Evolution of Bharatha Natyam

by Subashini Pathmanathan

Bharatha Natyam is often referred to as Bharatham. The term Bharatham refers to Bhavam, Ragam, and Thalam. The word Bharatham is composed of the first letters of ‘Bhava’, ‘Raga’, and ‘Thala’ and the letter ‘am’ is common to all.

Ancient Tamils excelled in Iyal (language), Isai (music), and Nadakam (drama). Though dance flourished in ancient times, yet due to social reasons, dance rested in the hands of a particular clan.

During the late 19th and early 20th century dance was revived by the elites. Unfortunately the history and development of dance remained only an oral tradition. Perhaps the only available ancient text in Tamil is Silapathikaram, of the 2nd century AD and the commentary on Silapathikaram, written by Adiyarkunallar in the 13th century.

Commentaries written in Sanskrit and translated by the scholars, notably by one Dr. U. A. Swaminathan Iyer. For instance Abinaya Darpanam was believed to have been written by Nanthikeswarar and was translated into Tamil by Veeraragavaiyan.

Further for the study of Bharatha Natyam, temple sculptures, gopura sculptures, temple inscriptions and the slokas, appearing in most temples, provide a wealth of information. Besides these, paintings, sketch drawings in temples, temple surroundings, rock caves, also provide valuable information.

The research in Bharathanatyam started from the age of Bharathamuni, a mystic figure believed to have lived between the 4th century BC and 4th century AD. According to puranic sources, the period commonly known as Thirayothitha period, there was turmoil, on the earth, and in the world of Devas (Devaloka).

Indiran implored Lord Braham to find a solution and Brahma created Natya Sastara as the fifth Veda in Hinduism. Brahma derived verses from Rig Veda, Abinaya from Yajur Veda, music from Saama Veda, and Rasa from Atharavana Veda.

Brahma ordered Indiran, to teach the Veda to the Devas. Indiran protested that the Devas were not competent enough to understand. And he advised Brahma, that the knowledge of this Veda be imparted to sages.

Threfore Brahma taught this Veda to his disciple Bharatha, who in turn taught this to his children. Bharatha obtained the service of his disciples and Apsaras to stage a dance before Lord Siva at Mount Kailash.

Lord Siva was so impressed, that he ordered his chief attendant Thandu Muni to teach his (Lord Siva’s) dancing to Bharatha Muni. The dance what Bharatha Muni learnt through Thandu Muni was later known as Thandava division in dance. Bharath Muni popularised this to the world.

Lord Siva taught lassiya to his consort goddess Parvathi, who in turn taught this to Bharatha Muni, and her maid Ushai. Ushai taught this to the milk maid at Duwaraka, and thus the milk maids taught this to the women of Sourastra. Lassiya and Thandava was introduced to the world.

In ancient times, the title ‘Thalai Koli’ was conferred on an outstanding dancer. Thalai Kol the stem symbolise the stem of a white umbrella, captured in the battlefield, from a rival king. This stem was preserved in the palace and pujas were offered to it.

During a dance recital, this stem of the umbrella was taken out in procession, and eventually handed to the musician of dance, who kept it in the dance hall, and worshipped it before the commencement of the dance.

The Thalai Koli is different from Thalai Kol. Thalai Koli is an honorary title, which was accorded to the outstanding female dancer.

There is a belief that Indiran’s son Jayanthan, and the Apsara maid Urvasi, fell in love with each other. And during the dance Urvasi missed the thala and surthi and earned the wrath of the sage Agasthiyar, who cursed the pair.

As a result of this Jayanthan became the Thalai Kol, and Urvasi became a dance maid, in the Vidiya mountain ranges, and thus both were released from the curse. And ever since the female dancers were honoured with the title Thalaii Koli.

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