Practical
Bharatanatyam style is noted for its fixed upper torso, legs bent or knees flexed ( Aramandi ) out combined with spectacular footwork, a sophisticated vocabulary of sign language based on gestures of hands, eyes and face muscles. A performance art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally, “carrying to the spectators”), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music.
The communication through symbols is in the form of expressive gestures and pantomime set to music. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. In the Hindu texts on dance, the dancer successfully expresses the spiritual ideas by paying attention to four aspects of a performance: Angika (gestures and body language), Vachika (song, recitation, music and rhythm), Aharya (stage setting, costume, make up, jewelry), and Sattvika (artist’s mental disposition and emotional connection with the story and audience, wherein the artist’s inner and outer state resonates). Abhinaya draws out the bhava (mood, psychological states.
The gestures used in Bharatanatyam are called Hasta (or mudras). These symbols are of three types: asamyuta hastas (single hand gestures), samyuta hastas (two hand gestures) and nrtta hastas (dance hand gestures). Like words in a glossary, these gestures are presented in the nritta as a list or embellishment to a prelim performance. In nritya stage of Bharatanatyam, these symbols set in a certain sequence become sentences with meaning, with emotions expressed through facial expressions and other aspects of abhinaya.
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Theory
Bharatanatyam rapidly expanded after India gained freedom from the British rule in 1947. It is now the most popular classical Indian dance style in India, enjoys high degree of support in expatriate Indian communities, and is considered to be synonymous with Indian dance by many foreigners unaware of the diversity of dances and performance arts in Indian culture. In the second half of the 20th century, Bharatanatyam has been to Indian dance tradition what ballet has been in the West.
When the British tried to attempt to banish Bharatanatyam traditions, it went on and revived by moving outside the Hindu temple and religious ideas. However, post-independence, with rising interest in its history, the ancient traditions, the invocation rituals and the spiritual expressive part of the dance has returned. Many innovations and developments in modern Bharatanatyam, states Anne-Marie Geston, are of a quasi-religious type. Major cities in India now have numerous schools that offer lessons in Bharatanatyam, and these cities host hundreds of shows every year.
Exam Body (Based on UK)
Sivanarthalayam offers students to take examinations under the ‘OFAAL’ exam board.