Adavus are the basic dance steps in Bharathanatyam. The technique of any classical dance rests on the sturdy base of the adavus. The technique of any classical dance rests on the sturdy base of the adavus.

A Bharatanatyam dancerGenreOriginDescription of Bharatanatyam by 2nd century CE is noted in the ancient Tamil epic, while temple sculptures of 6th to 9th century CE suggest it was a well refined performance art by the mid 1st millennium CE. Bharatanatyam is the oldest classical dance tradition of India. Garrison motion detector with security alarm instruction manual. Theoretical foundations of the Indian classical dance laid out in. Can be traced to various ancient art forms including Bharatanatyam.Bharatanatyam style is noted for its fixed upper torso, bent legs and knees flexed ( Aramandi ) combined with spectacular footwork, and a sophisticated vocabulary of based on gestures of hands, eyes and face muscles.

The dance is accompanied by music and a singer, and typically her is present as the Nattuvanar, director and conductor of the performance and art. The dance has traditionally been a form of an interpretive narration of mythical legends and spiritual ideas from the. The performance repertoire of Bharatanatyam, like other classical dances, includes nrita (pure dance), (solo expressive dance) and (group dramatic dance).Bharatanatyam remained exclusive to Hindu temples through the 19th century. It was banned by the colonial British government in 1910, but the Indian community protested against the ban and expanded it outside the temples in the 20th century. Modern stage productions of Bharatanatyam has been spread out and popular throughout India that has been done in different ways and have incorporated technical performances, pure dance based on non-religious ideas and fusion themes. EtymologyOriginally known as sadhiraattam or Dashiattam (Tamil: சதிராட்டம்), the Indian classical dance form Bharatanatyam owes its current name, to E Krishna Iyer and Rukmini Devi Arundale, who were instrumental in modifying mainly the of dancing bringing it to global attention, removing the extraneous sringaar (erotic) elements from the dance, which were the legacy of its association in the past. The word Bharata is a mnemonic, consisting of 'bha'–'ra'–'ta'.

According to this belief, bha stands for (feelings, emotions), ra stands for (melody, framework for musical notes), and ta stands for (rhythm). The term Natya is a Sanskrit word for 'dance'. The compound word Bharatanatyam thus connotes a dance that harmoniously expresses bhava, raga, tala. Bharatanatyam has helped to inspire musicians, poets, painters, singers and sculptors in Indian history.A famous example of illustrative sculpture is in the southern gateway of the (≈12th century) dedicated to the Hindu god, where 108 poses of the Bharatnatyam, that are also described as in the Natya Shastra, are carved in stone.Many of the ancient Shiva sculptures in Hindu temples are the same as the Bharatanatyam dance poses. For example, the Cave 1 of, dated to 7th-century, portrays the -dancing Shiva as. The image, 5 feet (1.5 m) tall, has 18 arms in a form that expresses the dance positions arranged in a geometric pattern. The arms of Shiva express (symbolic hand gestures), that are found in Bharatanatyam.

Devadasis, anti-dance movement, colonial ban and the declineSome colonial and modern authors have argued that Bharatanatyam is a descendant of an ancient Devadasi (literally, servant girls of Deva temples) culture, suggesting a historical origin back to between 300 BCE and 300 CE. Ijhjng Modern scholarship has questioned this theory for lack of any direct textual or archeological evidence. Historic sculpture and texts do describe and project dancing girls, as well as temple quarters dedicated to women, but they do not state them to be courtesans and prostitutes as alleged by early colonial Indologists. According to Davesh Soneji, a critical examination of evidence suggests that courtesan dancing is a phenomenon of the modern era, beginning in the late 16th or the 17th century of the of Tamil Nadu. According to James Lochtefeld, Bharatanatyam remained exclusive to Hindu temples through the 19th century, only in the 20th century appearing on stage outside the temples. Further, the patronized and contributed towards Bharatanatyam. Here in 1940, helped revive Bharatanatyam after Hindu temple dancing was banned by the British colonial government in 1910.With the arrival of the in the 18th century, and British colonial rule in the 19th, many classical Indian dance forms were ridiculed and discouraged, and these performance arts declined.

Christian missionaries and British officials presented ' of north India and 'devadasis' of south India (Bharatanatyam) as evidence of 'harlots, debased erotic culture, slavery to idols and priests' tradition, and Christian missionaries demanded that this must be stopped, launching the 'anti-dance movement' in 1892. The anti-dance camp accused the dance form as a front for prostitution, while revivalists questioned the constructed colonial histories.In 1910, the of the altogether banned temple dancing, and with it the Bharatanatyam tradition within Hindu temples.

Post-colonial revivalThe 1910 ban triggered powerful protests against the stereotyping and dehumanization of temple dancers. The Tamil people were concerned that a historic and rich dance tradition was being victimized under the excuse of social reform. The classical art revivalists such as, a lawyer and someone who had learnt the Bharatanatyam dance, questioned the cultural discrimination and the assumed connection, asking why prostitution needs years of learning and training for performance arts such as the Bharatanatyam, and how can killing performance arts end any evils in a society? Bharatanatyam requires expression, posture and rhythm.Bharata Natyam is traditionally a team performance art that consists of a female, accompanied by musicians and one or more singers. The theory behind the musical notes, vocal performance and the dance movement trace back to the ancient Natya Shastra, and many Sanskrit and Tamil texts such as the Abhinaya Darpana.The solo artist ( ekaharya) in Bharatanatyam is dressed in a colorful, adorned with jewelry who presents a dance synchronized with Indian classical music.

Her hand and facial gestures are codified that recite a legend, spiritual ideas or a religious prayer derived from Hindu scriptures, the, the, the and historic drama texts. The dancer deploys turns or specific body movements to mark punctuations in the story or the entry of a different character in the play or legend being acted out through dance ( Abhinaya). The footwork, body language, postures, musical notes, the tones of the vocalist, aesthetics and costumes integrate to express and communicate the underlying text.In modern adaptations, Bharata Natyam dance troupes may involve many dancers who play specific characters in a story, creatively choreographed to ease the interpretation and expand the experience by the audience.The repertoire of Bharatanatyam, like all major classical Indian dance forms, follows the three categories of performance in the Natya Shastra. These are Nritta (Nirutham), Nritya (Niruthiyam) and Natya (Natyam). The purposeBharata Natyam is an art which consecrates the body (.)the dancer, who dissolves her identity in rhythm and music, makes her body an instrument, at least for the duration of the dance, for the experience and expression of the spirit.The traditional order of Bharata Natyam recital viz. Alarippu, jatiswaram, varnam, padams, tillana and the is the correct sequence in the practice of this art, which is an artistic, for revealing the spiritual through the corporeal.—T Balasaraswati, a Bharatanatyam devadasi.

The Nritta performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement in Bharatanatyam, wherein the emphasis is the beauty in motion, form, speed, range and pattern.

This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience. The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a nritya, the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message.

This part of a Bharatanatyam repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer. The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story.

A Natya incorporates the elements of a Nritya.SequenceThe traditional Bharatanatyam performance follows a seven-part order of presentation. This set is called margam. AlarippuThe presentation begins with a rhythmic invocation ( vandana) called the. It is a pure dance, which combines a thank you and benediction for blessings from the gods and goddesses, the and the gathered performance team. It also serves as a preliminary warm up dance, without melody, to enable the dancer to loosen her body, journey away from distractions and towards single-minded focus. JatiswaramThe next stage of the performance adds melody to the movement of Alarippu, and this is called Jatiswaram. The dance remains a prelim technical performance ( nritta), pure in form and without any expressed words.

The set the beat, of any Carnatic music raga (melody). She performs a sequence ( Korvai) to the rhythm of the beat, presenting to the audience the unity of music, rhythm and movements. ShabdamThe performance sequence then adds Shabdam (expressed words).

The solo dancer, the vocalist(s) and the musical team, in this stage of the production, present short compositions, with words and meaning, in a spectrum of moods. The Varnam part of Bharatanatyam emphasizes expressive dance.The performance thereafter evolves into the Varnam stage. This marks the arrival into the sanctum sanctorum core of the performance. It is the longest section and the nritya. A traditional Varnam may be as long as 30–45 minutes or sometimes an hour. Varnam offer huge scope for improvisation and an experienced dancer can stretch the Varnam to a desirable length. The artist presents the play or the main composition, reveling in all her movements, silently communicating the text through codified gestures and footwork, harmoniously with the music, rhythmically punctuated.

The dancer performs complicated moves, such as expressing a verse at two speeds. Her hands and body tell a story, whether of love and longing, or of a battle between the good and the evil, as the musicians envelop her with musical notes and tones that set the appropriate mood.

PadamThe Padam is next. This is the stage of reverence, of simplicity, of abhinaya (expression) of the solemn spiritual message or devotional religious prayer. The music is lighter, the chant intimate, the dance emotional. The choreography attempts to express rasa (emotional taste) and a mood, while the recital may include items such as a (expressing devotion), a javali (expressing divine love) or something else. ThillanaThe performance sequence ends with a, the climax. It closes out the nritya portion, the movements exit the temple of expressive dance, returning to the nritta style, where a series of pure movement and music are rhythmically performed. Therewith the performance ends.

Shlokam or MangalamThe seventh and final item in the sequence can be either a or a Mangalam. The dancer calls for blessings on the people all around.The overall sequence of Bharatanatyam, states Balasaraswati, thus moves from 'mere meter; then melody and meter; continuing with music, meaning and meter; its expansion in the centerpiece of the varnam; thereafter, music and meaning without meter; (.) a non-metrical song at the end. We see a most wonderful completeness and symmetry in this art'. Costumes in Bharatanatyam AttireThe attire of a Bharatanatyam dancer resembles a Tamil Hindu's bridal dress. It consists of a fitted, brilliantly colored which is mainly of warm colors with mirrors on them. The Sari is made of a specially stitched pleated cloth which falls in front and opens like a when she flexes her knees or performs footwork.

The Sari is worn in a special way, wrapped upwards along the back and tightly to the body contour, past one shoulder, with its end held at the waist by a jeweled belt.The dancer is typically adorned with jewelry on her ear, nose, and neck that outlines her head or hair. Her face has conventional makeup, eyes lined and ringed by, which help viewers see her eye expressions. Her hair is tied up in the traditional way, often braided in with fragrant flowers ( veni or ). She wears one or more leather anklets ( ghungroos).The outlines of the dancer's fingers and feet may be partially colored red with kumkum powder or, a costume tradition that helps the audience more easily view her hand and foot gestures. Vocal Aspects and Musical InstrumentsThe accompanying music to Bharatanatyam is in the style of, as is the recitation and chanting.

The vocalist is called the nattuvanar, typically also the conductor of the entire performance, who may be the of the dancer and may also be playing cymbals or one of the musical instruments. The recited verses and text in Bharatanatyam are in, and.The instruments used include the (double-sided drum), (long type of oboe made from a black wood), nattuvangam (cymbals), the,. SymbolismBharatanatyam, like all classical dances of India, is steeped in symbolism, both in its abhinaya (acting) and its goals. The roots of abhinaya appear in the Natyashastra text, which defines drama in verse 6.10 as something that aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a sensual inner state of being. 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. Drama in this ancient Sanskrit text, thus is an art that engages every aspect of life to glorify and give a state of joyful consciousness.

Example – gestures as symbols in Bharatanatyam.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 ).

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.Bharatanatyam contains at least 20 found in, including (the bow, a back-arch); (the wheel, a standing ); (the tree, a ); and, the pose of dancing Shiva.

108 karanas of classical temple dance are represented in temple statuary; they depict the devadasi temple dancers who made use of yoga asanas in their dancing. Bharatanatyam is also considered a form of. However, Natarajasana is not found in any medieval hatha yoga text; it was among the many asanas introduced into modern yoga by in the early 20th century. An expression through gesture in Bharatanatyam.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 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.Outside India, Bharatanatyam is a sought after and studied dance, states Meduri, in academic institutes in the,. For expat Indian and Tamil communities in many countries, it is a source and means for social life and community bonding.

Contemporary Bharatanatyam choreographies include both male and female dancers.In 2020, an estimated 10,000 dancers got together in, India, to break the world record for the largest Bharatanatyam performance. The previous record of 7,190 dancers was set in in 2019. After the Tillana, the dancer may continue on to the seventh part, called Shloka.

It is a reverential greeting, a thank you or a prayer to one or more gods, goddesses or to one's teacher. This is a post-performance, where a Sanskrit verse (Shloka) is danced out in a form of nritya. An example Shloka: 'The (teacher) is the Brahma, the Guru is the Vishnu, the Guru is the Maheshvara (Shiva). The Guru is the pathway to Supreme (supreme soul), to you the auspicious, I reverentially bow.'

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Original: गुरुर्ब्रह्मा गुरुर्विष्णुर्गुरुर्देवो महेश्वरः । गुरुरेव परं ब्रह्म तस्मै श्रीगुरवे नमः ।।.

Tatta Adavu: Tatta is to beat. The body is in aramandi and the feet strike the floor alternately with the sole. There are 6 different variations in this category.Thaiya Thai – Tap once in each leg.Thaiya Thaihe – Tap twice in each leg.Thai Thai Tham – Tap 3times in each leg.Thaiyathaihe – 4 timesThaiya Thaithaitham – 5 timesThaithaitham Thaithaitham – 6 timesHand: Patakum stretch your hand to the sides straight like pushing the 2 walls.2. Nattu Adavu: Natta means to stretch. From the aramandi, one leg is stretched outwards striking the floor with the heel & is then brought to the original position, beating the floor with the sole.