Originating in the Hindu temples of Tamil Nadu and neighbouring regions, Bharatanatyam is the oldest classical dance tradition of India. The dance has traditionally been a form of an interpretive narration of mythical legends based on Hindu religious texts, themes and spiritual ideas of Shaivism, Vaishnavism and Shaktism.
Encompassing a wide and comprehensive system of classical dancing based on the Natya Shastra by Bharata Muni and the Abhinaya Darpana by Nandikeshwara, the word Bharata is composed of the first syllable of each of its three main elements, Bhava – mood or sentiments, Raga – melody, and Tala – rhythmic timing. Natyam means the combination of both dancing and acting. The adept Gurus of South, the Nattuvanars, such as the Pillai brothers, Vadivelu, Ponniah, Chinnaiah, Sivanandum etc., also known as the Thanjavur Quartet, their descendants like Pandanallur Meenakshisundaram Pillai and their pupils, the Devadasis established the present order and discipline of Bharatanatyam. The scholarly Nattuvanars, masters in Sanskrit, Tamil, music and dance, were responsible for imparting and preserving the art; while the accomplished Devadasis, adept at singing, playing a variety of musical instruments, writing philosophical subjects, were dedicated in performing it.
Although Bharatnatyam is performed solo today, it took many forms such as the dance dramas of Bhagavata Mela Natakas of Melattur (Tamil Nad), the Kuruvanji dance ballets, and the Navasandhi ritual dance of temples. Additionally, each temple rendered its own distinctive form which further led to the styles practised today, namely Melattur, Padanallur or Thanjavur, Vazhavur, Kalakshetra etc.
Nevertheless, all styles adhere to the details of Bharata Natyam according to the Natya Shastra, namely, Nritta – pure dance, Natya – combination of acting and dancing, Nritya – comprising of dance movements of the body, hands, limbs, together with facial expressions, and filled with Rasa or flavor. The patterns of dance are evolved from the Karanas – the basic postures of all dance movement and Angaharas – a combination of several Karanas, further adapted to suit the human body. Pure Nritta combines three distinct sets of sounds beautifully coordinated in perfect harmony – the patterned drum syllables, the corresponding word syllables, and the synchronized steps of the dancer. The Abhinayam comprises the interpretation of the classic lyrics and songs, by gestures, facial expressions, postures and acting, and may express small episodes, just a sentence or a dramatic story or sequence. The dance moves in a very methodical manner, proceeding gradually from simple to difficult and ending in a dramatic finale.