Bharathanatyam
(Classical Indian Dance)
Viji Rao (Master Artist)
Shoba Narayanan (Apprentice)
Description of the Art Form
Bharathanatyam is the classical Indian dance form, most widely
practiced in south India and has its origin in Tamil Nadu.
It originated in the Temples of southern India. Historians
have dated its antiquity to between 500 B.C. and 500 A.D.
The term Bharathanatyam was introduced in the 1930’s by S.
Krishna Iyer and later spread by Rukminidevi Arundale of Kalakshetra.
It is a visual interpretation of art that includes music and
song, literature and poetry and of course, dance. When the
Bharathanatyam dancer attains the required skill and technical
perfection and is able to endow the dance with emotion, then
the dancer and the dance completely dissolve in the mind of
the observer to produce a deep aesthetic experience. Connecting
with the viewer in this manner to generate the expected emotional
state is the ultimate goal of the dancer. Like yoga, another
ancient discipline, Bharathanatyam is a medium through which
the dancer and the observer strive to experience the true
beauty of the ultimate reality.
Bharathanatyam was revitalized and redefined
in the first half of the 19th century, and in the 20th century
by the founder of Kalakshetra, Rukminidevi Arundale, who restored
the image of Bharathanatyam. Bharathanatyam has been undergoing
a lot of changes over the centuries. Contemporary classical
Indian dancers include both male and female artists. Most
learn it as a hobby; very few make it their career and a lifestyle,
as it is extremely demanding and complex in terms of dedication
and daily practice.
The modern Bharatanatyam was systematically
regularized by the well known Thanjavoor Brothers, Ponnayya,
Chinnayya, Sivanandam and Vativelu. It is based on the theories
contained in Natyasaasthra nd Abhinaya Darpana. The components
of this dance are Adavu (steps), Hasthamudra (hand gestures)
and Bhavabhinaya (facial expression) through which the dancer
communicates the story. Because of its origins, dance terminology
is mostly in Sanskrit.
Bharathanatyam consists of three elements: nritta,
which is pure dance; nritya, which is dance and mime; and
natya, which is dance. Nritta is a dance which only requires
tala or rhythm as accompaniment. Nritya is dance which expresses
emotion. Natya combines nritta and nritya and uses expressions
(abinaya) to tell a story and evoke in the mind of the observer
a rasa (a particular emotion).
Various themes are used for presenting classical
Indian dance; subject varies from science, nationalism, unity
of religions, the sanctity of the environment, animal rights
activism, the greatness of a political party, and even sports.
The costume is made of silk. The dancer wears glittering ornaments
on the neck, ears, hands, and head. The hair is braided and
decorated intricately with flowers. The dancer also wears
anklets adorned with small bells.
“Natyashastra” is the Bible of Indian classical
dance. It is said that the Gods and Goddesses pleaded to Brahma
[the creator] for the creation of another Veda that was understandable
by common man. So, Brahma created the fifth Veda, which is
a combination of the existing four vedas namely Rig, Yajur,
Sama, and Atharva Veda. This Veda was propagated on earth
through Sage Bharatha, who wrote it as Natyashastra. Brahma
used words from the Rig Veda, Abhinaya [communicative elements
of the body movements] from the Yajur Veda, Geeth [music]
from the Sama Veda, and Rasa [vital sentiment] from Atharva
Veda, to form the fifth Veda - the Natya Veda. Bharatha, together
with groups of Gandharvas and Apsaras performed Natya, Nrtta,
and Nrtya for Lord Shiva [the Lord of Devine Dance].
The music of Bharatanatyam is based on Carnatic
classical music. The instruments frequently used are Veena
(a string instruments that is strummed), Flute, Mridangam
(drum) and Violin.
Viji Rao (Master Artist)
Place of Birth: Mangalore, India
Current Place of Residence: Philadelphia, PA
Artist Statement
I was born in the family of artists; my father
is a dancer, and was a very big influence in my dancing carrier.
I got up in the morning hearing to the music and foot steps
everyday. I have been very fortunate to have had teachers
like K. Shivarao, Alakananda, The Shridhar’s, Savitri Jaganath
Rao, C.V Chandrashekar and Kalanidhi Narayanan who have been
a great influence in building my confidence as an ambassador
for this art form. I have had the chance to share this art
form with people in U.K, U.S.A, Canada and India through my
performances, workshops and demonstrations.
Accomplishments/milestones
| Viji Rao is a professional Bharathanatyam dance artist
with over two decades of experience in choreographing,
performing and teaching. In addition to Bharathanatyam
she is also proficient in other forms like Kalaripayyattu
and Chhau (martial art forms of Kerala and Orissa, India,
respectively) and has taken courses in Ballet and Contemporary
dance at the London School of Ballet and Contemporary.
She is the Director of Threeaksha Institute of Performing
Arts that hosts dance performances, workshops and lecture
demonstrations nationally and internationally. |
 |
Ms. Rao has:
- Choreographed and/or participated in productions with
Chitraleka & Company, Shobana Jeyasingh Dance Company, Moby
Duck and Sampad in the U.K., with Lata Pada’s Sampradaya
Dance Company in Canada, and with Anitha Ratnam of Arangham
Dance Company in India.
- Collaborated with theater companies to use dance as a
medium for storytelling.
- Worked with the Birmingham Symphony Orchestra in dance
project for the opera musical “Savitri.”
- Worked on cross-cultural projects in collaboration with
the Birmingham Royal Ballet “Crossing of Borders-Talisman.”
- Collaborated with Irish dancers and musicians in the production
“Raga and Reels,” a blend of Indian and Irish dance forms.
- Recently begun to work with Sampradaya dance creations
on a subject which no other Indian classical dancer has
experimented: the game of Cricket, in a production called
“Howzaat”, which toured 11 different cities in Canada and
was a very well received by the audiences.
- Participated in the “Story of Carbon,” a modern sacred
story told through classical Indian dance that bridged science
and dance, and incorporated thousands of years of understanding
of the complex interaction between human beings and the
natural world.
Shoba Narayanan (Apprentice)
Place of Birth: Bryn Mawr, PA
Current Place of Residence: Bryn Mawr, PA
Artist Statement
I started learning dance at age six. I practice at least
two hours daily (Ballet or Bharathanatyam). My interest in
dance was sparked through my parents, who are very interested
in performing arts and took me to many performances. I have
been very fortunate in having good teachers. Shoba Sharma
gave me a strong foundation and showed the link between dance
and culture. Now I take lessons from Viji Rao who is an accomplished
dancer in India, U.K, Canada and the U.S. She is creative
and teaches at a brisk pace. I feel exhilarated when I can
keep up with her.
Accomplishments/milestones
| Shoba Narayanan started learning Bharathanatyam from
Shoba Sharma (disciple of the internationally renowned
Dhananjayans) at the age of six. She is currently a student
of Viji Rao and is receiving advanced training. She has
given both solo and ensemble performances (as a part of
the Naatya dance company run by Shoba Sharma) in many
prestigious venues, including: |
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- Kimmel Center for the Performing Arts, Philadelphia
- Wilma Theater (Dance Boom), Philadelphia
- The Painted Bride Theater, Philadelphia in “Pancha Mahabhootham”
a ballet in tribute to creation and the five elements such
earth, wind, fire, water and space.
- SVT Auditorium, Pittsburgh
- Philadelphia Museum of Art
- Upper Darby Performing Center, Upper Darby, PA
- Haverford College, Haverford, PA
- Hindu Temple Society of North America Auditorium, Flushing,
NY
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