ORIGIAN,EVOLUTION
What we know
as Bharatanatyam today springs from Sadir
Natyam, also known by names like Dasi Attam, Chinna Melam, or simply, Sadir. The term Sadir began with the Maratha rulers of South India in the
17th century, who called the dance Sadir
Nautch. This corresponds to the presentation of the dance in the courts. A
more exalted(uttch) role of the
dance is evoked(ahvan karna) by the
name Dasi Attam, the dance of the devadasis as a part of temple worship. A devadasi, whose name means servant (dasi) of divinity (deva), was an artist dedicated to the services of a
temple. The dance of the devadasi was integral to the ritual (rivas)worship. Devadasi families
specialized in the arts of music and dance, and with the nattuvanars (dance masters), they maintained these traditions from
generation to generation, supported by royal patronage.
Bharatanatyam is a 20th century reconstruction of Cathir. Cathir, the art of temple dancers, is derived from ancient forms of dance. Bharatanatyam traces its origins to the Natya Shastra, the principal work of dramatic theory encompassing dance and music in classical India. In ancient times it was performed by mandir devadasis. Many ancient sculptures in Hindu temples are based on the bharatanatyam dance postures known as karanas. Apsaras in many scriptures are depicted as dancing the heavenly version of what is known as bharatanatyam. It is a dance form that is deeply ground in bhakti, or devotion and is considered to be a fire dance. The movements of an authentic bharatanatyam dancer resemble the movements of a dancing flame.
Bharatnatyam has
developed in the South and gradually was restricted to what is now known as Tamil Nadu. It is
evident from chronicles that the
Chola and the Pallava kings were great patrons of the arts. Rajaraja
Chola maintained dancers in the
temples in his kingdom. The tradition of the Natyashastra is
widespread. The origin and tradition of Bharatnatyam is appealing and
enlightening. This dance form was nurtured in the temple by the Devadasis (servants
of the God). It was taken to the courts
and the Chola and the Pallava kings were believed to be the great patrons of
this art. The contributions of the South Indian saint-poets and musicians
cannot be ignored. Bhakti princely or devotional cult was infused into the tradition by
these poets. The literary content of Bharatnatyam was provided by them and
their musical compositions determined the repertoire of this dance form. The solo or the sadir nritya is the direct descendant of this tradition. Besides the rich history of
Bharatnatyam, another mythological
is also attached to the origin of this dance. It is believed that Goddess
Parvati taught this dance form to Usha, daughter of Banasura, a demon.
Usha taught the same to the Gopikas of the city of Dwaraka, birth place of Lord Krishna. This is how the spiritual
dance form Bharatnatyam was introduced to the mankind.
Bharatanatyam is a 20th century reconstruction of Cathir. Cathir, the art of temple dancers, is derived from ancient forms of dance. Bharatanatyam traces its origins to the Natya Shastra, the principal work of dramatic theory encompassing dance and music in classical India. In ancient times it was performed by mandir devadasis. Many ancient sculptures in Hindu temples are based on the bharatanatyam dance postures known as karanas. Apsaras in many scriptures are depicted as dancing the heavenly version of what is known as bharatanatyam. It is a dance form that is deeply ground in bhakti, or devotion and is considered to be a fire dance. The movements of an authentic bharatanatyam dancer resemble the movements of a dancing flame.
Sculptural and literary evidence indicates that
dances of the Bharatanatyam form, that is, based on the Natya Shastra, were used in temple wors
hip throughout India. This original classical dance tradition deteriorated in the North due to repeated foreign invasions, and mixed dance forms replaced it. Fortunately, the dance tradition survived in South India, where it continued to be patronized by kings and maintained by the devadasi system.
hip throughout India. This original classical dance tradition deteriorated in the North due to repeated foreign invasions, and mixed dance forms replaced it. Fortunately, the dance tradition survived in South India, where it continued to be patronized by kings and maintained by the devadasi system.
This is not to say that the tradition of
Bharatanatyam was static from the time of the Natya Shastra through the last century. It did evolve and there were
regional variations in elements of the dance. An important milestone in this
evolution was the development of the current format of the Bharatanatyam
recital. This happened in the late 18th century, at the hands of four brothers
known as the Thanjavur quartet. They were the four sons of the nattuvanar Subbarayan: Chinnayya, Ponnayya, Vadivelu, and
Sivanandam. They also refined the music of Bharatanatyam, influenced no doubt
by their musical mentor, the great composer Muthuswamy Dikshitar. These
developments shaped SADIR into precursor of what we call “BHARATANATYAM”
today.
Under British rule, propaganda prevailed
against Indian art, misrepresenting it as crude, immoral, and inferior to the
concepts of Western civilization. This influence was pervasive enough to
dissuade the patronage of royal courts for ritual temple dances, and to
alienate educated Indians from their traditions. The devadasi system declined. Most were forced to seek the
patronage of ordinary wealthy people, becoming mere dasis, and in some cases prostitutes. This in turn
diminished the reputation of the devadasis as a community. Even the terms by which the dance was
known – Sadir, Nautch, Dasi Attam, and so on – took on derogatory connotations. In the late 19th and
early 20th centuries, social reformers under Western influence took advantage
of these circumstances, launching an anti-nautch compaign to eradicate not only
the prostitution that had come to be
associated with devadasis but art
itself, condemning it as a social evil. By the first quarter of the 20th
century, the classical dance of South India was almost wiped out, even in Tamil
Nadu.
DEVELOPMENT OF BHARATNATYAM
The advent of a new era and the continuous experiment in the performing art form acted as a foundation for the recent development in Bharatnatyam. The dance form went through various assessments to gain the present shape. Bharatnatyam Dance has a rich legend to share that acted as a sustaining cause for its prominence. The dance form was codified(sanhitabad) and documented as a performing art in the 19th century by four brothers who were called the Tanjore Quartet. Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during King Sarabojis introduced Bharatnatyam with its various forms such as the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana. The four brothers revised Bharatnatyam into its present shape by introducing various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana. The dance form was carried from one generation to another and the direct descendants of these four brothers formed the original group of Nattuvanars or dance teachers of Bharatnatyam in Tanjore.
Against all odds, a few families preserved the
knowledge of this dance tradition. It’s revival involved individuals from
disparate backgrounds: Indian freedom fighters, Westerners interested in Indian
arts, people outside the devadasi class
who learnt Bharatanatyam, and devadasis themselves. Everyone working with classical Indian
dance today owes a debt of gratitude to these individuals, without whose
efforts Bharatanatyam may have been lost.
E. Krishna lyer was a freedom fighter and lawyer who also
had learnt Bharatanatyam. He would perform it in female costume to remove the
stigma associated with the dance, and campaigned to raise public interest in
the art. He also played a role in founding the Music Academy in Madras (now
Chennai), and used its platform to present Bharatanatyam performances by devadasis. The public controversy caused by the first such
event made the second one a great success, and the art gained respect due to
its acceptance on the Music Academy stage.
Bharatanatyam now attracted young artists from
respectable Brahmin families. Initially met with shock, their participation
ultimately helped to shift public opinion in favor of reviving the art. Two
such women were Kalanidhi Narayanan of Mylapore &Rukmini Devi of Adyar.
Also during this time, Western luminaries like
the ballerina Anna Pavlova were taking interest in the artistic heritage of
India, while the spiritual heritage of India was being promoted by Westerners
in the Theosophical movement.
When E. Krishna Iyer invited Rukmini Devi to
the Music Academy performance, beginning her work with Bharatanatyam, she had
already produced plays on Indian subjects and studied Western ballet. She had
trained in ballet under a pupil of Anna Pavlova’s, but Pavlova advised Rukmini
Devi to learn Indian classical dance instead. Raised in a Theosophist family,
Rukmini Devi was married to Dr. George Arundale, a president of the Theosphical
Society, and knew Dr. Annie Besant. Both Dr. Arundale and Dr. Besant worked for
India’s freedom and the restoration of its spiritual stature. Rukmini Devi’s
unique background equipped her to reform the existing Bharatanatyam to
emphasize its spirituality.
An association of devadasis joined the effort to revive Bharatanatyam. Its ranks
included an eventual teacher of Rukmini Devi’s, as well as the family of the
legendary dancer Balasaraswati. They advocated preserving the tradition, and
also keeping it in the hands of the devadasi community. Their argument was that the art would die
if separated from the caste, while advocates for Bharatanatyam from the
educatedBrahmin community
argued that the art had to be transferred to respectable hands to be saved.
Ultimately,
both communities carried on with the dance. It
was, after all, the devadasis and nattuvanars that trained the new dancers from upper class society.
Rukmini Devi’s debut performance in 1935
was a milestone. Her efforts won over much of the orthodox community of Madras.
Her reforms of costume, stage setting, repertoire, musical accompaniment, and
thematic content, overcame the objections of conservatives that Bharatanatyam
was vulgar. She went on to found the Kalakshetra institute, to which she
attracted many great artists and musicians, with whom she trained generations
of dancers.
Balasaraswati promoted the traditional art of
the devadasis, maintaining that reforms were unnecessary and
detracted from the art. Staying true to her devadasi lineage, she achieved great renown for her excellence.
The renewed awareness of Bharatanatyam in
Indian society allowed manynattuvanars to resume their training
activities, and many artists to enter the field of classical dance. A diversity
of styles like Pandanallur, Vazhuvur, and Thanjavur, named for the villages
from which the nattuvanars came, became recognized. Rukmini Devi’s desire to restore the full
spiritual potential of the dance motivated reforms that led to what was known
as the Kalakshetra style of Bharatanatyam.
Bharatanatyam soon became the most widespread
and popular of the Indian classical dance forms. It wasn’t long before it
achieved international recognition as one of India’s treasures.
No comments:
Post a Comment