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Philosophical Values in Bharatanatyam
Contents
1 Introduction
2 Philosophical values in Bharatanatyam
3 Philosophical values in Marga paddhati
4 The Statue of Nataraja, its classical and philosophical features
5 Philosophical values in Chaturvida Abhinaya
6 Philosophical values in Navarasa
7 Conclusion
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1. Introduction
1.1 Philosophy
In Indian tradition, the word used for philosophy is Darshana (Viewpoint or perspective),
from the Sanskrit root ‘Drish’ (to see, to experience). Philosophy is a way of thinking, and
experiencing about certain subjects such as ethics, thought, existence, time, meaning and value.
That 'way of thinking' involves 4 R: responsiveness, reflection, reason, and re-evaluation. The
aim is to deepen understanding.
Philosophy is the study of religion, nature, and the meaning of life. It captures spirit, structure,
content, method, aims, and hopes.
1.2 Bharathanatyam
“Pranamya Sirasa Devou Pitamaha Maheswar aha
Natya Sastram Pravakshyami Brahmanaaya Dhutahrutham”
Bharatha Muni sets to explain the Natya Shastra that was preached to him by Lord
Brahma. Before that, he bows his head to Pitamaha Brahma, the creator of Natya-Veda
and Maheshwara (Lord Nataraja), the creator of dance.
Bharatanatyam, a pre-eminent Indian classical dance. It is a form of physical expression that
centres on displaying the divine or spiritual aspects through the body. Bharatanatyam is a form
of Natya Yoga (a sacred and meditative dance yoga) and is believed by some to have similar
health benefits as yoga.
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1.3 Dance and Philosophy
“Dance is the hidden language of the soul”
- Maratha Graham, the legendary American dancer, and choreographer.
The Philosophy behind the dance is to search for the human soul and unite with a supreme
being. In the dance, the artists make use of beautiful hand and eye movements to convey the
message. It is a mere of personification of the music in a visual form. Dance elevators our mood
by raising our endorphin levels. This is what allows us to heal stress and depression -two of
our immune system’s biggest enemies! It helps us establish our self-confidence and self-
discipline. It improves harmony between our mind and body, giving us a sense of well-being.
The purpose of work is to study the philosophical values of –
➢ Philosophical values in Marga paddhati
➢ Statue of Nataraja, it’s classical and philosophical features
➢ Philosophical values in chaturvida Abhinaya
➢ Philosophical values in Navarasa
“Geetham avadhareya, Nruthyam avadhareya, Vaadyam avadhareya”
In many cultures and spiritual tradition, dancing is practiced as a means of coming closer to
spirit, to encounter the divine and as an expression of the relationship that already exists. People
who enjoy dancing can use it for god’s glory, as a means of celebration, worship and to serve
God. It is important to remember that, if God put a desire in your heart to dance, sing or create
any other form of art. You were made to use your talents from the heart to glorify God.
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2. Philosophical values in Bharatanatyam
2.1 Origin and History
Bharatanatyam and other Indian classical dances find their origin in Natyashastra. Its first
complete compilation is dated between 200 BCE and 200 CE, estimates vary between 500 BCE
and 500 CE. Natyashastra is an encyclopaedia with 6000 verses divided into 36 chapters written
by sage Bharata.
According to Natyashastra, In the days of yore when Thretayuga commenced after Krithayuga,
Indra and other Devas appealed Brahma to conceive an aesthetic and pleasing creation that
could be accessible to all classes of society.
“Evam sankalpya Bhagavan sarvavedaananusmaran
Naatyavedam tatshchakre chaturvedanga sambhavam |
Jagraaha patyamrigvedaat saamebhyo gaathamevacha
Yajurvedaadabhinayaan rasaanaatharvanaadapi” ||
So Brahma extracted Text from Rig-veda, Music from Sama-veda, Abhinaya from Yajur-
veda and Raga from Atharvana-Veda, and created the fifth Veda called Natyaveda. Brahma
institute moral sage Bharata Muni with this divine knowledge who taught his 100 sons and put
it into practice however projection would be poor if it figured only men. So Bramha created 24
apsaras to assist Brahma's effort in war appreciated when he presented the first theatre
“Samavakara” the story of Amrutha-manthana in Indra Dhvajamaha festival to celebrate
the victory of Indra.
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All the Indian dances get this framework from Natyashastra. But the region, culture,
environment, belief, and communication show a great influence on these dance dramas which
makes them stand different from the world. Bharatanatyam is one such form that has its base
in Natyashastra.
Vedic literature sheds lurid light on dance and music with ample evidence of prevalence. The
first-ever epic Ramayana and the greatest epic Mahabharata also show numerous evidence of
the existence of dance as an art, an activity, and an adjunct to the ceremony. In Ramayana,
Ravana was himself a musician and also a great patron of music and dance. In Mahabharata,
Arjuna transformed as Brihannale thought Princess Uttara the dance which he had learnt from
the Gandharvas and Apsaras. These are a few instances to list.
Later during the Gupta reign in India, the status of Indian arts was uplifted and developed.
South Indian region witnessed the rise and fall of several dynasties and empires. They not only
ruled over the region but also cultivated the Indian classical arts. They made dance and music
as a part of a ritual in temples to worship God. Temples became the cultural centres for all
kinds of Cultural activities. Some of the dynasties of South India are listed as Pandya, Cholas,
Chera, Satavahana, Pallava, Kadamba, Ganga, Chalukya, Rashtrakuta, Kakatiya, Vijayanagar,
Nayak, Maratha. Their contributions to dance and music are many where some of them are
• Literature like Shilappadikaram, Manimekalai, Prahasanam, Kootanool, Isai
Nunukkam.
• Outstanding wonders like temples-Kailasanathar temple, Brihadeshwara temple,
Chidambaram temple, Kanchi temple, Vaikuntaperumal temple, Badami-Ihole-
pattukalu cave temples, Ellora-elephant cave temples, Belur-Halebidu temples etc.,
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• Other inspirations – wall paintings, Sculptures of various dance movements and
Postures.
During the 19th century under the rule of Saraboji of Tanjore. Thanjore Quastette Chinnayya,
Ponnaya, Shivanandam, and Vadivelu systematized the art of Bharatanatyam which was then
called as Sadir Naach. They even created many special compositions for Bharatanatyam.
In the medieval age art started losing its value due to the Muslim invasion and during British
rule, the art declined almost making it disappear. Since Britishers did not value our indigenous
art forms they prohibited dance performances. But Uday Shankar, E Krishna Iyer, Meenakshi
Sundaram Pillai, Bala Saraswati, Rukmini Devi Arundel and many others struggled and kept
the tradition of dance alive so we to pass it on to the next generation. They survived by seeing
all ups and downs imbuing the necessary upgrades and they thrived until this day
1.4 Dance in Daily life
To our ancestors dance was a part of daily life. In the days when there were no scientific studies
or sophisticated therapies, they knew that moving to the beat helped them feel better and tune
into the innate wisdom within. In many shamanic societies, if you come to a medicine person
complaining of being disheartened or dispirited or depressed, they would ask one of four
questions: When did you stop dancing? When did you stop singing? When did you stop being
enchanted by stories? When did you stop finding comfort in the sweet territory of silence?
“Put your psyche in motion and it will heal itself” - was their mantra.
Dance allows people to be more active, socialize and develop creative and physical skills. It
is a form of the healing process, as a person gains a sense of control through
• Possession by the spiritual in dance
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• Mastery in movement
• Escape/ diversion from stress and pain through a change in emotion, state of
consciousness or physical capabilities
• Confronting stressors to work through
Increased exercise reduces stress level, improve relaxation, strong bones and muscles, weight
control and a healthier brain.
A dance approaches life and the art platform with a different view. But the body movement,
hand, gestures, postures, footwork, facial expressions, emotions, and sentiments which are
clustered in Bharatanatyam has its effects on dancers physically, emotionally, psychologically,
and spiritually.
Dance is a form of art; It is the most powerful form of human expression. Through
movements of the human body, dance conveys the whole range of human emotions. It allows
a human being to express his feelings, thoughts, and experiences. Dance is a natural form of
self-expression. It is a symbol of happiness in the highest emotional enchantment. Dance
recreates a selected sequence of human motions, which can be imbued with the values of
aesthetics and symbolism that are acknowledged by both performers and observers from within
the culture. Dance has always been with us even before the arrival of written language and
modern history. When our earliest cultures evolved utilizing oral and performance methods
to pass the stories from one generation to the next. Many historians believed that social,
celebratory, and ritual dances are essential factors in the development of early human
civilizations. Since the dawn of human civilization dance remained in close connection with
us. After several thousand years, dancing managed to completely infuse itself into our way of
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life. Thousand years of innovation and education created the modern dance that we all enjoy
today.
Based on the foundation laid by Bharatha Muni’s Natyashastra, many forms of dances emerged
with the passage of time and after being subjected to various influences (like respective
regional lifestyle, culture, environment, beliefs, practices, business and occasionally foreign
cultures) they achieved classical status, in a traditional frame of references.
In Indian society dance holds an important status. It’s not just a mere entertainment; it’s a way
of expressing the different faces of life. Indian culture always believes in knowing true oneself.
The motive of Indian classical dance forms takes a man from general path to divinity.
Bharatanatyam is herald as a sacred art. The goal of all traditional Indian arts is to evoke rasa
(a tasting of spiritual bliss) in the artist as well as the spectator. The natya portion clearly
nurtures devotional feelings and religious contemplation by retelling stories of the gods, of the
great Hindu epics and of myths.
Indian classical dance treats the human body as three sheaths, the aim being the perfect
utilization of all faculties on gross, subtle and causal levels towards the highest state of bliss or
self- realization. Having evolved out of the most ancient Vedas, these dances are believed to
liberate one from the worldly bondage or ‘Moksha’. At the same time, Natya or dramaturgy
promises a good life for an individual and a civilised society. The body itself is thought of as a
piece of classic engineering designed to enable positive physical, emotional and above all
spiritual enhancement. The art of dance, when co-related with esoteric science, called Tantra
is the union of Shiva - consciousness and Shakti - energy, when the half-man/ half-woman,
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Ardhanareeshwara within one’s subtle body is in action. The philosophy in which such dance
forms are rooted, poses questions such as - What is that essence or principle that connects ONE
to the dance, connects dance to LIFE, connects one with audiences, crossing all barriers? Is it
the body owning a spirit, that wants to express something or is it the spirit that has manifested
in this form in order to express? Indian typical way follows the ethereal dictum that it is the
eternal soul that manifests in the divine dance. Aesthetic enjoyment, called RASA, is realized
when the life forces and dramatic stories are first appropriated within and then transmitted
across to the world around in creative, ecstatic and emancipatory ways. Divine experience and
aesthetic experience are one and the same experience, a glimpse and taste of supreme joy.
Traditionally, Indian dance forms were taught through the Guru-Shishya system, where the
student stays at the abode of the Guru to develop a strong foundation in the field. This enabled
the Guru to nurture the disciple and prepare them to become experts in the vocation alongside
all the important values that go with any system of knowledge in ancient Indian tradition. The
unique features of Gurukul were deep love, respect and mutual communion. There was
exchange of knowledge of various related subjects among the exemplary Gurus, leading to
noble character and wisdom above all.
In general, dance is called the MOTHER of all art forms, according to Curt Sachs in his book-
The World history of dance. Dance is universal to many cultures and may have origins as early
as 1.8 million years ago. It has offered contributions to Neuroscience by providing pathways
to study the brain’s plasticity. Additionally, there have been studies that evaluate the
therapeutic effects of dance and movement in the brain. There are significant changes in the
current world, where digitization is an unavoidable trend. The spiritual role that it plays in the
world, needless to add, is indeed as an agent to kindle peace and friendship between people,
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beyond all barriers. It would be helpful if the potential attributes that are in threat of getting
submerged through digitization, are identified by researchers and artists.
2.2 The religio-philosophic background and placement of Bharatanatyam
The fifth veda Natyaveda was written by Bharata to simply 5 the essence of four Vedas
(Samaveda, Yajurveda, Atharvaveda and Rigveda) and lead the common man towards and
understanding of philosophies of life the main subject of the narration were story from
Mahabharata, Ramayana and purana etc., Indian classical performing arts have their underlying
roots in Hindu philosophy and religion. The performing arts encompasses human emotions and
experiences in its works and through them informs the society about God, truths of life and
moral conduct to be followed by man, while at the same time entertaining them.
Most Indian classical dances, particularly Bharatanatyam, have religious and spiritual
beginnings. They have been part of Hindu temple rituals. They follow the Hindu philosophy in
attitude. The Hindu philosophy and their teachings are part and parcel of their themes of
presentation. Explanation for the phenomena of rasa-experience in Indian classical performing
arts has been investigated in the systems of Hindu philosophy.
Indian classical dance can be an effective medium for modern spiritual value, understood to be
separated from any particular religious association, and no longer reliant on convention, but
established on a contemporary subjectivity and on the spectator’s agency and communication.
The communicative performance place of the Indian shrines, as they subsist in the present day,
could have an influence on the manifestation of spiritual values through traditional dance,
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without bringing up any plot of connection with pre-modern religious principles. It emphasized
that Bharatanatyam as a dance contributing to a logical, artistic, emotional, and spiritual
engagement.
Bharatnatyam and spirituality are interrelated with one another as its inspirations come from
the ancient temple, i.e., Chidambaram. Dance itself regarded as a sanctified space, a medium
to reach a higher empire, represents a commixing of the physical and spiritual which is a
primary part of Indian cultures, values and philosophical systems. Bharatnatyam gives the
spectators with an inimitable essence of a spiritual mixed with a modern broad-based flavour.
Bharatnatyam shares its universal human emotions for example love, shyness, fear, amongst
others.
Initially, dance began in shiva temples in the worship of Lord shiva, gradually they were
influenced by the sweet devotion, a prominent characteristic feature of the Vaishnava Bhakthi
movement. All these forms of fine arts like dance and music of India can transport man on the
spiritual path, from a routine mundane plane to divine dimensions.
Bharatha Muni, in his Natyashastra, states that when people’s morals and behaviour start
degrading, dance has the ability to inspire them on the path of righteousness by tuning their
attention from the outer materialistic world to the spiritual virtuous space within and tuning it
there. Therefore, classical form of dance, which express prayers as praise in the glory of the
divine, can transform and eliminate human emotions in their pinnacles of gratitude, bliss and
devotion.
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Dance is a symbol of being in the enjoyment of agreeable emotions. In the way dance is a folk
form depicting feelings for the common people in the easier way. Secondly, it is pure classical
form based on its regional, principles and methods each dance has its own speciality and unique
classical and cultural heritage.
Dance has a supreme place in the society. Dance is not nearly the media of entertainment; it
is largely a media to project the different faces of life with an objective to generate meaningful
aspirations. Accordingly, the art has joined the social and religious life of the people, a place
of eminence and fundamental importance. “Geetham avadhareya, vaadyam Avadhareya,
Nrithyam avadhareya” were the Vedic hymns recited in the temples. The relationships between
the dance Bhakti and Dharma are known from the dance cultures of Hindu temples.
This art has a religious and divine bond with Lord Nataraja, Mahaakali, Ganapati, Shri Krishna,
Gopikas, Apsaras and many other Kings, Queens and Heroes like Arjuna who have been great
dancers. Thus, there is sufficient evidence to prove the dance occupies a very prestigious
position in the society.
An Artist is satisfied only when his audience experiences and feels the classical art in heart. In
this way one can enjoy and experience the pleasant form of this art a true dancer acquires
various uses from dancing. Brightness in the eyes, strength to the limbs, increase in the memory
power, Tolerance, Positive attitude and smiling face, graceful gait.
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As the Abhinaya part in the dance, it combines the aspects of God Kings or the society and
social rules. It enhances our knowledge towards
➢ God, Dharma and mythology.
➢ Religion, language and culture.
➢ Belief in divinity, being and doing it.
➢ Anger agony affection law and happiness
To enable and to gain these human moralities and feelings and simultaneously to get entertain
by the matchless media concentration practice respect towards the art the teachers and taught
undoubtedly develops and individual in addition to these qualities and individual becomes an
outstanding artist and art propagated when he requests creativity and expressive skill.
2.2 Spirituality in Bharatanatyam
The term Bharatanatyam could be split as “bhavam” which referred to expression, “ragam”
that denotes music, “talam”, and “natyam”, that signifies dance. The dance that people now
addresses Bharatanatyam is widely denotes as Sadir Natyam in the ancient period.
Bharatnatyam is filled with spiritual values. Bharatanatyam is a meaningful dance form which
uses various body parts, for example the eyes, hands, fingers and feet to emphasize different
human emotions. Bharatanatyam prospered, since the dance form fix completely into the
Chola Empire’s treasure system. The Chola Empire supported the Devadasi practice, and
Devadasis were then as well recognized as DevarAdigalar. Other than being a skill form
marked by attraction and refinement in its delivery, Bharatanatyam practice makes for an
enthusiastic workout of the brain, mentality, body, and soul and ultimately spiritual values.
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All Indian classical dances in general and Bharatanatyam in particular are generally a blend of
body movements and expressions displayed on a dancer’s face; these are perfectly harmonized
to denote a given perspective, through the flawless vehicle, that is, the human body. Though
body and face seem connected with the dance and movements, it is inner soul of a human that
directs his/her movements. Bharatnatyam is considered evolutionary art that induce the
spiritual growth of the individual and ultimately bring in the Divine feeling. The God of dance,
Lord Nataraja, is considered as the source of motivation for all Bharatanatyam dancers who
comprehend the deeper portions of their art. Bharatanatyam is no less a religious exploration
than the Sanyasi’s way of repudiation. Bharatnatyam dance helps its dancers to divinize
themselves, to build spiritual quality, devotion, an act of Dharma, discipline, courage, skill,
health, contentment, well-being and ultimate calmness.
Spiritual Intelligence is a collective strength of supremacy, “since it makes the individual to
rise above acquisitive aspects of their survival, it as well contributes to rebuild their individual
growth. In Bharatanatyam, the divine consequence is of Atma searching for unification with
the Paramatma”.
The Vedas are the very first scriptures of Hindu philosophy and religion. All human beings
are the limited manifestation of the Ultimate Being and reunion of the soul with the Absolute
Soul should be the goal. This is the truth offered in the Vedas. Inevitably, the vedas teach the
ideal way to lead life to ensure our way back to the source. “The goals of life which are
accepted by all Hindus are righteousness or obedience to the moral law (dharma), wealth or
material welfare (artha), pleasure (kama), and emancipation (moksha). Dharma prevails
throughout life, that is, neither pleasure nor wealth is to be obtained through violation of the
rules of morality. Moksha is the ultimate goal to which all men should aspire. This social
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philosophy is accepted without question by all Hindus”. These ideals have, since ages, ruled
not only our life, lifestyle and outlook but also permeated through the arts; because this ideal
way of life “recognizes in every sphere of activity, the kinship of God and man”. Thus, the
underlying idea of practice of Indian classical performing arts is to transcend the ‘self’
towards a higher plane and achieve bliss through spiritual expression.
All Indian classical dances are a combination of body movements and facial expressions
perfectly synchronized to represent a given context, through the perfect vehicle i.e., the
human body or human being. Though it is the body that moves, it is man's inner
consciousness or soul that directs his movements. This results in a harmonistic dance form
that combines music, rhythm and movement, all of which cater to the command of man's
inner feelings. In a spiritual country like India, where the realization of consciousness or
spirit has been the supreme goal of life, it is not a wonder that dance became a form of
sadhana.
“Sabha kalpa tarurbhati Veda shakhopashobhitaha
Shastra pushpa samakirnau Vidwat bhramasa samyutaha
Vidwamsaha kavayobhatthaha gayakaha parihasikaha
Itihaasa Puranagna sabha sapthanga lakshnam”
The Indian performing arts have their roots in ancient Hindu philosophy that explains the
values of life. The explanation for the phenomena of rasa-experience has been investigated in
the systems of Hindu philosophy. Nandikeswara says in his book Abhinayadarpanam, “The
audience is compared to the tree of fulfilment with the sacred texts as its branches, the
scriptures of art its flowers and the pundits the bees; where men of truth, high qualities and
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good conduct as well as men of learning, well-versed in history and mythology are to be found”.
Thus, the best audience is the people who are well versed in the Vedas, Shastras, Puranas and
Shad Darshanas the art of dance and connected arts and are of good conduct.
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3. Philosophical values in Marga paddhathi
3.1 Philosophy of the art form
In Bharatanatyam, the Margam which is the presentational repertoire is a philosophy by itself
as it embraces all concepts of human experience, religion and other philosophical systems in
its conception. In Bharatanatyam, adavus, that are combined to make pure dance patterns, have
their base in the principle of yoga philosophy.
The Bharatanatyam teacher ought to be guided by this ideology or philosophy of the art form
in order to get full impetus in the training efforts to teach dance. Then the teacher should be
thorough with all the aspects of dance and should never waver from the philosophical
background which is the foundation of Bharatanatyam. With full belief in it she will be able to
pass on this great divine art to future generations in its purity.
3.2 Bharathanatyam Margas or Nruthya banda lakshanas
The dance compositions that we see today can be attributed to the efforts of the Tanjore
Brothers Chinnayya, Ponnayya, Shivanandam and Vadivelu of the 18th century. Before
dance recitals were performed for 6 -7 hours at a stretch, but due to the scientific approach to
the theory and practice of this art form by the brothers, these recitals were reduced to 2-3 hours.
In their awareness that dance primarily required a strong body and a firm mind, they
established a pattern of teaching and performance that recognised that body, mind and intellect
to be the primary props of dance; started with pieces that exercised and warmed up the body
before moving on to more complex pieces.
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Bharatnatyam, the classical Indian dance form is so much more than merely a type of dance.
Ever since its origin thousands of years ago it has also been a powerful medium of
communication too. This is further reinforced when we try to trace the origin and history of
Bharatnatyam. According to the Natya Shastra, the classical work on theatrical art by
Bharata Muni, written in the 2nd century B.C., the very creation of dance was to draw people
away from evil influences. As such its remarkable feature is to create empathy by arousing an
involvement of the audience, which achieves an emotional unity between the performer and
the viewer and the society at large. Bharatnatyam has the distinction of being both devotional
and secular as it traces its roots from the temples and courts to the stages and modern day
arenas.
At the time of performing, it meant performing Alaripu and Jatiswara before moving onto more
expressive pieces. As per classical tradition, the typical pieces of dance woven together to
constitute a full performance follow the order of Alaripu, Jathiswara, Shabdham, Varnam,
Padam, Javali, Shloka and Thillana. Many others have introduced pieces such as Sthuti or
Kauthvam, Devaranama, Ashtapadi and choornika that also add to the beauty of the
programme.
The unique quality of Bharatnatyam is that every minute detail of gesture and movement has
been codified, analysed and preserved in such a manner that it has reached the highest form of
perfection. The dancers act as vehicles to project thematic content and messages to the audience
through a meaningful gesture language which offers an unlimited scope for depiction of any
thought or idea. The nuances of this dance form are considered a language by itself.
The relevance of Bharatnatyam at any point of time is also owing to the fact that the art form
is pliant, pliable and flexible. It is pliant as a theme can be expanded or contracted. It is pliable
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since it is possible to mould an idea with the help of changing gestures and abhinaya. It is
flexible since the theme and gesture can be used in a variety of ways to project the idea, emotion
or story. The Bharatnatyam Margam comprises items which were composed keeping in mind
the attitude of dancers and the social conditions of the particular period when they were
composed. But they always revolved around human emotions, like the nayak- nayika
relations, presence of evil elements in society, prevalence of good over evil, seeking a path
of self-realisation etc. Such emotions are timeless and universal and hence have relevance at
any point of time.
Even dance dramas like the Ramayana and Mahabharata, parts of which are often staged in
Bharatnatyam, interpret meaningful messages on the ways of life. At a time when there is
violence in thought, word and action, Bharatanatyam continues to communicate divine
messages by initiating people into spiritualism, helping them transcend petty emotions.
Bharatnatyam also has the capability to focus on contemporary social issues like female
infanticide, violence against women, religious controversies, oil conservation, AIDS
awareness, emancipation of women etc. to motivate people towards a social transformation. It
uses contemporary poetry, calls for interaction between dancers, musicians and writers. The
Bharatanatyam gurus organise sabhas, lectures, talks, discussions, workshops, festivals to
promote it. Accordingly, innovations are also attempted without losing out on the core
aesthetic values, without a compromise on the quality and grammar of Bharatnatyam.
There are innumerable Bharatnatyam artists spread out not only in the country but in all parts
of the world. They are continuously promoting the dance form through performances, lectures,
seminars and experimental work with other instrumental and performing artists. The Guru-
Shishya Parampara, the strongest living tradition of passing the knowledge, skill and the
art of Bharatanatyam is the most common way of carrying this legacy forward. Generations
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of dancers and Gurus have taken this tradition forward, teaching the classical while adding
their own contemporary essence to it. The response to Bharatnatyam across the globe is
overwhelming. It is the most popular Indian classical dance form and has been accepted
embraced the world over.
The art of Bharatnatyam is almost like a fresh canvas in the hands of each artiste, as popular
as it was centuries ago under the patronage of the kings and as dynamic and evolving that it
keeps millions of aspiring dancers across the globe ever interested in it and allows them to
express themselves through it in their own imaginative ways, making it more distinctive and
relevant be it today or thousands of years later.
Margam means a path or a course followed. It is one full definite course where in dance
items are performed in a traditional order. The items that are included are Pushpanjali,
Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Jaavali Tillana and Shloka or Verse.
A classical Margam is the traditional Bharatanatyam choreography set to Carnatic music,
following a progression of complexity in music, rhythm and expression. It usually begins with
a Pushpanjali – an offering of flowers to the Gods, or an Allaripu and then continues into pure
rhythmic pieces. Facial expression (Abhinaya) is then introduced. The Varnam, is the central
piece of a Margam, a beautiful mix of pure dance (nritta), with intricate footwork, and
Abhinaya. The second half of the performance has expressive pieces like Padams and Javalis,
with the stress laid on Abhinaya. The performance concludes with a lively movement piece, a
Tillana.
Margam is the presentation format of the Bharatanatyam dance form. Through the presentation
it imparts the knowledge of the interminable truth – “All human beings are the limited
manifestation of the Ultimate Being” and suggests that the goal of every single being in the
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world is “reunion of the soul with the Absolute Soul”. The margam suggests a spiritual path.
Through “the elements of marga”, the theme of evolution of the self/spirit on the spiritual
path is put forth. In truly “epical style”, the theme is carried forward. At the outset, the truth
of the human life (alaripu) is put forward, then the zenith that a human being has the
possibilities to reach (varnam) and then the realities of life (padam and jaavali) and ends
expressing the hope to attain or regain the epitome of life (shlokas).
Margam is a concept, a framework, or one can say it is a well-thought-of plan to approach any
Bharatanatyam recital. With the increase of thematic presentations and group productions
(which I think are a great step forward in the future of the art culture), a solo Margam has
become an uncommon experience for audiences specially in the West. It is my hope to continue
to bring this experience to the audience out of India. The Margam is relative and subjective,
flexible enough to incorporate a variety of dance compositions set in the Bharatanatyam
movement vocabulary. A Margam typically consists of an invocatory piece, a central piece,
abhinaya pieces and a culminating piece.
“The traditional order of the Bharatnatyam- alarippu, jatiswaram, shabdam, varnam, padam,
tillana and shloka or verse, is the correct sequence for revealing the spiritual through the
corporeal.”
Today, it is an art form that has stood the test of time while evolving and changing with the
changing social, political and social scenarios. From a purely ritual art confined to the
temples, today it has come to be the most popular classical dance form of India in terms to its
beauty of technique, across caste, class or geographical borders.
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The unique quality of Bharatnatyam is that every minute detail of gesture and movement has
been codified, analysed and preserved in such a manner that it has reached the highest form
of perfection. The dancers act as vehicles to project thematic content and messages to the
audience through a meaningful gesture language which offers an unlimited scope for
depiction of any thought or idea. The nuances of this dance form are considered a language
by itself.
3.2 PUSHPANJALI
Since Indian Dance was performed in the temples, therefore as a ritual the dancer would begin
by offering flowers to God. Hence the name Pushpanjali- offering of flowers. The dancer pays
her obeisance to the Ashtadikpălas, that is, the Guardians of the eight directions, the Guru and
the audience. Later when dance no longer remained confined in the Temples and stepped out
to be developed as an exclusive presentation, then some of the ritualistic compositions got lost.
Perhaps that is the reason items like Pushpanjali and Kautukams are not being included in the
Tanjore Quartette Format and instead we have Alărippu as the invocatory item. But again, these
items are being performed in today’s recitals as they bring variety to the programme and also
because flowers are symbolic of the pure mind.
3.3 ALARIPU
The opening piece performed in a Bharatanatyam recital is Alaripu. This is a piece of nritta-
(The meaning of Nritta, pure dance, is using the God-given body and limbs we create as many
forms of beauty as possible through the flow of poses and movements connected by rhythm
and music. Beauty and the inner joy of dance is the only meaning of Nritta. It doesn’t have any
particular mood or sentiment.) a beautiful set of body movements – which means the
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blossoming of the soul and the body, compared to a flower. It is the best performance of the
utterance of Vedic syllables and rhythm of the Mridangam. Alaripu is a simple salutation to
gods, gurus, elders and the audience. The interesting fact is that the word “Alaripu” doesn’t
occur in the NatyaShastra. (In later treaties like Bharatha Saarasangraha and Shradhananda
Prakasha, the word Alaari occurs).
The Alarippu movements begin with the eyes and neck and move progressively downwards.
This is essentially a dance dedicating each part of the body before commencing the actual
program. Alarippu conveys happiness.
“ Nanadanti anena devata - iti naandi ”
That which makes the deva happy- is naan. Hence the Alarippu is like the naandi sloka. Since
this is dedicatory dance, it has to be simple, setting the stage for the more complicated dance
to follow.'
The presentation can also begin with a rhythmic invocation (Vandana) called Alaripu. It is a
pure dance, which combines a thank you and benediction for blessings from the gods and
goddesses, the guru and the gathered performance team. It also serves as a preliminary warm-
up dance, without melody, to enable the dancer to loosen their body, and journey away from
distractions and towards single-minded focus.
The word ‘Alaari’ appeared to be transformed into Alaripu, Alarippu, Alaaripu, Alarupaand so
on. ‘Alar’ is said to mean ‘Flower’ and ‘Ipu’ is said to mean ‘to blossom’.
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Alaripu follows a simple rhythm using the most basic combination of beats with which a
performer is initiated into dance, like thaa, thai, dhithai, kitathaka and so on. In current practice,
Alaripu is danced to five types of beats mainly Trishra, Chaturashra, khanda, Mishra, and
sankeerna jaathis. Different Alaripu can be composed with 5 beats categorised under 7 taalas
so therefore 35 types of alaripu can be performed. The movements of the neck, Shoulder and
arms are introduced with great charm with Anjali hasta to indicate salutation. Then the torso
and finally legs and feet involve all progressively, traced lines and angles with the
communication of the body. This dance piece is divided into 4 parts which are performed, that
is in standing position, sitting position (Ukkaru mandi), and a mixture of complicated adavus
and muktayas respectively. Each part is performed in 3 tempos in ascending order. Alripu,
which is said to be equivalent to shanti mantra, is not merely the movements of limbs, but it is
a complete surrender to the gods, the rangapeetha and the Acharya and the audience.
3.4 JATISWARA
This is a pure Nritta item set to tune (ragam) in particular rhythm (thalam). Jathiswasram
includes Jathi (shollukattu), Pallavi, Anupallavi and one or more Charanas. There are no
Sahitya passages, the whole composition is sung by swaras.
It is the second piece of a dance concert. Here, instead of a sound syllabus, there are musical
notes which have only swara composition. The notes weave melody-conforming lines,
synchronizing with this flavour the dancer establishes with the patterned sequences. These are
composed by configuring of Bharathanatyam, the jatiswara involves much exertion. Therefore,
the dance pattern is invariably conditioned by the nature of the Swara. It is observed that in the
first portion, there is a general synchronisation of the dancer’s movement Melody line which
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involves 3 to 4 jaatis (compositions of different sholkattus), later portion is the synchronisation
of the movements of the dancers with these swaras of the melodic line.
It provides an opportunity for presenting improvisation both in terms of adavu sequence and
rhythmic patterns. It consists of charanas and this part proceeds at a fast tempo. Of the great
personalities who have composed jatiswara to match a variety of melodies and beats are the
Thanjavur brothers, Dandayudapani pillai, Swathi Tirunal Maharaj and Lalgudi G Jayaraman.
3.5 SHABDHAM
It is the third presentation in a dance programme. This is an introduction to nrityam where the
movements of the body are accompanied by expressions of moods and feelings. for the first
time, words of Sahitya and the abhinaya or gestural expression for that are introduced. Lines
of lyrics and rhythmic syllables (jatis) alternate in shabdam. Thus, both abhinaya, as well as
the nritta, is found here. Shabdam means words of praise, hence a Shabnam is a piece in
which the deity/God or the king are praised for their deeds, glory, generosity and qualities.
The purpose of Shabdam is to display a range of expressions towards which end various
scenarios are imagined and depicted. This is the moment when the expression is introduced
into the programme of dance. The songs are generally adoration by a divinity. The end
sequences of this short number are of pure dance and serve as a bridge between pure nritta and
Sahitya.
The word Shabdam in Sanskrit means to praise. Shabdams usually ended with the word
‘salaamure’, that is, a salutation, hence they were also called as salaamus. It may be regarded
as a prelude to the padavarnam, the most intricate presentation. The lyrics can be diverse,
ranging from the description of gods and goddesses to the separation of lovers, the exhibition
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of wilfulness, the communication of anger and so on. Shabdam is also called Yashogeeta or
Varnanaageetha. In olden days Shabdam were composed in Kamboji raaga and a few in
ragamaalikaa. Usually in Shabnam nayaka will be Krishna Shiva or Murugan whereas nayike
is virahodkhandita. It is believed that most of the Shabdam compositions of old were in Telugu.
3.6 VARNAM
This is the crowning piece of Bharatanatyam, after having introduced substantially which is
most intricate and complex. It is the longest piece and contains alternating and increasingly
exciting passages of abstract dance that is it begins by presenting gigantic cadences of
Teermanas (Jathis) are woven in three tempos making the dance composition highly elaborate.
Varnam is the most enthralling, interesting and challenging item in a Bharatanatyam recital. It
is a piece-de-resistance where the expertise of the dancer is known. There is a perfect
synchronisation of Bhava, Raaga and Taala, thus giving the dancer abundant scope for
displaying her rhythmic talents along with rich and variegated abhinaya. It is also a measure of
one of the ‘Dashapraanas’ (the 10 vital characteristics of a good dancer), that is
‘ashrama'(endurance) since it is the longest and the most demanding item where the dancer
uses her feet dancing to the Adavu-Jatis, the hands and the hastaas indicating the meaning of
the song, while the feeling (inner emotion) is portrayed by the saatvika abhinaya through subtle
facial expressions.
Varnam is nearly 45 minutes to one-hour long item and creates an impression of beauty,
grandeur and profundity while depicting the changing moods of love for the hero who is a God.
The mood is of Shringaara Bhakti- the worship through love.
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The music is comparatively in slow tempo and gives full scope to intricate sparkling rhythmic
passage. Each one should have a very intimate relationship with the melody line and with one
other. Romance is the dominant element in this piece although there are also compositions
related to compassion, parental love and love for the divine.
The architectonic structure of the varnam results from this many levelled layers of the musical
theme building up the whole into an imposing climax. The varnam is the crest. The lines of
Sahitya are repeated with abhinaya, ending after each line with a phrase which is repeated many
times. The second part of varnam is consist of charanam and ettugade swaras as well as Sahitya
(lyrics).
The performer concentrates on expression tied up with musical nuances. Here in varnam,
virahodkhandita is a usual heroine who depots lovesick conditions in the most touching way.
Varnam is that presentation of dance which takes the artist to the peak of concentration and
divinity. There are four subcategories in it depending on the musical score which
are Chowkavarnam, Taanavarnam, Padavarnam, and Swarajati varnam.
The Tanjore brothers, Paapanasham Shivam, Muthuswami Dikshitar, Dandhayudhapaani
Pillai, Mysore Sada shiva Rao and others are those whose compositions are much in use.
Padavarnams have been composed mainly in Tamil, Telugu, Kannada and Sanskrit. varnam
brings out vividly the dancer's prowess, capacity for expression, the standard of proficiency,
stamina preceptors and practitioners and dance lovers recognise how it is a blend of difficult
and complex movements, moods, expressions and emotions therefore blissful it can master this
art.
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3.7 PADAM
A period of relaxation after the tiring item which is on the theme of love and is treated with
dignity and restraint. The low is divine, not human, but it has all the passionate colours of the
relationship between a man and a woman depicting mostly the sringara.
Hear in terms of tradition, the dancer presents a type of heroine in the state of expectancy of
separation or union. Fart a befitting presentation it demons certain majority both in techniques
understand. In Padam, Sakhi friend is given prime importance, the gurus sthana.
Some of the greatest writers and saints musicians of South India like Annamacharya, Gaana
Krishna Iyer, Kshetragna, and Saarangapaani how been decomposers of solicited padams.
These Padams are explicitly mostly in Natyadharma. 3 categories of padams having described:
1. Shringara Padam- Those centered around Shringara Rasa of romance depicting men-
women's relationships (nayaka and nayika)
2. Bhakti Padam- Those centered around Bhakti Rasa devotion of diety which is possible to
be performed by trained dancers of any age or experience level.
3. Sanchari Padam- Those that are of descriptive content and contents may range from the
beauty of God to the description of nature or of a situation and which a story is placed.
3.8 JAAVALI
This word is set to have originated in the 15th century from the Kannada word 'Chaavadi' which
refers to a public space where common people gather. Jaavalis are captivating compositions
replete with the mode of romance. The lyrics are simple and light-hearted rather than scholarly
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and the tempo can range from medium to fast the characters portrayed are common rather than
aristocratic. Although Jaavali originated in Karnataka and the early compositions were in the
Kannada language from the 19th century onwards, jaavali has been composed in other
languages also.
3.9 KRITI
Kriti is a format of musical composition typical Carnatic music.
Kriti forms the mental backbone of any typical Carnatic music concert and is the longer format
of Carnatic song. 'Kriti' also means creation Restraining pallavi, anupallavi and charanas
(Sometimes only samashti charana), Kritis behold the moral values literature description of the
lord and his praise in it. There are created numerous varieties within this form often with
innovation in contrasting speeds, gaits (gathis), and lyrical variation (Sahitya sangathis)
sectional partitioning and singular blending of rhythmic syllables and lyrics. Kritis is sung in
both Vilamba and Madhyama kaala according to the composition.
Some have a verse between anupallavi and the charanam called chitteswaram. This verse
consists only of notes and has no words usually the main element or the meaning of last part
of the first charana follows the anupallavi rest of the chanaras follows dhatu of the first charana.
In few kritis, anupallavi and the last part of the charana will be in madhyama kaala whereas in
the other few kritis it will be sung as in pallavi. The main element (dhatu) of anupallavi will
not be repeated in Muttuswamy Deekshitar's and Oottukad Venkatasubbayyar's compositions.
His feel compositions contain only pallavi and anupallavi. Anupallavi itself holds the materials
of charana which are called as"Samashti Charana".
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The charanam's last light usually contains the composer's signature or mudra called as Ankita
naama with which the composers leave their mark. It is Tyagaraja, Muttuswamy Deekshitar,
Shyama Shastri (Trimurty) and other Vaggeyakaras who have given lustre to the form of kriti
by composing it in different ragas making significant work today world of music.
3.10 DEVARANAMA
Devaranama deals with the glories of God. Devotional songs written by Haridas are known as
'Devaranama' or 'Dasarapadagalu' or even 'keerthanas'. In devaranama bhakti, the chief rasa
act as Sthayibhava through the lyrics coined with other Rasas. Sahityam narrates stories from
Puranas thus the basic bhava of keertana or bhakti. These carry moral values in them from the
Vedas mythology and Upanishad. In Dasarapada Bhakti holds the path of virukti. i.e., all the
Worldly pleasures are sacrificed and one craves at the Lotus feet of the lord praising him. The
Saint poets emphasize the prominence of simple and direct roots for salvation through these
devaranamas.
Purandara dasa, Kanakadasa, Vyasaraya Shripadaraja, Vijayadasa, Vaadiraja, Raghavendra
Swamy, Jagannathadasa and others are some of the well-known Daasavarenyas. To add colour
to the dance recital devaranama is being presented today.
3.11 SHLOKA
Shloka is a poetic form used in Sanskrit in its usual form, it consists of four or quarter verses
of 8 syllables each or according to an alternative analysis of two half verses of 16 syllables
each. The metre is similar to the vedic Anushtan metre but with stricter rules.
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The Shloka is the basis for Indian Epic verse and may be considered the Indian verse form par
excellence occurring as it does far more frequently than any other metre in classical Sanskrit
poetic. The sloka is the verse form generally used in the Bhagavadgita, the Mahabharata,
the Ramayana, the Puranas, the smritis, and scientific treatises of Hinduism such
as Sushruta Samhita and Charaka Samhita.
A reason for the name sloka is that Maharshi Valmiki who wrote the Ramayana once
observed a pair of birds singing to each other in a tree. A hunter came by and shot the male.
On seeing the sorrow (shoka) of the widowed bird, he was reminded of the sorrow Sita felt on
being separated from Sri Rama and began composing Ramayana in slokas. For this, he is called
the Adikavi(first poet). we can see slokas that are Varnana shlokas (descriptive), Bhakti
shlokas (praising), and Sanchari slokas (elaboration).
3.12 THILLANA
The concluding piece with a brilliant fantasy of abstract dance studded with the vibrant
scintillating passage of movement and rhythm. Tillana is a nritta item comprising beautiful and
graceful pure dance steps along with several alluringly sculpturesque poses and varied patterns
of movements.
Each adavu is executed in Vilambit (slow), Madhya (medium) and Dhrut kaala (fast speed)
with a meticulous combination of the adavus, resulting in scintillating teermaanams. It ends in
Dhruta kaala, thus impressing and spell bounding the audience.
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This is also sung at the closure of the music concert. The statuesque dance style is more
dominant as it is in the tillana. It is a brisk composition of joy and energy that brings the focus
back to body movements from the realm of moods and facial expressions. The dancer reaches
a degree of plasticity and fluidity of movement that she attempts to reinforce all that she
rendered in her recital in a purely abstract number. All postures leg extensions, pirouettes and
designs are simply inexplicable. Most dance recitals of Bharatanatyam end here usually
walking God in peaceful and Calm moods. It is said to have originated from a Desi
Prabandha called Tiritillana and acquired the name tillana by Hindustani
style Tarana. Although largely syllabic at the end it may contain brief lyrics in praise of God
or king or a reference to its composer.
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4. Statue of Nataraja, It’s Classical and Philosophical Features
As the world itself suggest, Nataraja is the lord of dance, the superior Dancer. The dancer, the
usual icon that we see came to form in the 10Th century A.D when the Chola dynasty gained
prosperity. No other idol in the world is equal to grace and posture. It is not an exaggeration
that it is a meaningful icon in motion. All artists believe it to be an exquisite art piece according
to sculpture art. There is a unique meaning and description for the concept of each and every
part of the Nataraja idol. This posture of Nataraja is called NADANTA NRITYA or ANANDA
TANDAVA. Nataraja also known as Adalvallaan is a depiction of the Hindu God Shiva as
the divine cosmic dancer.
In the Nataraja sculpture, Shiva is shown as the source of all movement within the cosmos and
as the god whose doomsday dance, represented by the arch of flames, accompanies the
dissolution of the universe at the end of an aeon. His dance of creation is said to have been
performed in Chidambaram (an important Shaiva centre in South India), a place that is
identified with both the centre of the universe and the human heart. The gestures of the dance
represent Shiva’s five activities(panchakriya): creation (symbolized by the drum), protection
(by the “fear-not” pose of the hand), destruction (by the fire), embodiment (by the foot planted
on the ground), and release (by the foot held aloft).
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4.1 The Dance of Shiva
The world identifies Indian dance as the DANCE OF SHIVA. The multitudinous facets of the
format incorporate a strong foothold to explore the infinite nature of time and space. “Laya is
self-absorption and dissolution-Shiva Vyapti/ fusion with Shiva through the path shown by
Shakti, energized in the yantra of body-mind-spirit. A Contemplative discipline and an art
process are connected”. Sound waves unite with energy and rhythm is tapped. When this
rhythm is kept as the basic quality of an enterprise, one can imagine the extent to which it can
expand and create endlessly. It is the sound as the energy that consents to go from word to
word, from thought to thought. It is the first moment of will, the initial motion of the spirit,
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which is presupposed by consciousness. There are many who recognize the fact that the ancient
Rishis might have possessed knowledge of Spanda, this mysterious energy and absorbed,
transmitted and utilized it with astounding results. What perplexes the modern investigators is
that it seems to defy the well-known material sciences or physical laws. It is neither electrical
nor electromagnetic and appears to exhibit certain characteristics of consciousness. It is this
consciousness that speaks to the great mystics in deep meditation. “Scientists have taken the
pattern of the DNA molecule as being the instrument that guides life along certain directions;
they have missed the underlying principle behind the DNA molecule itself, i.e.-consciousness”.
Spiritual significance:
The Cholas believed Chidambaram was the earthly home of shiva and the sacred place where
he performed the ‘Dance of bliss’ (Ananda Tandava). The central religious story behind
Nataraja takes place in the Tillai forest of Chidambaram, described in the songs of 17th-century
poet-saints as the setting for a variety of divine and demonic activities. Shiva came to the forest
in the form of Bhikshtana, a wandering beggar to trick and humiliate the sages who neglected
proper worship. In the battle that ensures, the sages send creatures such as demon Apasmara
and a snake, to attack him, shiva dramatically defeated these malevolent forces and performs
his victory ‘Dance of bliss’.
The idol, sculpture and picture of Nataraja, which is famous throughout the world today
achieved canonical form in bronze sculpture. The Chola’s Nataraja is often considered to be
the quintessential statement of Indian sculpture, incomparable in its merging of symbol and
form to fulfil his complementing roles, Shiva holds various attributes. Here is the symbolism
and meaning hidden in the Nataraja Idol.
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The description is as follows,
The idol of Nataraja is subjected to a geometrical diagram of a hexagon. The body is placed in
the centre, upper hands cover the three triangles at the top. While kunchitha pada is stepped on
the Apasmara occupies the down most triangles, the other lifted leg and the garment spread
while dancing occupies the other two corners. These fixed corners are restrained inside the
aureole, a circular blaze of fire.
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Lord Shiva is in matted hair (Jatadhaari). Hairs are spread over on both the sides. Ganga and
crescent moon are lusturing on the head. Matted hair (jate) is decorated with peacock feathers.
These are three eyes on the smileful face. While two eyes signify lord Surya and Chandra, the
third eyes blaze with fire. The right ear is decorated with makara kundala and the left with ear
stud and patrakundala worn by women, the snake is swaying around his neck.
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Lord Shiva is attired with Yagnopaveetha and tiger skin around the waist. Garment tied
around his waist is flying over to the wind. Lord shiva has stepped upon Apasmara by his right
kunchitha pada. In his two backhands, he has fire in his left and damaru in his right hand, the
front left hand is in lathahasta indicating his lifted feet. The right hand indicates protection.
jingles are tied over his leg. Lord Shiva is dancing upon the back of Apasmara who is on the
lotus seat the fire blaze of the aureole, starts from the lotus seat encircling the whole idol and
finally ends in the same lotus seat.
The spread matted hair reflects the vigour of his dancing. Lord Chandra on his head reflects
his beauty i.e., signs of immortals. Goddess Ganga flowing down from his jate is the symbol
of perpetuity. Though the 3rd eye is the symbol of knowledge, lord shiva can burn the entire
thing.
Damaru in his back right hand is an example of creation and it is the first ever instrument that
created sound. The back left hand in ardhachandra has a fire blaze in it. The principle denotes
lord shiva as a destroyer. Gaja hasta as front left hand is brought down on Muyyalaga. The
hand that indicates the lifted leg denotes seeking the protection of lord shiva and the right front
hand in the Abhaya mudra (pathaka) gives assurance of giving protection.
Lord shiva in kunchitha pada has to break down and stamped the back of Apasmara or
Muyyalaga the one who is upholding the thamasu (darkness) and ajnana (ignorance) left leg
in Bhujangatrasitha Bhangi is lifted up. Aureola encircling the entire statue of lord shiva
from the base is called ‘Tiruvashi’. This indicates the constant motion of nature lord shiva
dances enduring being the key man of this motion is the viewpoint.
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Ananda Tandava indicates lord shiva’s panchkriyas.
1) Shrishti – means creation of life
2) Sthiti – protection.
3) Samhara – destruction
4) Thirobhava and Anugraha – purity and blessings
5) Moksha – salvation
Everything is a philosophical imagination of this statue. Lord shiva continuously stays and
dances in the heart of people those who surrender themselves to the almighty.
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5. Philosophical values in Chaturvida Abhinaya
Abhinaya (sanskrit Abhi – ‘towards’ + Nii- ‘leading/guide’) is the art of expression in Indian
aesthetic. In bharatanatyam equal importance is given to Abhinaya and Adavu. Feelings are
expressed through this medium. It is an entertainment for mind and soul through Abhinaya.
When the verb ‘NI’ is added to a pronoun ‘ABHI’, it is Abhinaya.
More accurately it means "leading an audience towards" the experience (bhava) of a sentiment
(rasa). The concept, derived from Bharatha Muni's Natyashastra, is used as an integral part of
all Indian classical dance styles. Abhinaya can be divided into four, according to the
Natyashastra.
“Angikam Bhavanam yasya Vachikam sarva vangmayam
Aharyam Chandra taradi Tam vande satvikam Shivam”
Meaning; To whom this world is Angika, to home all the sounds is Vachika, sun and the
moon are Aharya; I salute such Lord Shiva who is of the Sathvika form.
Nandikeshwara in his abhinaya darpana has attributed these four abhinayas in lord Shiva. The
whole universe being your angika (bodily movement) has movement. Each and every sound
being your language are vachika(speech). Sun and moon adore on you with luster as
Aharya(costume). I salute the lord Shiva who is glowing with virtuous character (satvika).
Like this nandikeshwara begins his abhinaya darpana by saluting the divine deity of dance
"Lord Shiva". Hence the four abhinayas are recalled by every scholar.
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WHAT IS ABHINAYA?
"Abhi" means front, "Naya" means carrying it. Delivering the inner most feelings to the
spectator in a meaningful way is abhinaya. Four types of abhinaya are said in dance.
1) Angika : Movement by anga or the whole body
2) Vachika : Use of speech
3) Aharya : Costume and Makeup That suits a particular character.
4) Satvika : Abhimaya according to the feelings.
5.1 ANGIKAABHINAYA
“Angikonga angai nidarshitaha
Angikonga pratyangopanga bheda trida smritaha”
This is said by nandikeshwara. A moment conceived by bodyly movements in angika. These
are presented by three main parts of the body such as Anga, Pratyang, Upanga.
Angika Abhinaya denotes the movements of Angas, Pratyanga, Upangas. Additional hastas
(hand gestures) have always played a significant role in conveyance of the emotion and through
of a soul. Many of the natural gestures are found common to mankind and their meaning easily
understood.
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a) Angas (six major parts of the body)
“Anganyatro shiro hastan vakshaha parshvo katithataha
Padhavithi shadukthani greevamapyapare jaguhu”
Angas are hand, chest, waist rips and legs. Some also include neck us Anga.
b) Pratyanga (six sub organs)
“Pratyangani tatha skandhau baahu prushta tathodharam
Uru janghedityahurapare mani bandhakau
Jaanuneekurparamiti trayamapyadhikam jaguhu”
Enter range of shoulders hand back stomach thigh ankle and also wrist are added.
c) Upanga (all small organs)
“Drushti bru puto taraashcha kapolau naasikaahanuhu
Adaroashanna jihva chubukam vadanam tatha
Upaangani dwadashai taanyanyangaani santicha
Pathnigalbau tatham gulyha karayohu padtosthle”
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Eyes, Eyebrows, Eyeball, cheek, nose, chin, lips, teeth, tongue, white part of the eye, these are
the 12 upangas of the head. Other than these heels those of the hands and legs and also other
small organs or part of the body are considered to be upangas.
“Anganam chalana devam pratyangopangoyorapi”
Meaning: movements of pratyangira and upanga are inevitable when one particular anger is in
motion other parts are also in movement. Movement is inseparable by shaking of Angas.
5.2 VAACHIKAABHINAYA
“Vaacha viravhitaha kavya Natakadishu vachikaha”
Meaningful sounds or words used in the background of dance are known as vachika. It is
impossible for dance without speech from background. It can be prose or poetry. It is also
purely composed according to Raaga, Taala, grammar and Metrical other than Sanskrit alone
vachika can be used in other regional languages. Poetries are mainly based on shringara,
vaatsalya (affection) and bhakti. These are situations in yakshagana, kuchipudi and other dance
dramas where characters or dancers talk or deliver dialogues. But this is limited in
bharatanatyam and other classical forms for background music only.
Speech is used in drama and also in music when the singer expresses the emotion through his
or her singing. In the kuchipudi and Melattur style of Indian classical dance the dancers often
mouth the words of the songs (Padartha Abhinaya). Kerala still has stage art forms that have
Vachika Abhinaya as a dominant component - Koodiyattam, Nangyar Kooothu, Ottan,
Seetangan & Parayan
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5.3 AHARYABHINAYA
“Aharyo Hara keyoora veshabiralan kruthihi”
In one aspect, Aharyabhinaya is different from all other abhinayas. Angika vachika and satvika
all are under control of the dancer. Though the dancer has to learn the bodily movements,
languages, inner feelings, etc., Bringing our practically depends upon himself under his own
control. But such as makeup costume and other tools are outer aspects.
Another means of representation of the play is indeed the costumes and physical decorations
of the actors and the theatre. In dramas and dance dramas, costume and making are
distinguished by the race, sect or class, or the social position of the characters, giving the
production of the presentation some semblance of reality. The decorations of the stage theatre
including lights and accessories are related to the scene of the depiction in which enhances the
rasa between the audience and artists also comes under this category.
Specially of our Indian classical dancers is that each dance has its own different makeup, stage
decoration, green room (backstage) etc.,
Example Kathakali costume and makeup is very unique compared to all other dances. Balanced
sound and light system, stage back drops are very necessary along with a dancer for the success
of any dance concert. All these comes under Aharyabhinaya.
45
Bharata in his Natyashastra has mentioned four types of Nepathya (green room)
1) Pushta : Stage decoration (Back drops, settings)
2) Alankara : Garland, jewels, costume, etc.,
3) Anga Rachana : color makeup according to the character.
4) Sanjeeva : Bringing living animals or birds on to the stage.
In dance dramas costume ornaments and makeup according to the character is very important.
5.4 SATVIKABHINAYA
“Satvika satvikairbhavavairbhavangeshcha Nidarshitaha”
Sath means - the essence of mind. Mind is the reason for all emotions. Spouting out or
emerging of emotions from mind is all about SATVIKABHINAYA. Angika, Vachika and
Aharabhinaya give support to Satvikabhinaya. Otherwise, it isn’t called abhinaya. It is from
this satvikabhinaya. Rasa is caused in the mind of audience through emerging of emotions.
Satvika Abhinaya is the mental message, emotion or image communicated with the audience
through the performer's own inner emotions. The dancer or actor has to use experience,
something authentic, to capture the audience and to elicit an empathetic response. The human
activity in other words, is traditionally classified as belonging to the mind, voice and body.
Bharatha Muni in Natyashastra mentioned that satva is something originated in mind.
Another example of Nandikeshwara can be recalled.
46
“Yatho hasta sthato Drushti Yatho Drushti sthato Manaha
Yatho Manaha sthato Bhava Yatho Bhava sthato Rasaha”
(Vision on hastas, concentration on vision, Bhabha or dedication on mind and where there is
Bhabha, their lays the RASA - is the inner meaning of the sloka)
When essence of mind (satva) is powerful or strong, Abhinaya is also considered to be excellent
or classic. Abhinaya without Satva is inferior.
‘Satva is not a thing to be seen with an eye. It is always felt by the heart’.
“Sthambhaha swedambuhu Romanchaha Swara Bhango Athvepathuhu
Vaivarnya Mashru Pralaya Ethyashtau satvikaha smruthaha”
Stambha (Motionless), sweating, goosebumps, change of voice, shivering, crying, fainting,
unconsciousness are the eight types of natural emotions in satva according to Nandikeshwara.
These are the bodily changes, using speech, facial expressions etc., according to feeling and
bringing out the inner essence of a poet to forefront in all about emotions or Bhava.
47
6. Philosophical values in Navarasa
Rasa is about human state of mind. It’s about what the mind feels and the expression of the
feeling thereafter. In the Natyashastra, Rasa is an emotion experienced by the audience created
by the facial expression or the Bhava of the actor. In Indian classical dance it is referred to as
Rasa-abhinaya.
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Philosophical Values in Bharatanatyam

2 Philosophical values in Bharatanatyam

3 Philosophical values in Marga paddhati

4 The Statue of Nataraja, its classical and philosophical features

5 Philosophical values in Chaturvida Abhinaya

6 Philosophical values in Navarasa

aim is to deepen understanding.

content, method, aims, and hopes.

“Pranamya Sirasa Devou Pitamaha Maheswar aha

Natya Sastram Pravakshyami Brahmanaaya Dhutahrutham”

and Maheshwara (Lord Nataraja), the creator of dance.

Bharatanatyam, a pre-eminent Indian classical dance. It is a form of physical expression that

health benefits as yoga.

1.3 Dance and Philosophy

“Dance is the hidden language of the soul”

- Maratha Graham, the legendary American dancer, and choreographer.

The purpose of work is to study the philosophical values of –

➢ Philosophical values in Marga paddhati

➢ Statue of Nataraja, it’s classical and philosophical features

➢ Philosophical values in chaturvida Abhinaya

➢ Philosophical values in Navarasa

“Geetham avadhareya, Nruthyam avadhareya, Vaadyam avadhareya”

2. Philosophical values in Bharatanatyam

2.1 Origin and History

could be accessible to all classes of society.

“Evam sankalpya Bhagavan sarvavedaananusmaran

Naatyavedam tatshchakre chaturvedanga sambhavam |

Jagraaha patyamrigvedaat saamebhyo gaathamevacha

“Samavakara” the story of Amrutha-manthana in Indra Dhvajamaha festival to celebrate

the victory of Indra.

the Gandharvas and Apsaras. These are a few instances to list.

Chera, Satavahana, Pallava, Kadamba, Ganga, Chalukya, Rashtrakuta, Kakatiya, Vijayanagar,

• Literature like Shilappadikaram, Manimekalai, Prahasanam, Kootanool, Isai

• Outstanding wonders like temples-Kailasanathar temple, Brihadeshwara temple,

Chidambaram temple, Kanchi temple, Vaikuntaperumal temple, Badami-Ihole-

pattukalu cave temples, Ellora-elephant cave temples, Belur-Halebidu temples etc.,

• Other inspirations – wall paintings, Sculptures of various dance movements and

1.4 Dance in Daily life

is a form of the healing process, as a person gains a sense of control through

• Possession by the spiritual in dance

consciousness or physical capabilities

• Confronting stressors to work through

control and a healthier brain.

clustered in Bharatanatyam has its effects on dancers physically, emotionally, psychologically,

self-expression. It is a symbol of happiness in the highest emotional enchantment. Dance

cultures) they achieved classical status, in a traditional frame of references.

great Hindu epics and of myths.

noble character and wisdom above all.

submerged through digitization, are identified by researchers and artists.

2.2 The religio-philosophic background and placement of Bharatanatyam

presentation. Explanation for the phenomena of rasa-experience in Indian classical performing

arts has been investigated in the systems of Hindu philosophy.

established on a contemporary subjectivity and on the spectator’s agency and communication.

that Bharatanatyam as a dance contributing to a logical, artistic, emotional, and spiritual

spiritual path, from a routine mundane plane to divine dimensions.

classical and cultural heritage.

of eminence and fundamental importance. “Geetham avadhareya, vaadyam Avadhareya,

position in the society.

power, Tolerance, Positive attitude and smiling face, graceful gait.

social rules. It enhances our knowledge towards

➢ God, Dharma and mythology.

➢ Religion, language and culture.

➢ Belief in divinity, being and doing it.