Wednesday, June 10th, 2009 | Author:

Bharat Natyam is one of the oldest cultures of India. Originating from Tamil Nadu, the dance form has been retained in the traditional rendering through ages. Teachers and students patronizing the art have revered it and spread it across the globe. There are several institutes in the international sector that offer courses globally. Set to various taals/beats that usually are mentioned as Tha-thai the dance form also have devotional and spiritual songs extolling the mythology of Hinduism.


The temple dancers or the devadasis were the ones to continually perform and preserve the art but along with it there are other schools who have patronized the art and still doing the same. Bharat natyam is much about posture, grace and facial expressions that is extremely expressive. The Silapadikaram expresses the various South Indian styles of art form and the history of Bharat Natyam is also elaborately expressed here. Many rulers of the olden times had keen interest in dance rituals


Dance and music are not held within any religion and this is proved by many aspirants who enjoy watching the dance or also encourage their offspring’s to pursue it as an interest. The adornments of Bharat Natyam are exquisite consisting of the typical blouse-sari which is draped in the dance style. The jewelry consists of hair accessories, jhimkis as earrings, necklaces that are stone studded and matching bangles. The waistband and amulet is also regular in style. The ghugrus or anklets is the main area that blends well with the tabla beats and aids to form melody. Flowers are very essential in the typical South Indian braid.


Mudras in Bharat Natyam are the main part along with various chapters like Thillana. The neck movements, agility and feet taps are a result of years of sadhna/practice which becomes a source of energy to the performer. The audience or the rasik is also benefited in watching a performance. The final arangetram or presentation of the dance is essential after completion of the course.

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