What is Bharatanatyam?
Bharatanatyam is a classical dance form originating in the temples of Tamil Nadu, South India, recognized as one of India’s oldest and most technically rigorous performance traditions. The style is noted for its fixed upper torso, bent legs, and flexed knees (Aramandi) combined with footwork, and a vocabulary of sign language based on gestures of hands, eyes, and face muscles. The dance weaves together three fundamental elements: nritta (pure rhythmic movement), nritya (expressive storytelling), and natya (dramatic enactment), all unified through precise technique and spiritual intent.
The name “Bharatanatyam” derives from two Sanskrit words: “Bharata” (a mnemonic comprising “bha,” “ra,” and “ta,” which respectively mean “bhava” or emotion, “raga” or melody, and “tala” or rhythm) and “Natyam” (dance). This etymology encodes the art’s core philosophy—dance as the synthesis of emotion, music, and rhythm in devotional service.
Origins & Lineage
Descriptions of precursors of Bharatanatyam from the Natya Shastra date from around 500 BCE–500 CE and those in the ancient Tamil epic Silappatikaram date to around 171 CE. Temple sculptures of the 6th to 9th century CE suggest dance was a refined performance art by the mid-1st millennium CE. The theoretical foundations of Bharatanatyam are found first in Natya Shastra, attributed to the ancient scholar Bharata and dated to between 500 BCE and 200 CE. The most studied version consists of about 6000 verses structured into 36 chapters.
Bharatanatyam originated in the temples of Tamil Nadu, where it was performed as a form of worship by the devadasis, or temple dancers, who were devoted to serving the deity. The Devadasi culture dates back to about 300 BCE and 300 CE. These performances were spiritual offerings to deities, especially Lord Shiva in his cosmic dancer form, Nataraja. Temples across South India, such as the Brihadeeswarar Temple and Chidambaram Temple, became iconic centers where this dance flourished.
The Thanjavur quartet—four talented brothers associated with the court of the second Maharaja of Mysore in the early 19th century—gave modern-day Bharatanatyam its form. Originally known as Sadiraattam, Bharatanatyam was renamed in 1932. The British colonial period brought crisis: Bharatanatyam was banned because the British thought it was a front for prostitution, coining it as “Temple prostitution,” and the ban lasted until 1910.
Rukmini Devi Arundale (born February 29, 1904) was best known for catalyzing the renaissance of bharata natyam and founding the Kalakshetra Foundation in Madras (now Chennai). The foundation aimed to preserve and popularize bharata natyam and other Indian traditions. E Krishna Iyer and Rukmini Devi Arundale were instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to global attention, and removing the extraneous sringaar and erotic elements from the dance. Kalakshetra Foundation was established on 6th January 1936.
How It’s Practiced
Bharatanatyam training begins with adavus—basic steps that combine precise movements of the feet, hands, and body. Every Bharatanatyam dancer begins their journey by learning adavus, practicing them repeatedly to develop the coordination, grace, and strength needed to perform more complex pieces. Each adavu consists of specific hand gestures or mudras, foot positions, and body postures, all performed in unison. The foundational stance is Aramandi—a semi-squat stance that ensures stability, control, and elegance in movement.
Bharatanatyam comprises over fifty-five root mudras—hand or finger gestures used to communicate the narrative of the dance performance. There are two types of mudras: the one hand mudras called ‘Asamyukta Hasta’ and mudras requiring both hands called ‘Samyukta Hasta’.
A traditional performance follows a structured repertoire called Margam. The items practiced and performed include the shabdam, varnam, padam, kirtanam, ashtapadi, javali, thillana, and shlokam. The varnam is the centerpiece—a demanding composition showcasing both technical virtuosity and emotional depth.
Carnatic classical music is an essential part of performance. Veena, Kanjira, Manjira, mridangam, nadaswaram, nattuvangam, violin and flute (also called Venu) are the instruments used. The vocalist in a Bharatanatyam performance is called ‘Nattuvanar’—the same person who conducts the performance.
Bharatanatyam Today
Bharatanatyam has transcended its temple origins to become a global phenomenon taught in studios from Chennai to California. Dancers typically undergo years of rigorous training under a guru in the traditional guru-shishya parampara (teacher-student lineage). A student’s first full public performance, called arangetram (literally “ascending the stage”), marks a rite of passage after 7-10 years of study.
Contemporary seekers encounter Bharatanatyam through:
- In-person classes: Weekly sessions at cultural centers, dance academies, and universities worldwide
- Intensive workshops: Multi-day immersions in technique, repertoire, and history
- Performances: Recitals at festivals, spiritual gatherings, and concert halls
- Online instruction: Video courses preserving traditional pedagogy while expanding access
- Retreat settings: Combining daily practice with meditation, pranayama, and philosophical study
Bharatanatyam has transcended borders, inspiring dancers and choreographers worldwide, blending with various styles and giving rise to fusion styles that merge classical techniques with contemporary expressions.
Common Misconceptions
Bharatanatyam is not exclusive to Hindus or Indians. While rooted in Hindu temple tradition, the form is now practiced by people of all backgrounds—though ethical engagement requires understanding its devotional context.
It is not gentle or purely meditative. Bharatanatyam demands athletic stamina, muscular strength, and cardiovascular endurance. The Aramandi stance alone taxes the quadriceps and core; a full varnam can last 30-45 minutes of continuous, explosive movement.
It is not frozen in antiquity. While deeply traditional, Bharatanatyam has always evolved. The revival itself—led by Rukmini Devi Arundale—was transformative and remains contested. Scholars debate whether her reforms “sanitized” the form or saved it from extinction, reflecting ongoing tension between preservation and adaptation.
The devadasi legacy is complex. Rukmini Devi herself stated: “The Devadasis and others who danced, whatever their customs, whatever the circumstances in which they lived, they were people with devotion, they were excellent artistes. Even today, they really are the people from whom we can get the best ideas in Bharatanatyam. I must pay my tribute to them.” Contemporary practitioners honor this lineage while acknowledging the social marginalization devadasis faced.
How to Begin
For those seeking to explore Bharatanatyam:
Find a qualified teacher. Look for instructors trained in recognized banis (styles) such as Pandanallur, Vazhuvoor, or Kalakshetra. Ask about their lineage—who was their guru, and that guru’s guru.
Study the Natya Shastra. While the full text is dense, begin with accessible translations or commentaries. Adya Rangacharya’s Introduction to Bharata’s Natya Shastra or Kapila Vatsyayan’s work provide scholarly context.
Watch master performances. Seek recordings of legendary artists like Balasaraswati, Alarmel Valli, or Malavika Sarukkai to understand the aesthetic ideal. Notice not just technique but bhava—the transmission of emotion.
Attend a live performance. The energetic exchange between dancer, musicians, and audience cannot be captured on screen. Many cultural centers offer lec-dems (lecture-demonstrations) ideal for beginners.
Commit to embodied practice. Bharatanatyam is learned through the body, not the intellect. Expect years of repetitive adavu practice before advancing to expressive repertoire. The discipline itself becomes the teaching.