Bharatanatyam
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Jump to: navigation, search
Bharatanatyam[1] is a classical
dance form originating from Tamil Nadu[2][3][4][5][6], a state in Southern India. This popular South Indian dance form called Bharatanatyam is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. The word Bharata, some believe, signifies the author of the famous Sanskrit treatise on stagecraft, called NatyaShastra, and the word Bharatanatyam is sometimes given a folk etymology as follows:Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Ta for tala or rhythm.
Bharatanatyam
Bharata refers to the author of the Natya Shastra, and natya is Sanskrit for the art of sacred dance-drama brought to the stage at the beginning of the 20th century.
Contents[hide]
1 Traditional roots
2 Essential ideas
2.1 Nataraja (King of Dance)
3 Medieval decline
4 Modern rebirth
5 Technique
5.1 Karanas
5.2 Hasta Mudras
6 Items
7 Other aspects
8 Ideal Qualities of Dancers
9 See also
10 References
11 External links
//
[edit] Traditional roots
Bharatanatyam
Bharatanatyam traces its origins to the Natya Shastra written by Bharata Muni, a Hindu sage. The Natya Shastra is also called the fifth Veda in reference to the foundation of Hindu religion and philosophy, from which sprang the related South Indian musical tradition of Carnatic music.
In ancient times it was performed as dasiattam by mandir (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered a standard set of religious services called Sodasa Upacharas ("sixteen hospitalities") among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.
Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized.
[edit] Essential ideas
Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), and Mohiniattam (element of air). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame.
Contemporary Bharatanatyam is rarely practiced as Natya Yoga, a sacred Hindu meditational tradition, except by a few orthodox schools (see Yoga and Dance).
[edit] Nataraja (King of Dance)
Bharatanatyam is the manifestation of the South Indian idea of the celebration of the eternal universe through the celebration of the beauty of the material body. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil.
Natya Shastra (I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and the erotic sentiment (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".
The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panca-kriya पन्चक्रिया): creation, pouring forth, unfolding; maintenance or duration (sthiti स्थिति); destruction or taking back (smhara स्म्हर); concealing, veiling, hiding the transcendental essence behind the garb of apparations (tirobhava तिरोभव); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha अनुग्रह). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in Tamil Muyalaka (முயலக) -- who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences.[7]
[edit] Medieval decline
Local kings often invited temple dancers devadasi (Servants of God) to dance in their courts, the occurrence of which created a new category of dancers -- rajanarthakis -- and modified the technique and themes of the recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.
Although most of the contemporary Bharatanatyam ballets are popularly viewed as a form of entertainment, the Natya Shastra-based dance styles were sacred Hindu ceremonies originally conceived in order to spiritually elevate the spectators. Bharatanatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava (the dance of Shiva), masculine aspect, which is identical to the Yin and Yang in the Chinese culture.
The famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court, during the rule of Maratha King Saraboji II (1798- 1832), made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various items. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatanatyam in Tanjore. Originally, they formed a community by themselves and most of them were Shaivite non-brahmins.
[edit] Modern rebirth
Krishna Iyer was one of those who raised the social status of Bharatanatyam and greatly popularized it. Rukmini Devi Arundale was also instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the attention of the West. According to Shri Sankara Menon, Rukmini Devi raised Bharatanatyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the Sringar, certain emotional elements evocative of the erotic) from the Pandanallur style, which was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Not all love was portrayed, at least outside parameters considered "chaste". Balasaraswati said that "the effort to purify Bharatanatyam through the introduction of novel ideas is like putting a gloss on burnished gold or painting the lotus".
While the Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram were based on the art of rajadasis and are exoteric in nature, some others, like the Melattur style and Balasaraswati's style grew out of the devadasis' distinctly different esoteric art.
The development of the Bharatnatyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian dance historian have seen it as a means by which many women, often Brahmin women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of the contemporary devadasis' practices.[1]
Having studied Bharatanatyam for three years, in 1936 Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian music and art. She was one of first teachers to instruct a few men to perform the dance. The dance, at that time, was exclusively performed by women, while men, called Nattuvanars, had only been teaching Bharatanatyam without actually performing it. It is worth noticing that most of the contemporary Bharatanatyam dancers do not satisfy the criteria for a professional danceuse stated in the scriptures.
At present, Bharatanatyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with a live ensemble. In popular culture, the adapted, or "semi-classical", Bharatanatyam has been exposed largely through depiction in popular movies and TV programs.
Learning Bharatanatyam normally takes many years before the arangetram (debut). There are academic and commercialized dance institutes in many countries. Many people choose to learn Carnatic music along with Bharatanatyam as they go together, since both Carnatic music and Bharatanatyam are of purely Indian origins, while Hindustani music and Kathak are a mix of Persian and Indian art.
At present, not only the Hindus but many Christians and Muslims learn it, bringing it beyond the rigid forms of religious boundaries.
[edit] Technique
This section does not cite any references or sources.Please improve this section by adding citations to reliable sources. Unverifiable material may be challenged and removed. (tagged since September 2007)
This Bharata Natyam dancer's right hand is in the Bhramara Hasta (yoga, upward offering to the Divine), the 3 joined fingers symbolizing the sacred syllable Aum.The left hand's fingers are in Alapadma Hasta, the rotating lotus of spiritual light. The eyes are directed towards the Supreme Lord. The left leg is lifted, symbolizing the swift ascent of the consciousness in one step from the Earth to the Heaven.
Includes
Abhinaya - dramatic art of story-telling in Bharatanatyam
Nritta - pure dance movements usually performed as an opening item in Bharatanatyam, reflecting different rhythms of the universe
Nritya combination of abhinaya and nritta
[edit] Karanas
Karanas are the 108 key poses and transitions that punctuate Bharatanatyam and other classical Indian dances. Most of these 108 are not static postures, nor are they merely transitional, i.e. the dancer is usually supposed to stop and maintain these for a very brief duration (0.5 sec). Padma Subrahmaniam and some other researchers have made attempts to reconstruct these since the 1960s, from 108 brief movement phrases describing specific leg, hip, body, and arm movements accompanied by hasta mudras described in the Natya Shastra, and from depictions of the movements in sculpture in five South Indian temples.
[edit] Hasta Mudras
A distinctive feature of Bharata Natyam Dance is the use of expressive hand gestures as a way of communication. Hasta Mudras refers to the varieties of hand symbols that a dancer can use. Many of these hand gestures are well known. For example, Anjali is often used as a salutation when a person greets another person.
There are two types of Hasta Mudras: Asamyuta and Samyuta (single and combined, respectively).
There are 28 Asamyuta Mudras which are: Pataka, Tripataka, Ardhya-pataka, Kartari-mukha, Mayura, Ardha-chandra, Arala, Shukatundaka, Mushti, Shikhara, Kapittha, Kataka-mukha, Suchi, Chandra-kala, Padma-kosha, Sarpa-shirsha, Mriga-shirsha, Simha-mukha, Langula, Sola-padma, Chatura, Bhramara, Hamsaya, Hamsa-paksha, Samdasma, Mukula, Tamrachuda, and Trishula.
There are 24 Samyuta Hastas which are: Anjali, Kapota, Karkata, Svastika, Dola, Pushpaputa, Utsanga, Shivalinga, Kataka-Vardhana, Kartari-svastika, Shaktata, Sankha, Chakra, Samputa, Pasha, Kilaka, Matsya, Kurma, Varaha, Garuda, Nagabandha, Khatva, Bherunda, and Avahittha.
Each of the above hasta mudras has its own origin, usage, and patron deity. Many hasta mudras can be used in more than one way (the usage is called viniyogas), depending on the song accompanying the dance, and what the dancer is trying to convey to the audience.
[edit] Items
Typically a regular performance includes:
Ganapati Vandana - A traditional opening prayer to the Hindu god Ganesh, who removes obstacles.
Alarippu - A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance.
Jatiswaram - An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body.
Shabdam - The dancing is accompanied by a poem or song with a devotional or amorous theme.
Varnam - The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
Padam - Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Thillana - The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
Apart from these, there are items such as Kautuvam, Koothu, Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).
[edit] Other aspects
A male Bharatanatyam performer
Costume - From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.
Music - The accompanying music is in the Carnatic style of South India.
From Wikipedia, the free encyclopedia
• Ten things you may not know about images on Wikipedia •
Jump to: navigation, search
Bharatanatyam[1] is a classical
dance form originating from Tamil Nadu[2][3][4][5][6], a state in Southern India. This popular South Indian dance form called Bharatanatyam is a 20th century reconstruction of Cathir, the art of temple dancers. Cathir in turn, is derived from ancient dance forms. The word Bharata, some believe, signifies the author of the famous Sanskrit treatise on stagecraft, called NatyaShastra, and the word Bharatanatyam is sometimes given a folk etymology as follows:Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Ta for tala or rhythm.Bharatanatyam
Bharata refers to the author of the Natya Shastra, and natya is Sanskrit for the art of sacred dance-drama brought to the stage at the beginning of the 20th century.
Contents[hide]
1 Traditional roots
2 Essential ideas
2.1 Nataraja (King of Dance)
3 Medieval decline
4 Modern rebirth
5 Technique
5.1 Karanas
5.2 Hasta Mudras
6 Items
7 Other aspects
8 Ideal Qualities of Dancers
9 See also
10 References
11 External links
//
[edit] Traditional roots
Bharatanatyam
Bharatanatyam traces its origins to the Natya Shastra written by Bharata Muni, a Hindu sage. The Natya Shastra is also called the fifth Veda in reference to the foundation of Hindu religion and philosophy, from which sprang the related South Indian musical tradition of Carnatic music.
In ancient times it was performed as dasiattam by mandir (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered a standard set of religious services called Sodasa Upacharas ("sixteen hospitalities") among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.
Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized.
[edit] Essential ideas
Bharatanatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), and Mohiniattam (element of air). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame.
Contemporary Bharatanatyam is rarely practiced as Natya Yoga, a sacred Hindu meditational tradition, except by a few orthodox schools (see Yoga and Dance).
[edit] Nataraja (King of Dance)
Bharatanatyam is the manifestation of the South Indian idea of the celebration of the eternal universe through the celebration of the beauty of the material body. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil.
Natya Shastra (I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and the erotic sentiment (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".
The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panca-kriya पन्चक्रिया): creation, pouring forth, unfolding; maintenance or duration (sthiti स्थिति); destruction or taking back (smhara स्म्हर); concealing, veiling, hiding the transcendental essence behind the garb of apparations (tirobhava तिरोभव); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha अनुग्रह). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in Tamil Muyalaka (முயலக) -- who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences.[7]
[edit] Medieval decline
Local kings often invited temple dancers devadasi (Servants of God) to dance in their courts, the occurrence of which created a new category of dancers -- rajanarthakis -- and modified the technique and themes of the recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.
Although most of the contemporary Bharatanatyam ballets are popularly viewed as a form of entertainment, the Natya Shastra-based dance styles were sacred Hindu ceremonies originally conceived in order to spiritually elevate the spectators. Bharatanatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava (the dance of Shiva), masculine aspect, which is identical to the Yin and Yang in the Chinese culture.
The famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court, during the rule of Maratha King Saraboji II (1798- 1832), made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various items. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatanatyam in Tanjore. Originally, they formed a community by themselves and most of them were Shaivite non-brahmins.
[edit] Modern rebirth
Krishna Iyer was one of those who raised the social status of Bharatanatyam and greatly popularized it. Rukmini Devi Arundale was also instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the attention of the West. According to Shri Sankara Menon, Rukmini Devi raised Bharatanatyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the Sringar, certain emotional elements evocative of the erotic) from the Pandanallur style, which was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Not all love was portrayed, at least outside parameters considered "chaste". Balasaraswati said that "the effort to purify Bharatanatyam through the introduction of novel ideas is like putting a gloss on burnished gold or painting the lotus".
While the Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram were based on the art of rajadasis and are exoteric in nature, some others, like the Melattur style and Balasaraswati's style grew out of the devadasis' distinctly different esoteric art.
The development of the Bharatnatyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian dance historian have seen it as a means by which many women, often Brahmin women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of the contemporary devadasis' practices.[1]
Having studied Bharatanatyam for three years, in 1936 Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian music and art. She was one of first teachers to instruct a few men to perform the dance. The dance, at that time, was exclusively performed by women, while men, called Nattuvanars, had only been teaching Bharatanatyam without actually performing it. It is worth noticing that most of the contemporary Bharatanatyam dancers do not satisfy the criteria for a professional danceuse stated in the scriptures.
At present, Bharatanatyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with a live ensemble. In popular culture, the adapted, or "semi-classical", Bharatanatyam has been exposed largely through depiction in popular movies and TV programs.
Learning Bharatanatyam normally takes many years before the arangetram (debut). There are academic and commercialized dance institutes in many countries. Many people choose to learn Carnatic music along with Bharatanatyam as they go together, since both Carnatic music and Bharatanatyam are of purely Indian origins, while Hindustani music and Kathak are a mix of Persian and Indian art.
At present, not only the Hindus but many Christians and Muslims learn it, bringing it beyond the rigid forms of religious boundaries.
[edit] Technique
This section does not cite any references or sources.Please improve this section by adding citations to reliable sources. Unverifiable material may be challenged and removed. (tagged since September 2007)
This Bharata Natyam dancer's right hand is in the Bhramara Hasta (yoga, upward offering to the Divine), the 3 joined fingers symbolizing the sacred syllable Aum.The left hand's fingers are in Alapadma Hasta, the rotating lotus of spiritual light. The eyes are directed towards the Supreme Lord. The left leg is lifted, symbolizing the swift ascent of the consciousness in one step from the Earth to the Heaven.
Includes
Abhinaya - dramatic art of story-telling in Bharatanatyam
Nritta - pure dance movements usually performed as an opening item in Bharatanatyam, reflecting different rhythms of the universe
Nritya combination of abhinaya and nritta
[edit] Karanas
Karanas are the 108 key poses and transitions that punctuate Bharatanatyam and other classical Indian dances. Most of these 108 are not static postures, nor are they merely transitional, i.e. the dancer is usually supposed to stop and maintain these for a very brief duration (0.5 sec). Padma Subrahmaniam and some other researchers have made attempts to reconstruct these since the 1960s, from 108 brief movement phrases describing specific leg, hip, body, and arm movements accompanied by hasta mudras described in the Natya Shastra, and from depictions of the movements in sculpture in five South Indian temples.
[edit] Hasta Mudras
A distinctive feature of Bharata Natyam Dance is the use of expressive hand gestures as a way of communication. Hasta Mudras refers to the varieties of hand symbols that a dancer can use. Many of these hand gestures are well known. For example, Anjali is often used as a salutation when a person greets another person.
There are two types of Hasta Mudras: Asamyuta and Samyuta (single and combined, respectively).
There are 28 Asamyuta Mudras which are: Pataka, Tripataka, Ardhya-pataka, Kartari-mukha, Mayura, Ardha-chandra, Arala, Shukatundaka, Mushti, Shikhara, Kapittha, Kataka-mukha, Suchi, Chandra-kala, Padma-kosha, Sarpa-shirsha, Mriga-shirsha, Simha-mukha, Langula, Sola-padma, Chatura, Bhramara, Hamsaya, Hamsa-paksha, Samdasma, Mukula, Tamrachuda, and Trishula.
There are 24 Samyuta Hastas which are: Anjali, Kapota, Karkata, Svastika, Dola, Pushpaputa, Utsanga, Shivalinga, Kataka-Vardhana, Kartari-svastika, Shaktata, Sankha, Chakra, Samputa, Pasha, Kilaka, Matsya, Kurma, Varaha, Garuda, Nagabandha, Khatva, Bherunda, and Avahittha.
Each of the above hasta mudras has its own origin, usage, and patron deity. Many hasta mudras can be used in more than one way (the usage is called viniyogas), depending on the song accompanying the dance, and what the dancer is trying to convey to the audience.
[edit] Items
Typically a regular performance includes:
Ganapati Vandana - A traditional opening prayer to the Hindu god Ganesh, who removes obstacles.
Alarippu - A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance.
Jatiswaram - An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body.
Shabdam - The dancing is accompanied by a poem or song with a devotional or amorous theme.
Varnam - The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
Padam - Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Thillana - The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
Apart from these, there are items such as Kautuvam, Koothu, Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).
[edit] Other aspects
A male Bharatanatyam performer
Costume - From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.
Music - The accompanying music is in the Carnatic style of South India.
