Bharatnatyam: Origin, Evolution and Impact on Modern Dance

The expressive movements, the mudras, the definitive rhythm and the grace of the dancers, have all led Bharatnatyam, an Indian classical dance, to international fame. Highly acclaimed as one of the oldest classical dances of the country, Bharatnatyam has had a turbulent past. This is the tale of the origin, downfall, and revival of the now-revered art form.

Bharatnatyam Performance on Stage, Source: Wikimedia Commons

Natyashashtra, compiled by Bharat Muni circa 500 BCE, is the oldest literature known in India that contains detailed descriptions of ancient classical dance forms, music, and theatre. Bharatnatyam is believed to have originated from this book, although there is no mention of the name. But that is only because the term Bharatnatyam was not coined back then.

It took ages of patronising the dance, rebuking the dance, and then spiritualising the dance again for Bharatnatyam to be known as what it is today. Nevertheless, as far as history goes, this dance form, once shaped by revered literature, increased in popularity during the Chola dynasty.

A Figure of Nataraj at the Gangaikonda Cholapuram Temple Built by the Cholas, Source: Wikimedia Commons

The Cholas, who ruled most parts of Southern India and later proliferated to the east coast of the country, were at the height of their power during the 11th century. They were known not just for their exceptional warfare abilities but also for their innate taste in arts, especially dance and music.

It was during this period, when Bharatnatyam, as it existed back then, reached its peak. For the most part, the performers of the dance form lived and served in the numerous temples that the Cholas built.

One can still visit these wonderfully designed temples and feast their eyes on the aesthetically carved karanas, which are the 108 dance positions of Lord Nataraj. These karanas are also found in the treatise of Natyashashtra. In those times, temple dancers were held in high esteem and many upper-caste women used to dedicate their lives to the service and dance as a means of expressing their love for the divine.

Devdasis Dancing to Entertain, Source: Wikimedia Commons

Then came along the British era. Despite the Chola kings’ desperate attempts to sustain the dance form in their temples, the British did not view the situation favourably. They compared the temple dancers with the Nautch and the sanctity of the dance was compromised.

During this time, women of dignified families, who practised the dance form without hesitation before, remained confined to gurukuls and performed only in a guru-shishya environment. And the temple dancers, also called Devdasis, were exploited.

The dance form that the British came across was no longer the divine offering that temple dancers performed. It took a different turn. More and more kings trained the Devdasis to perform in the royal courts to entertain the British. Consequently, the dance gradually went down a more erotic path. This is the period when the dance form was given a specific name – sadir attam, which means dance performed at royal courts.

Kalakshetra Foundation in Chennai, Source: Wikimedia Commons

In the early 20th century, as India inched towards independence, reforms on all aspects of human life took over the country. Sadir attam was not ignored during this stage of nationalism. Artists like Rukmini Devi Arundale and Balasaraswati worked hard to bring the dance form onto the global platform. However, they worked in very different ways.

Rukmini Devi worked towards alleviating the plight of the Devdasis by moving the law courts for their freedom from the temples. She also insisted that Bharatnatyam be taken up by women and men of respected families. She achieved this objective by founding Kalakshetra Foundation, an academy in Chennai that preserves the original dance form. Interestingly, the term Bharatnatyam was coined in this era. Balasaraswati, who came from the lineage of Devdasis, on the other hand, sought to promote the sadir attam version of the dance and glorify it to be recognized at the international level.

Sangeet Natak Akademi Awards for Achievers in Bharatnatyam, Source: Wikimedia Commons

Towards the late 20th century, the country finally banned the Devdasi tradition. Many young girls from the temples were rescued and rehabilitated. Bharatnatyam, as a dance form, breathed the air of freedom again.

By this time, the efforts of Rukmini Devi had already borne fruit and the dance was classicised. More men and women were excited to learn it as a means of entertainment as well as a profession. Many centres were established that took Bharatnatyam to new heights by inculcating in their students the purity and divinity of the dance form.

The divinity of the dance is something that they did not invent. It was already present in ancient literature and was preserved by the early dancers of the protected guru-shishya settings. They only had to revive the teachings and impart them afresh to the newer generation that pursued this dance form.

Modern Bharatnatyam Costumes, Source: Wikimedia Commons

In the contemporary world, Bharatnatyam is no longer bound by the strict mudras (hand gestures) and margams (sequences of dance) that are specific to the dance form. Although many dancers still perform it in the traditional ways, modern performers have taken it to a new level of creativity.

Fusion dances are growing in popularity even among classical dancers of today and the use of technology has enabled livelier and more interactive stage shows. Additionally, modern theatre and dance drama are forms that allow performers to unleash more creativity in terms of blending the classic mudras of Bharatnatyam with realistic social events.

From gurukuls to temples to international stages, Bharatnatyam has had a turbulent journey, but in the end, claimed the badge of one of the most prestigious dance forms in the world.