. Without a perceived specialist, similar to that of the nattuvanars, to receive or reject changes to look after the standards, and without taught spectators to give significant criticism, the artistic expression of Bharatanatyam has become incredibly inconsistent.

Development and variety themselves are not terrible. The issue appears when improper changes are incorrectly taught as if it was part of the traditional dance culture. Dancers have a variety of inspirations, and their dancing gives various emotions. To profit by the idea of Bharatanatyam being elegant and creative, most teachers guarantee to teach the traditional form of Bharathanatyam despite the changes they have added intentionally or unintentionally. This confounds spectators, and ruins the artform itself.

Another ongoing wonder is how the learning of Bharatanatyam has become a transitional experience for little girls, particularly outside India. After their arangetram, they drop the art. The arangetram has turned into the ‘end-of- Bharatanatyam’ ritual. The profit from arangetrams initiates numerous instructors to rush inadequate artists to the stage. The outcome is a consistent supply of beginner dancers that don’t form into specialists fit for the art of Bharathanatyam. The present Bharatanatyam exists in incredible amount, yet with a wide variety in quality. There is the impeccable, seen infrequently; there is the ludicrous, seen very frequently. Bharatanatyam’s issues today are not a result of mistreatment, as with the devadasis a century prior, however because of careless prominence and commercialization. The resulting loss of rules implies the dance is frequently taught ineffectively or improperly, however spectators regularly don’t have the foggiest idea about a decent presentation from a terrible one. On the off chance that the crown gem of India’s traditional art gets a legacy for being a messy and a crude form of dance, the lack of interest it will inspire will endanger its survival more than any of the difficulties it has suffered previously.