Existing style of Bharatha Natyam

Subashini Pathmanathan

Silapathikaram, the ancient Tamil classic, was written by Ilango Adigal. He was of royal lineage but he renounced his heritage and became an ascetic. His greatest contribution to Tamil literature was the epic Silapathikaram.

Bharatha Natyam influenced many kinds of other dances

Silapathikaram is a unique work, which deals with moral values, literature, government, justice, social values, religious values, uniqueness of dance dedicated to gods and popular dances of his time. Silapathikaram gives us an insight into Tamil civilization as it existed at the time of his writing, which is popularly believed to be the Second Century AD.

Dealing with dance, Ilango Adigal describes how a dance teacher should set about his work, how sidemen (accompanists) should function, and also deals with the composition of the songs and the rendering of it.

He also deals with stage décor - how a stage décor should be set. In ancient times, dances were called koothu. Women dancers were called koothiar and male dancers were called koothar. The custom then was to reward the dancers with endowments of lands. Even to this day, a village in Tamil Nadu is called Kootha Nallur, which means a village granted to Koothiar.

In dance, generally Adavu means the steps. The Adavu are used in Tamil classical dance Bharatha Natyam, and Sinhala classical dance – (Kandyan Dance). Even to this day, the term Adavu is used in Tamil and Sinhala dances. It appears that there was an interaction between the classical dances of India and Sri Lanka. Kandyan dance is almost purely Nirtha dance, firmly based on pure Nirtha and on Thala and Laya.

Adavus are fundamentals in any dance, and these Adavus are generally common to all dances, but in the execution of Adavus slight variations are discernable. These differences are mainly due to different approaches of different teachers, stationed in different areas. These slight differences have given rise to popular misconception that there are different types of Bharatha Natyam. Bharatha Natyam is one. Eye movements, neck movements, body positions, leg positions and movements, hand positions and hand movements, hand gestures, divisions of Abhinaya, division of Bhavas and division of Rasas are same in any Bharatha Natyam, taught by different Gurus.

Even in the streams of Adavus, there is no difference. Some of the main Adavus are Thadu Adavu, Naat Adavu, Kuthu Meddu Adavu, Sarikai Adavu, Pakka Adavu, Paachal Adavu, Marthitha Adavu, Nadai Adavu, and some of the main and important Adavus.

Differences, if any, arise out of the methodology of different Gurus, in the inner subdivision of Adavus. It is these differences that have been given rise to the so- called styles in Bharatha Natyam.

The four different well known styles are Pantha Nallur, Vazhuvuoor, Thanjavur and Kanchipuram. The Thanjavur and Kachipuram have virtually disappeared.

The two popular styles or schools still exist are Vazhuvoor and Panda Nallur. There is no main difference between these two styles, except in the execution of inner sub Adavus.

There are quite a number of people who speak of Kalashethra style or Adyar style. This is a gross misconception. Kalashethra is an institution situated in Adyar founded by Smt Rukmani Devi who herself was trained by Panda Nallur Gurus.

Panda Nallur style still follows the traditional patterns and frowns upon the innovations made in some institutions. The present Gurus of Panda Nallur schools still adhere to the classical standards.

The Vazhuvoor style remains the same and adheres to the classical traditions. It has not moved to institutions. Because it is taught by certain families of Vazhuvoor and those who trained in Vazuvoor tradition continue to maintain the purity of the same tradition and dance. Generally teaching Bharatha Natyam in institutions is not a healthy development. However it may help the general public gain some knowledge about the art. In institutions the art is taught to a set syllabus within a time frame which tends to emasculate the art and leads to a craze for certificate.

Earlier the Sathir dances were trained by a particular clan, it was not institutionalized. Any art whether it is music or dance must be learnt under one particular Guru. Under a Guru, one imbibes the art, while in an institution one learns the art. There is a world of difference between imbibing the art and learning the art.

In Kathak there are four main styles: Lucknow style, Rampur style, Jaipur style and Varansi style. However in Kathak also there are two main popular styles or schools. Nevertheless the fundamental are the same.

The Lucknow and Jaipur styles are more popular in Kathak. So too in martial arts there are different styles.

Generally style is a work of individual teachers but it has not changed the basic aspect of dance or any arts. Bharatha Natyam remains Bharatha Natyam whatever the styles may be.

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