Bharatanatyam originated in Tamil Nadu which is also referred to as artistic yoga and Natya yoga. The name Bharatanatyam is derived from the word "Bharata" and, thus, associated with Natyashastra. Though the style of Bharatanatyam is over two thousand years old, the freshness and richness of its essence persists even today. The technique of human movement which Bharatanatyam follows can be traced back to the 5th century A.D. from sculptural evidence. This classical dance has a mesmerizing effect as it uplifts the dancer and the beholder to a higher level of spiritual consciousness. It is a dancing style that comprises of Bhava, Raga, Tala, and Natya which reflect the real meaning of the Bharatanatyam.

Etymology of Bharatanatyam
In 1932, during a gathering convened by the Madras Music Academy, E Krishna Iyer and Rukmini Devi Arundale presented a noteworthy proposal aimed at bestowing a heightened level of esteem upon the classical Indian dance form formerly known as Sadiraattam, alternately referred to as Parathaiyar Aattam or Thevarattam. This proposal entailed a renaming of the dance style, thus giving birth to the appellation "Bharatanatyam."
E Krishna Iyer and Rukmini Devi Arundale not only advocated for the name change but also played an influential role in the transformation and refinement of the Pandanallur style of Bharatanatyam.
The etymological roots of "Bharatanatyam" offer an insightful glimpse into the essence of this classical art. The term "Bharatam" is regarded by many as a backronym, where "bha" represents "bhavam" referring to feelings and emotions, "ra" symbolizes "ragam" signifying melody and the framework for musical notes, and "tam" signifies "talam" representing rhythm. Thus, the compound word "Bharatanatyam" inherently encapsulates the idea of a dance form that seamlessly and harmoniously integrates bhavam, ragam, and talam.
Furthermore, it is noteworthy that "Natyam," appended to "Bharata," is derived from the Sanskrit language and straightforwardly translates to "dance." Therefore, when dissecting the etymology of Bharatanatyam, one finds a profound linkage to the fundamental elements of expressive dance, melody, and rhythm, rendering it an apt name for this venerable and intricate dance form.

Origin of Bharatanatyam
Bharatanatyam 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 Bharatanatyam is appealing and enlightening. This dance form was nurtured in the temple by the Devadasis, servants of the God. It was taken to the princely 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 or devotional cult was infused into the tradition by these poets. The literary content of Bharatanatyam 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 Bharatanatyam, another mythological tale 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 Bharatanatyam was introduced to the mankind.

History of Bharatanatyam
The earliest theoretical foundations of Bharatanatyam can be discerned in the ancient Tamil text known as "Kootha Nool." Subsequently, these foundations found further elaboration and codification in the renowned Sanskrit text, the "Natya Shastra." This seminal work, attributed to the venerable scholar Bharata Muni, serves as a compendium of knowledge on the performing arts. While the exact dating of the Natya Shastra varies among scholars, it is generally believed to have been compiled between 200 BCE and 200 CE, although some estimates extend from 500 BCE to 500 CE. Within its pages, the Natya Shastra expounds upon a plethora of aspects integral to Indian classical dances, encompassing the theory of Tandava dance, associated with Lord Shiva, the concepts of rasa or aesthetic sentiment and bhava or emotion, expressive techniques, gestures, acting methodologies, basic dance steps, and standing postures. Importantly, it underscores the profound role of dance and performance arts as vehicles for the expression of spiritual ideas, virtues, and the essence of ancient scriptures.
Historical references to dance in India are also evident in literary works, such as the Tamil epics "Silappatikaram" (2nd century CE) and "Manimegalai" (6th century CE). "Silappatikaram" introduces the character of Madhavi, a skilled dancer, and provides insight into the rigorous dance training regimen known as "Arangatrau Kathai" through verses 113 to 159. Furthermore, archaeological evidence in the form of carvings in the Shiva temple of Kanchipuram, dating from the 6th to 9th century CE, attests to the well-developed nature of dance as a performance art by the mid-1st millennium CE.
A significant connection between Bharatanatyam and ancient Hindu temple art is reflected in the dance poses that find resonance with the iconic Shiva sculptures adorning these sacred edifices. The renowned "Nataraja" form of Lord Shiva, characterized by his divine dance, is particularly emblematic.

Development of Bharatanatyam
The advent of a new era and the continuous experiment in the performing art form acted as a foundation for the recent development in Bharatanatyam. The dance form went through various assessments to gain the present shape. Bharatanatyam Dance has a rich legend to share that acted as a sustaining cause for its prominence. The dance form was codified 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 rule between 1798 AD-1824AD introduced Bharatanatyam with its various forms such as the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana. The four brothers revised Bharatanatyam 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 Bharatanatyam in Tanjore.

Bharatanatyam in Devadasi Culture
Bharatanatyam has been subject to scholarly discourse regarding its historical roots within the context of the Devadasi culture. This debate traces back the roots of Bharatanatyam to an ancient tradition associated with the Devadasis, which translates to "servant girls of Devas". The temporal origins of this association lie within the timeframe ranging from 300 BCE to 300 CE.
Historical records, including sculptures and textual accounts, do indeed make reference to the presence of dancing girls within ancient Indian society, and they depict the existence of temple quarters specifically designated for women. However, it is imperative to clarify that these sources do not categorically identify these women as courtesans or prostitutes, as was posited by certain early colonial Indologists.

Decline and Revival of Bharatanatyam
In the 18th century, the advent of the East India Company and the subsequent establishment of British colonial rule in the 19th century ushered in a period of disparagement and discouragement for classical Indian dance forms. British colonial officials, accompanied by Christian missionaries, propagated derogatory stereotypes regarding these performance arts. They presented the "nautch girls" of North India, particularly the Kathak dancers, and the "devadasis" of South India, associated with Bharatanatyam, as symbols of moral depravity, an alleged debased erotic culture, and servitude to idols and priests. This portrayal culminated in the initiation of the "anti-dance movement" in 1892 by Christian missionaries, who demanded the cessation of these dance traditions. The anti-dance campaigners went so far as to accuse Bharatanatyam of serving as a facade for prostitution, while revivalists questioned the constructed colonial narratives.
The year 1910 witnessed the Madras Presidency of the British Empire imposing a ban on temple dancing, effectively prohibiting the practice of classical dance within Hindu temples. This decree ignited protests against the stigmatization and dehumanization of temple dancers, with Tamil communities expressing concern that a cherished and culturally significant dance tradition was being unjustly persecuted under the guise of social reform. E. Krishna Iyer, a lawyer versed in the traditional Sadir style, emerged as a prominent advocate for the revival of classical art forms. He challenged the cultural discrimination and the assumed association between dance and prostitution, raising pertinent questions about the need for extensive training in performance arts for individuals involved in illicit activities. Iyer`s unwavering commitment to the cause led to his arrest and imprisonment on charges of nationalism, during which he garnered support for Bharatanatyam from fellow political detainees.
Amidst these tumultuous circumstances, individuals from the West, such as the American dancer Esther Sherman, undertook a transformative journey to India in the 1930s. She immersed herself in the learning of Indian classical dances, adopting the name Ragini Devi, and actively contributed to the revival of Bharatanatyam and other ancient dance forms.
The early 20th century, coinciding with the Indian independence movement, served as a pivotal juncture for cultural resurgence and historical rediscovery. During this period of political and cultural upheaval, Bharatanatyam transitioned from its restricted confines within Hindu temples to a mainstream art form. Visionaries such as Rukmini Devi Arundale, Balasaraswati, and Yamini Krishnamurti played instrumental roles in this transformation, championing and propagating the Pandanallur and Thanjavur styles of Bharatanatyam.
In the latter half of the 20th century, Tamil Hindu migrants resettled in the United Kingdom reintroduced the tradition of temple dancing within British Tamil temples, contributing to the ongoing revival and preservation of Bharatanatyam as an integral part of their cultural heritage.

Concept in Bharatanatyam
Bharatanatyam is a performance art involving a solo dancer accompanied by musicians and singers. The solo artist, known as "ekaharya," is typically attired in a vibrant sari, adorned with jewelry, and delivers a dance performance intricately synchronized with classical Indian music. This art form employs a unique sign language of hand and facial gestures, enabling the recitation of legends and spiritual narratives derived from revered texts such as the Mahabharata, the Ramayana, the Puranas, and historical drama texts.

Theme of Bharatanatyam
Bharatanatyam is a solo, feminine type of a dance, which is tender and erotic. The basic theme is love, where the female dancers usually perform as a devotion to the Supreme Being; or love of a mother for child. It epitomizes the adoration of lovers separated and reunited. This dance is considered to be a fire dance, where there is a mysterious display of the abstract element of fire in the human body.
The theme of Bharatanatyam comes alive through the zealous performances of the dancers. It is the combination of technique, styles and Abhinaya. It starts with an invocation to Lord Gnana Sabesar of Vazhuvoor. The themes are personalized depending on the dancer. The dancers need to posses ten essential attributes which include agility, steadiness, graceful lines, balance in pirouettes, glance, hard work, intelligence, devotion, good speech, and singing ability.

Technique of Bharatanatyam
Among the various styles of Bharatanatyam the Pandanallur and the Vazhuvoor are more significant. Pandanallur style is characterized by its deep sitting positions; its slow Lasya padams, and difficult standing positions. Vazhuvoor is characterized by a static posture to break the monotony with rhythmical variety.
The technique of Bharatanatyam consists of Natya, Nritta and Nritya. Natya is the dramatic art which is the language of gestures, poses and mimes. Nritta includes the rhythmic and repetitive elements. The Nritya is a combination of Nritta and Natya. Abhinaya also is another technique. It is subtle with more spontaneous expressions.
The repertoire of Bharatanatyam, akin to other major classical Indian dance forms, adheres to the three categories of performance delineated in the Natya Shastra, a foundational text of performing arts. These categories are Nritta (Nirutham), Nritya (Niruthiyam), and Natya (Natyam).
Nritta, the first category, represents the abstract and fast-paced dimension of Bharatanatyam. In this segment, the focus lies on the aesthetic aspects of movement, encompassing form, speed, range, and patterns. Nritta is devoid of interpretative elements or storytelling and is primarily a technical performance aimed at captivating the sensory perception (prakriti) of the audience.
Nritya, the second category, assumes a slower and more expressive character within the dance. It endeavors to convey emotions and narratives, often centered around spiritual themes inherent in Hindu dance traditions. Nritya expands the realm of dance-acting to include non-verbal expression through gestures and body movements choreographed to musical notes. This facet of Bharatanatyam extends beyond sensory pleasure, aiming to engage the viewer`s emotions and intellect.
Natyam, the final category, transforms the dance into a dramatic play. While it is typically a group performance, it can also be executed as a solo act. In Natyam, the dancer employs standardized body movements to portray various characters in the underlying narrative. It integrates elements of Nritya, making it a comprehensive performance that combines expressive storytelling with intricate choreography.

Arangetram in Bharatanatyam
A Bharatanatyam arangetram is a significant milestone in the journey of a young dancer within the realm of Indian classical dance. The term "Arangetram" itself translates to "ascending the stage," encapsulating the essence of this solo debut performance. It represents the culmination of a dancer`s extensive training, usually spanning a decade or more, in the intricate art of Bharatanatyam.
The arangetram is not just a matter of timing; it is a symbolic rite of passage that marks the dancer`s readiness for the solo stage. This readiness is determined by the guru, the esteemed teacher, who assesses the student`s proficiency and mastery of the dance form. Thus, the arangetram stands as a symbolic "coming-of-age" celebration in the dancer`s journey.
Arangetram follows a carefully structured sequence called "Margam," comprising seven to eight distinct stages, each contributing to the dancer`s artistic expression and mastery.

Pushpanjali: The Arangetram commences with the Pushpanjali, a dance offering flowers and salutations to deities, guru, and audience. It symbolizes humility and respect, setting the tone for the performance ahead.

Alarippu: Alternatively, the performance may start with Alarippu, a rhythmic invocation. This dance combines gratitude and blessings while serving as a warm-up exercise to focus the dancer`s mind and body.

Jatiswaram: Jatiswaram follows, introducing melody to Alarippu`s movements. It remains a pure technical performance (nritta) with intricate footwork synchronized to the beat of Carnatic music, showcasing the fusion of rhythm, melody, and motion.


Shabdam: Shabdam marks the introduction of expressions into the performance. Dancer, vocalist, and musicians collaborate to present compositions that praise deities and their qualities, communicating emotions through gestures and expressions.

Varnam: The Varnam is the heart of the Arangetram, the longest section that allows for improvisation. It combines intricate movements, storytelling, and harmonious interaction with music to convey emotions, tales of love, or battles between good and evil.

Padam: In Padam, simplicity reigns. It is a stage of reverence, where the dancer expresses devotion or religious prayers through abhinaya (expression). The choreography becomes emotional, the music lighter, and the connection with the audience profound.

Tillana: The Tillana marks the climax of the performance, transitioning from expressive dance to pure movement and music. It is a rhythmic closure to the nritya portion, leaving the audience with a lasting impression.

Shlokam or Mangalam: The performance concludes with either a Shlokam or Mangalam, where the dancer seeks blessings for all present, bringing the spiritual journey full circle.

The Margam sequence in Bharatanatyam embodies a holistic journey, transitioning from rhythm to melody, then to expressions and emotions, and ultimately returning to the rhythm. This journey reflects the completeness and symmetry of this ancient art form, showcasing the dancer`s dedication, skill, and devotion.

Role of Music in Bharatanatyam
Music plays an important role in Bharatanatyam. The musical accompaniment used in Carnatic music predominates over the raga in the Nritta passages. The chief musical instruments used in Bharatanatyam are the Mridanga and a pair of Cymbals. The cymbals provide the timing and the Mridangam provides fractional measures of the broad beats. The dancer follows both. A tambura is also used to provide the scale for the refrain. The musical instruments used are Mridanga, Manjira, Veena, Violin, Kanjira, Surpeti, Venu and Tanpura. The costume consists of a richly embroidered dhoti of silk for both male and female dancers. There is a pleated or frilled cloth hanging from the waist to the knees which is laced over the Dhoti.

Costume in Bharatanatyam
Bharatanatyam showcases not only exceptional movements but also a distinct costume and jewelry that add to its visual splendor. The costumes of male and female Bharatanatyam dancers, along with their intricate jewelry, play an essential role in enhancing the beauty and storytelling of this art form.
The female Bharatanatyam costume draws inspiration from Tamil Hindu bridal attire, making it a visually striking ensemble. Typically, it comprises a sari adorned with vibrant colors and golden or silver zari embroidery along the borders. This sari can be stitched into various components, including:
Bottom: This can be a skirt or salwar-shaped pants, providing flexibility for footwork.

Pleated Piece: Positioned in the front, it opens like a hand fan when the dancer flexes her knees or performs intricate foot movements.

Hip Piece: This covers the seat of the pant or skirt, ensuring a seamless and elegant appearance.

Torso Piece: Resembling the draped part of a regular sari (aanchal), this adds to the overall charm of the attire.

Alternatively, some dancers opt for an unstitched sari, which is draped in a unique manner. It starts around the legs, resembling a dhoti, and ascends along the front torso, over the left shoulder, and then descends down the back. The end is secured at the waist with a jeweled belt. This complex draping technique adds an extra layer of sophistication to the costume.
Male Bharatanatyam dancers don a relatively simpler attire, which is either a sari or a white cotton cloth draped around the legs and lower body, resembling a dhoti. During their performances, the upper body of male dancers remains bare. It is customary for male dancers not to wear stitched costumes, aligning with the traditional aesthetics of the art form.
Both male and female Bharatanatyam dancers adorn themselves with intricate jewelry that accentuates their movements and expressions. The jewelry includes pieces for the ears, nose, neck, and wrists. Female dancers, in particular, wear additional jewelry on their heads, emphasizing their hairline and parting. This includes a smaller piece of jewelry on each side of the parting, symbolizing the sun and the moon.

Symbolism in Bharatanatyam
In Bharatanatyam, communication through symbols takes the form of expressive gestures and pantomime, all meticulously choreographed to the rhythm and melody of music. These gestures, known as "Hasta" or "Mudras," convey the "Ras" (sentiment or emotional taste) and "Bhava" (mood) of the underlying story. The dance draws out the "Bhava" through "Abhinaya," a skillful blend of gestures and facial expressions that immerse the audience in the narrative.
To effectively convey spiritual ideas and stories, a Bharatanatyam dancer focuses on four essential aspects of a performance:
Angika: This pertains to gestures, body language, and movements, all of which are crucial in conveying the essence of the narrative.

Vachika: The auditory elements, including song, recitation, music, and rhythm, enhance the emotional depth of the performance.

Aharya: Stage setting, costume, makeup, and jewelry are significant components that contribute to the visual appeal and authenticity of the performance.

Sattvika: The artist`s mental disposition and emotional connection with the story and audience are vital. It is in this aspect that the artist`s inner and outer state resonates with the narrative.

Bharatanatyam employs various types of symbolic gestures, categorized into three main groups:
Asamyuta Hastas: These are single-hand gestures that resemble words in a glossary, presented as a list or embellishment during the preliminary performance (nritta).

Samyuta Hastas: Two-hand gestures are expressive symbols that, when sequenced, form sentences with profound meanings. These gestures are integral to the storytelling process, conveying a range of emotions through facial expressions and abhinaya.

Nrtta Hastas: Dance hand gestures, an essential element in the dance, play a significant role in expressing emotions and sentiments.

Yogic Influence and Bhakti Yoga
Notably, Bharatanatyam encompasses approximately 20 asanas, or yoga poses, including Dhanurasana (the bow), Chakrasana (the wheel), Vrikshasana (the tree), and Natarajasana (the pose of dancing Shiva). This connection with yoga enriches the dance`s physicality and spirituality. Additionally, Bharatanatyam is considered a form of Bhakti Yoga, fostering a profound connection between the dancer, the audience, and the divine.
Bharatanatyam as a classical dance went through a lot of changes and still retaining its ancient quintessence. The most exciting aspect of Bharatanatyam is that it is religious and possess rich mythological heritage of India. The technique, costume, style and theme of the dance distinguish it from forms of Indian classical dance. Bharatanatyam is known for its grace, purity, tenderness and sculpturesque poses.