The dance form of Bharata Natyum started in Tamil Nadu, which is the most southern state on the western coast. Bharata Natyum was first written in various ancient texts, like the Natyashastra which is where most of the information of classical dance came from. It was a religious text that also talked about the various deities. One of the lines of the Natyashastra reads that "when the world had become steeped in greed and desire, in jealousy and anger, in pleasure and pain, the Supreme one was asked by people to create an entertainment which could be seen and heard bu all, for the scriptures were not enjoyed by the masses, being too learned and ambiguous." This verse talks about how Bharata Natyum was created to be a religious devotional form that took the place of texts that the majority of people could not read.
In many Hindu temples in South India, Devadasis, people would sing and dance in sanskrit as well as the vernacular. Eventually the dance moved from temples to Royal courts in the 1850's. The dance form remained static for centuries, not changing from its rigid form. It was revitalized in the 19th century by the Thanjavur Quartet, who were four brothers influenced by their musical mentor.
British colonialist rule brought obstacles to the development and the performance of art. They did not want this classical form to be present in modern day culture. The did not allow the dancers to perform at court. Dance took on a negative connotation that it was done for sensual reasons. Dancers were instead performing for the wealthy instead of the politically powerful. The act of dancing became somewhat scandalized.
In the 20th century, it fortunately got revitalized by a mixture of freedom fighters, Westerners into classical arts, and form those who once learnt Bharata Natyum. Bhraman families were also attracted to the art form which helped the dance regain some of its credibility. In addition, major western dancers like Anna Pavlova took an interest in the form. A major contemporary figure in Bharata Natuym, Rukmini Devi, performed in 1935. Devi was a teacher in Madras and she was able to bring a more orthodox audience into Bharata Natyum after it had been so scandalized.
Over time, it has changed and has spread nationally and internationally.
In many Hindu temples in South India, Devadasis, people would sing and dance in sanskrit as well as the vernacular. Eventually the dance moved from temples to Royal courts in the 1850's. The dance form remained static for centuries, not changing from its rigid form. It was revitalized in the 19th century by the Thanjavur Quartet, who were four brothers influenced by their musical mentor.
British colonialist rule brought obstacles to the development and the performance of art. They did not want this classical form to be present in modern day culture. The did not allow the dancers to perform at court. Dance took on a negative connotation that it was done for sensual reasons. Dancers were instead performing for the wealthy instead of the politically powerful. The act of dancing became somewhat scandalized.
In the 20th century, it fortunately got revitalized by a mixture of freedom fighters, Westerners into classical arts, and form those who once learnt Bharata Natyum. Bhraman families were also attracted to the art form which helped the dance regain some of its credibility. In addition, major western dancers like Anna Pavlova took an interest in the form. A major contemporary figure in Bharata Natuym, Rukmini Devi, performed in 1935. Devi was a teacher in Madras and she was able to bring a more orthodox audience into Bharata Natyum after it had been so scandalized.
Over time, it has changed and has spread nationally and internationally.
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