Evolution of Bharatha Natyam from Sathir

Subashini Pathmanathan

DANCE: The historical practice of dance in Tamil Nadu could be divided into deferent periods. Dance flourished during different eras.

Roughly the dance practice could be divided into different periods for instance - Sanga Kala Dance Period, Post Sanga Kala Period, Bakthi Literature Period (Pallava Period), Chola Period, (Golden Era of Art and Culture), Vijenagara Period, Nayaka Period, Marathi Period, Dance under European rule and dance in the 20th century.

Earlier dance was practised and preserved in and around the temples and temple environs. It was practised by a particular clan called Devadassi. But with the passage of time dance started flourishing in a polished and systematic manner.

Mainly during the era of Nayaka Kingdom. Even the dance jewellery, costumes, the blouses, we are using today in Bharatha Natyam are the continuation of Nayaka Era. The dance was earlier called as Sathir but it was renamed in 20th century as Bharatha Natyam.

Some of the important items what we are practising in the classical stages are Alaripu, Jetheswaram, Sabtham, Swarajathi, Varnam and Padams. Even the semi classical dance forms which we practise today in modern stages also originated in the Nayaka Era. Beautiful Padams were enacted during the Nayaka Regime.

Bhagavatha Mela dance drama laid down the foundation for the Kuravanchi dance dramas of 20th Century. Bhagvatha Mela dance form was practised by 510 Brahmin families. These families migrated from Andhra Pradesh and settled in the river banks of Kaveri.

One of the founders of the Nayaka dynasty was Sevappa Nayaka who was a great patron of art, music, dance, and culture. After his reign, his son Regunath Nayaka became the ruler of the Tamil country. His tremendous contribution to the development of dance and music was immeasurable.

Numerous nuances of the Sangheetha Sasthra were introduced. Meanwhile, numerous literacy works were enacted. Even the authors, poets, the king himself enacted beautiful dramas, musical and dance compositions to enhance the literature and arts together.

King Ragunath in his works introduced a variety of Thalas. These Thala (rythemic) varieties are still in use in Carnatic music and dance today. Beside these King Ragunath mentioned about numerous single hand Muthras, double handmuthras, Anga Pirathi Anga, and Upa Anga body movements in dance.

Elaborate information about Bhava, and Rasas, body positions, foot positions, foot movements, standing positions, different stands of the dance are clearly described in his works. His entire meaningful contribution are still followed in Bharatha Natyam. Even the Methodology of recition of Jathi for pure Nirtha took place during his era.

He emphasised even with Abhynaya, facial expressions, should be executed. The court scholars, kings and the artists, were well versed in art and culture, and followed the ancient Sastras for the dance and music enactments.

During the regime of King Ragunath even folk dance traditions were also given encouragement. For instance Yaksanagana tradition started developing during this period. This was divided into two sections one was musical based, and the other was dance based.

Without royal protection any art cannot be developed. Dancers were allotted to live in a particular area; such places existed even during the Chola empire. This was referred to as Cheris even very recently.

Now Bharatha Natyam is considered as stage dance alone. And it is not permitted to dance in the streets during processions. To enhance the essence of dance earlier, dancers danced in the strees during the temple festival in front of the idol and royal processions. These dancers danced in the decorated streets.

The streets were called “Natyasalai”. Later the place where the dance took place was called Natya Sala. With the passage of time this place was named as ‘Sangeetha Mahal’.

Today the stage where the dance take place is called Arangam. Even the audience of Nayaka Era was expected to be knowledgeable, and supposed to be very critical about the art. This tendency in the art field is always very necessary to develop the art along with the correct path.

Many references could be seen regarding the musical instruments, and the use of these instruments such as Tambura, Mukaveena, Ottu, Thala, Maddala, and the Flute, were some of them.

These are still used in classical Bharatha Natyam; and Carnatic Music. Some instruments are used in folk dance. Experts of dance and music were honoured with awards and rewards. Following the ancient traditions, still the outstanding artistic talents, and contributions are widely recognised by society.

During the Nayaka Era musical and dance troupes were called by the name Sangitha Melam. Actually with the passage of time in the 20th century Nathaswara, and Thavil troupe were called as Periya Melam, and temple female dance troupe was named as Chinna Melam, the dances were called Chinnamelakaris.

The present stage of dance and music have their origin from the Nayaka Era.

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