Monday, 22 December 2014

Tirunelveli history

History[edit]

Under the rule of the Pandyan Dynasty, the district was known as Thenpandiyanadu. The Chola dynasty then named itMudikonda Cholamandalam. The Madurai Nayaks called it Tirunelveli Seemai. Under the British East India Company, it wasTinnevelly district, which included the modern Tirunelveli and Thoothukudi districts and parts of the Virudhunagar and Ramanathapuram districts.
In 1910, Ramanathapuram District was formed from portions of the Madurai and Tirunelveli Districts, which comprised portions of the modern Virudhunagar District.
After the Independence of India, Tirunelveli District was bifurcated on 20 October 1986 to Nellai-Kattabomman district (Tirunelveli) and Chidambaranar district (Tuticorin). Subsequently, the Government of Tamil Nadu decided to name each district according to the name of the headquarters town, so the region's name changed from Tirunelveli-Kattabomman to Tirunelveli.[4]
Ornate, multi-story temple
Nellaippar Temple

Geography and climate[edit]

Desert under mostly cloudy sky, with hills in background
The Agasthiyamalai hills cut off Tirunelveli from the southwest monsoon, creating a rainshadowregion.
The district is located in the southern part of Tamil Nadu. It borders Virudhunagar Districtto the north, the Western Ghats to the west, Kanyakumari District to the south andThoothukudi District to the east. The district covers an area of 6,823 km2. It lies between 8°05' and 9°30' north latitude and 77°05' and 78°25' east longitude.
The district contains mountains (a stretch of the Western Ghats) and lowland plains, including sandy soil and fertile alluvium, and a variety of flora, fauna and protected wildlife. The district also has inland and mountainous forests. Tirunelveli is said to be the only district of Tamil nadu to have all the five types of ecological zones as described in the ancient Tamil Literature Kurunji (hilly), Mullai (Forest), Marutham (Flat fertile land), Neithal( area forming the seashore) and Palai ( Dry desert lands)
Tirunelveli has rainfall in all seasons (953.1 mm in 2005 and 2006), and benefits from both the northeast and southwest monsoons. Most precipitation came from the northeast monsoon (548.7 mm) followed by the southwest monsoon (147.8 mm) and summer rains (184.2 mm). The district is irrigated by several rivers originating in the Western Ghats, such as the Pachaiyar River, which flows into the perennial Tambaraparani River. The Tambaraparani and Manimuthar Rivers have many dams, with reservoirs providing water for irrigation and power generation. The Tamiraparani River provides consistent irrigation to a large agricultural area.[5] The Chittar River also originates in this district. The Courtallam and Manimuthar waterfalls are the two major falls in the district.

Demographics[edit]

According to 2011 census, Tirunelvei district had a population of 3,077,233 with a sex-ratio of 1,023 females for every 1,000 males, much above the national average of 929.[6] A total of 321,687 were under the age of six, constituting 164,157 males and 157,530 females. Scheduled Castes and Scheduled Tribes accounted for 18.51% and .33% of the population respectively. The average literacy of the district was 73.88%, compared to the national average of 72.99%.[6] The district had a total of 815,528 households. There were a total of 1,436,454 workers, comprising 107,943 cultivators, 321,083 main agricultural labourers, 215,667 in house hold industries, 626,714 other workers, 165,047 marginal workers, 7,772 marginal cultivators, 58,680 marginal agricultural labourers, 23,997 marginal workers in household industries and 74,598 other marginal workers.[7]

Infrastructure[edit]

The district is well-connected by a network of roads and railways. Tirunelveli city serves as the main junction. It has no airports; the nearest airports are at Tuticorin (40 km away), Madurai (150 km) and Thiruvananthapuram. The district has a total of 27 railway stations. The tables below list the lengths of roads and railways in the district.[8]
RoadsNational highwaysState highwaysCorporation and Municipalities RoadsPanchayat Union and Panchayat RoadTown Panchayat and Townships RoadOthers (forest roads)
Length (km.)174.824442.8391,001.541,254.10 and 1,658.35840.399114.450
RailwaysRoute length (km)Track length (km)
Broad gauge257.000495.448
Meter gauge0.0000.000
Canals, wells, tanks and reservoirs are the sources of irrigation in the district. As of 2005–2006, the district had a total of 151 canals with a length of 499 km, 85,701 irrigation wells, 640 tube wells, eight reservoirs and 2,212 tanks. The district also has 21,776 wells used for domestic purposes.
Electricity is provided by the Tamil Nadu Electricity Board (TNEB).[8] The district has hydroelectric power plants and windmills, with an installed capacity of 1,089.675 MW; it is one of the major producers of wind energy in the state.
The Koodankulam Nuclear Power Plant project is being undertaken (with Russian aid) at the village of Koodankulam, 24 km north-east of Kanyakumari, 36 km from Nagercoil and about 106 km from Thiruvananthapuram. Koodankulam is also the location of hundreds of windmills used for power generation, eight of which are located inside the grounds of the nuclear plant. These wind turbines have currently a total capacity of 2000 MW and represent one of the largest wind farms in India. Since the beginning of 2011, this place has been embroiled in a nuclear plant controversy over fears of the plant safety.[citation needed]

Education and social development[edit]

Tirunelveli is known for its educational institutions, many of which are located at Palayamkottai (east of Tirunelveli). For this reason, Palayamkottai is known as the "Oxford of South India". The district has a literacy rate of 76.97%, which is above the state average. As of 2005–2006, the district had a total of 2,494 schools. It has one university, the Manonmaniam Sundaranar University. There are also four government colleges, eleven government-sponsored colleges and seven private colleges.[8]
Tirunelveli has the following educational institutions:
  • Universities: 1[9]
  • Arts and science colleges: 25
  • Medical College: 1
  • Siddha medical college: 1
  • Veterinary College and Research institute
  • Engineering colleges: More than 20
  • Law school: 1
  • Pre-kindergartens: 241
  • Primary schools: 1,501
  • Middle schools: 431
  • High schools: 114
  • Higher secondary schools: 185
  • Teacher-training institutes: 28

Manonmaniam Sundaranar University[edit]

Manonmaniam Sundaranar University (MSU) was established in 1990. Named after poet Sundaram Pillai, the university has a network of 102 affiliated colleges. Many of these colleges have contributed to higher education for decades; five colleges are more than 100 years old. The University campus is located at Abishekapatti, nine km from Tirunelveli town. Advanced studies are offered in a number of departments, and postgraduate programmes in Tamil, Management studies, Chemistry, Communications, Computer science, English, Environmental studies, History, Mathematics, Physics, Sociology, Criminology studies, Psychology and Statistics are offered.
The university has introduced compulsory core courses in Indian studies. The curriculum includes "History of Freedom Movement in India", "Gandhian Thought", "Ecology, Environment and Pollution Studies", "Status of Women in India", "History of Science", "Indian Economy Since Independence", "Rural India", "Consumer Protection and Social Responsibility in Business" and "Secularism". It has set up a centre for environmental studies at Alwarkurichi in collaboration with the Amalgamations corporation. Eco-friendly ventures in aquaculture and fishing are encouraged. The centre has developed an organic manure, "Mano compost".

Collegiate education[edit]

In 1878, there were two colleges in the district: the Madurai Diraviam Thayumanavar Hindu College and St. John’s College. The first college for women (and third college of the district), Sarah Tucker College, began in 1895. The fourth and fifth colleges, St. Xavier’s and St. Ignatius Colleges of Education, were established in 1923 and 1957, respectively. In 1963–64, two more colleges, the Paramakalyani and Parasakthi Colleges, were added. The Ambai Arts and Thiruvalluvar Colleges (1969), Muthuramalinga Thevar College and Government Arts College for Women (1970), and the Sadaktathullah Appa and T.D.M.N.S. Colleges (1971) followed. Except for the Government Arts College for Women, all of the schools are private colleges run by educational trusts. There are three self-financing colleges: Saratha College for Women (1986), Sattanathakarayalar College (1994–1995) and Jayaraj Annabakkiam College (1997–1998).
Of the 17 arts colleges in the district, eight are coeducational institutions, five are for women and four for men. The colleges in Tirunelveli district were originally affiliated with theUniversity of Madras. Upon the creation of Madurai Kamaraj University in 1966, they were affiliated with MKU from 1966 to 1990. In 1990, their affiliation transferred toManonmaniam Sundaranar University. The university has granted autonomous status to St. Xavier’s College in Palayamkotti and Sri Parasakthi College for Women in Courtallam.
The Regional Directorate of the Collegiate Education in the district was formed on 10 September 1979 to regulate colleges in Tirunelveli, Thoothukudi and Kanyakumari districts.

School districts[edit]

In 1986, the Revenue District of Tirunelveli was divided into Tirunelveli and Thoothukkudi districts. A new post, District Educational Officer at Tenkasi, was created. The office of "District Educational Officer, Tirunelveli Central" was changed to "District Education Officer, Tirunelveli"; the "District Educational Officer, Tirunelveli South" was redesignated "District Educational Officer, Cheranmahadevi". The three District Education Officers serve under the Chief Education Officer.
Education officialsJurisdiction
District Educational Officer, TirunelveliTaluks of Tirunelveli, Palayamkottai and Sankarankoil
District Educational Officer, CheranmahdeviTaluks of Ambasamudram, Nanguneri and Radhapuram
District Educational Officer, TenkasiTaluks of Tenkasi, Shencottai, Alangulam, VK Pudur and Sivagiri
District Adult Education OfficerEntire district
District Elementary Educational OfficerEntire Tirunelveli district (primary and upper-primary schools)
Assistant Elementary Educational Officers (21)One for each of the 19 panchayat unions and two for urban areas
Additional Assistant Elementary Educational Officers (21)One for each of the 19 panchayat unions and two for urban areas

Legal education[edit]

In 1996, the Government Law College, Tirunelveli was established to meet the requirements of the people of the southernmost part of Tamil Nadu. It opened on 14 October 1996 with 80 students in its three-year law course affiliated to Manonmaniam Sundaranar University as the fifth institution of its kind in the state. Since the academic year 1997–98, the college is affiliated with the Tamil Nadu Dr. Ambedkar Law University, Chennai. At first, classes were held at the Ponnusamy Pillai Bungalow on Tiruchendur Road in Palayamcottai before its new building was constructed. The College has functioned in its own new building in an area of 15 acres adjacent to District Court Buildings on the Tiruchendur High Road since October 2000.
Another milestone in the history of this college when M.L Degree in Constitutional Law and Human Rights was started in 1997. A five-year B.L. course was introduced in the academic year 2000–01. As directed by the Bar Council of India, a semester system was introduced for both (three years and five years) Law Courses, beginning with the academic year 2002–2003.

Medical education[edit]

The Tirunelveli Medical College and its teaching hospital are located on about 280 acres of land at High Grounds, Palayamcottai. It was established in 1965 and affiliated with the University of Madras, with 75 students for the academic year 1965–1966. These students took their first-year courses at local arts and science colleges. In July 1966, the first group of second-year MBBS students attended the classes in the newly constructed Anatomy Block. Other departments (such as pharmacology, pathology, microbiology and social and preventive medicine) began in subsequent years and the district-headquarters hospital was converted to Tirunelveli Medical College Hospital. The college was affiliated with Madurai Kamaraj University after its inception in 1967. Since 1988, upon the formation of The TN Dr MGR Medical University, Chennai, it has been affiliated with that university. The college was recognised by the Medical Council of India, New Delhi in 1978. The number of seats for the MBBS course was increased from 75 to 100 in 1980, and that year the state government also authorised postgraduate courses. The college celebrated its silver jubilee in 1990. The number of MBBS seats offered was increased to 150 seats in 2003 and was recognised in 2008 (like Madras Medical College, Government Stanley Medical College, and Madurai Medical College).[citation needed]
The Government Siddha Medical College was established at Palayamkottai on 30 November 1964. This was an affiliated College of the University of Madras until March 1966; from then until 1988 it was an affiliate of Madurai Kamaraj University, and since March 1989 of Dr. MGR Medical University.

Technical education[edit]

Technical education in the district dates to 1844, when Mrs. Caldwell (wife of Bishop Robert Caldwell) began a school to teach girls lace-making at Idyangudi. The government of Tamil Nadu set up a State Board of Technical Education and Training and a separate Directorate of Technical Education, effective 1 October 1957. Since then, the Directorate of Technical Education has assumed the administration of both engineering colleges and polytechnics.
The Government College of Engineering was established in October 1981 to fulfill the needs of people in the southern region. At first, the college met in a bungalow near Tirunelveli Medical College, while new buildings were under construction. In 1984, the college moved into the new buildings on its 25-hectare (62-acre) campus, about 8 km from Tirunelveli Junction on the Tirunelveli-Trivandrum Highway. From its inception, the College admitted students in three undergraduate departments: civil, electronics and communication and mechanical engineering; electrical and electronics engineering was introduced during 1986–1987, and computer science and engineering was added in 1989–1990. A postgraduate course in computer science and engineering was introduced in 1994–1995.[citation needed]

Economic profile[edit]

Tirunelveli has been an agricultural area throughout its history. The district is a major producer of rice, coconuts, bananas, spices and forest-based products. The district is home to almost 50% of the buffalo population of Tamil Nadu.[10] The district's livestock and poultry populations are as follows:[8]
CattleBuffaloSheepGoatsPigsHorses and PoniesDonkeysRabbitsTotal livestockTotal poultry
418,69478,777487,273390,57012,752245961240167,8771,218,583
Since it is a coastal district, Tirunelveli is also involved in fishery development and production. For the period 2005–2006, the total inland fish catch was 1,874 tonnes, and the total marine fish catch was 7,014 tonnes.[8]
India Cements Limited is the third largest cement company in India, and began at Sankarnagar in Tirunelveli in 1949.[citation needed]
The district is also rich in minerals, with a total of 407 mines and quarries. Limestonegranite and garnet sand are some of the minerals mined or produced in the district. Major industries include textile, food and forestry products.
A Special Economic Zone (SEZ) was introduced at Nanguneri in 2001. A pharma park and windmill spare-parts and television-manufacturing factories have been planned in this SEZ. The Tamil Nadu Industrial Development Corporation (TIDCO) has planned a Rs 700-crore high-tech industrial park in Nanguneri in association with INFAC Group and Axes Technologies Inc of the US.[11][12] The state government is planning light manufacturing, design and assembly facilities, modern infrastructure facilities and amenities in this SEZ to attract a workforce from around the world.

Places of Importance in Tirunelveli District[edit]

Courtallam
A flock of Bar-headed Geese (Anser indicus) at the lake in Koonthakulam Bird Sanctuary
SankaranKovil
Nellaiappar temple

Manjolai Hills[edit]

Located between 1,000 metres (3,300 ft) and 1,500 metres (4,900 ft) of elevation, the Manjolai area is set deep within the Western Ghats within the Kalakad Mundanthurai Tiger Reserve in the Tirunelveli District. Located on top of the Manimuthar Dam and the Manimuthar Water Falls, the Manjolai area comprises tea plantations, small settlements, the Upper Kodaiyar Dam and a windy view point called Kuthiravetti.
The whole of the Manjolai Estates and the tea plantations are operated by The Bombay Burmah Trading Corporation Ltd on forest land leased by the Government of Tamil Nadu. There are three tea estates within the Manjolai area: Manjolai Estate, Manimutharu Estate and Oothu Estate. The Estates are located at elevations ranging from 700 metres (2,300 ft) to 1,300 metres (4,300 ft).

Courtallam[edit]

Courtallam is situated at a mean elevation of 160 metres (520 ft) on the Western Ghats in Tirunelveli District of Tamil Nadu, India. The numerous waterfalls and cascades along with the ubiquitous health resorts in the area have earned it the title of "Spa of South India". The falls are fullest with rain on the hills. They are Main Falls, Five Falls, the Shenbhaga Falls, the Tiger Falls, old Courtallam Falls, Honey Falls, Orchard falls and Sitraruvi.[13]

Tiger Reserve[edit]

The 900 square kilometres (350 sq mi) Kalakkad Mundanthurai Tiger Reserve was established in 1962. The reserve, at 8°39′N 77°23′E, is about 45 km west of Tirunelveli and is known as KMTS to forest and tiger researchers. Kalakkad is the nearest town.

Bird Sanctuary[edit]

A tiny village in the far south, Koonthankulam in Nanguneri Taluk of Tirunelveli District is emerging as a new favourite of the migratory birds. It is just 38 kilometres (24 mi) away. About 35 species of birds visit this calm but congenial village for breeding. The painted storksare coming from North India and East European Countries to this place. Similarly the flamingoes which flew in mainly from the Rann of Kutch have hatched and reared their young in the village.[13]

Sankarankoil[edit]

Sankaran kovil temple was built in the early part of the 11th century C.E. The temple at Sankarankoil depicts Hari and Hara as one God. There is a deity named Sankara Narayanan, which is half Lord Shiva and half Lord Vishnu. There is another deity, named Avodai ambalor Gomathi Ambal, after whom the temple is named; it was built by Ukrama Pandiyan in 900 C.E. Sacred sand is available, which is believed curative by some. June is marked by the Adi Thabasu festival.[14]

Swamy Nellaiappar and Kanthimathi Ambal Temple[edit]

Tirunelveli history

BHARATHA NATIYAM

Bharata Natyam

From Wikipedia, the free encyclopedia
Bharatanatyam
Bharata Natyam Performance DS.jpg
Ranjitha Shivanna performing Bharatanatyam
GenreIndian classical
CountryIndia
A male Bharata Natyam performer
Bharata Natyam (Tamilபரதநாட்டியம்Kannadaಭರತನಾಟ್ಯMarathiभरतनाट्यम) also spelled Bharatanatyam, is a classical Indiandance form that originated in the temples of South India.[1][2][3][4][5] This dance form denotes various 19th- and 20th-century reconstructions of Sadir, the art of temple dancers called Devadasis. It was described in the treatise Natya Shastra by Bharataaround the beginning of the common era. Bharata Natyam is known for its grace, purity, tenderness, and sculpturesque poses. Lord Shiva is considered the God of this dance form. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over the world.[6]

Etymology[edit]

The name Bharata Natyam is of relatively recent origin when performers like Rukmini Devi revived the dance in the 20th century. The original names of Bharata Natyam were SadirChinnamelan and most commonly Dasi Attam.[7] A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra. The meaning of the word Bharatnatyam is "Bhavam" means expression, "ragam" meaning music, "thalam" meaning rhythm and natyam meaning dance.

Dance tradition[edit]

One of the 81 Bharata Natyam dance positions carved on the outer wall of the upper storey of Peruvudaiyar Koyil, Thanjavur.
Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam(தொல்காப்பியம்), as well as the later Silappadikaram (சிலப்பதிகாரம்), testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played a major role.[8]
In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharata Natyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.
In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya).
Tamil Nadu, especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharata Natyam and also completed the process of re-editing the Bharata Natyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharata Natyam in Tanjore.

Essential ideas[edit]

This Bharata Natyam dancer's right hand is in the Katakamukha Hasta, the 3 joined fingers symbolizing the sacred syllable Aum. The left hand's fingers are inAlapadma Hasta, the rotating lotus of spiritual light. The eyes are directed towards the Supreme Lord. The left leg is lifted, symbolizing the swift ascent of the consciousness in one step from the Earth to the Heaven.
Bharata Natyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), Kuchipudi (element of earth), Mohiniattam(element of air) and Kathakali (element of sky or aether). The movements of an authentic Bharata Natyam dancer resemble the movements of a dancing flame. Contemporary Bharata Natyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools (see Yoga and dance).
Bharata Natyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava Ananda Thandavam (Tamil) (the dance of Shiva), masculine aspect, which is identical to the Yin and Yang in the Chinese culture.
In most solo performances, Bharata Natyam involves many split characters that are depicted by the dancer. The dancer will take on numerous characters by switching roles through the swift turn in circle and creates a story line that can be easily followed by the feat of one individual. The characters will be understood by the narrative of the song and the expression, or "abhinaya. However, in more modern times, Bharata Natyam performances have taken stage as group performances involving dramatical performances that require many characters depicted by various dancers. In addition, these dance performances include numerous transitions and formations that are creatively choreographed to enhance the movements along with the music.

Spiritual symbolism[edit]

Bharata Natyam is the manifestation of the ancient idea of the celebration of the eternal universe through the celebration of the beauty of the material body. Some Bharata Natyam techniques can be traced back to the Kaisiki style. The Natya(I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".
Apart from the Kaisikii style, Bharata Natyam imbibed some others. These reflect other yogis of spiritual revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for LordShiva, the Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panch-kriya): creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (smhara); concealing, veiling, hiding the transcendental essence behind the garb of apparitions (tirobhava); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in Tamil Muyalaka (PRIT) -- who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences.[9]

Medieval decline[edit]

Bharata Natyam in Serfoji II's period
Local kings often invited temple dancers (devadasis) to dance in their courts, the occurrence of which created a new category of dancers - rajanarthakis—and modified the technique and themes of the recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.
The Natya Shastra-based margi elements, such as karanas, that were meant to spiritually enlighten the spectators, were gradually replaced by desi karanas which were later replaced by adavus. The Bharata Natyam recitals and ballets started more and more popularly viewed as a form of desi entertainment.
The quartet of Chinnayya Pillai, Ponniah Pillai, Sivanandam Pillai and Vadivelu Pillai of the Tanjore Court, during the rule of MarathaKing Saraboji II (1798–1832), made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharatanatyam programme into its present shape with its various items. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatanatyam in Tanjore. Some of the well known Nattuvanars were Guru Meenakshisundaram Pillai, Guru Muthukumara Swami Pillai, Guru Ramaiah Pillai, Guru Kittappa Pillai, Guru Kubernath Tanjorkar, Guru Dandayudhapani Pillai and others. The fall of the Hindu kingdoms in the South marked the eventual decline of Natya, as the Muslim invasion in the North has completely wiped out Natya there. The sacred dance, one of the constituents of the Sodasa Upacharam, was replaced by rice offerings.

Modern rebirth[edit]

Rukmini Devi Arundale is considered the most important revivalist in the Indian classical dance form of Bharata Natyam from its original 'sadhir' style
E. Krishna Iyer was one of those who raised the social status of Bharata Natyam and greatly popularized it. Rukmini Devi Arundale was also instrumental in modifying mainly the Pandanallur style of Bharata Natyam and bringing it to the attention of the West. E. Krishna Iyer said about Rukmini Devi, “There is no need to say that before she entered the field, the art was dead and gone or that it saw a renaissance only when she started to dance or that she created anything new that was not there before”. Rukmini Devi Arundaleintroduced group performances and staged various Bharata Natyam-based ballets. According to Shri Sankara Menon, Rukmini Devi raised Bharata Natyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the Sringara, certain emotional elements evocative of the erotic, such as hip, neck, lip and chest movements) from the Pandanallur style, which was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Not all love was portrayed, at least outside parameters considered "chaste". Balasaraswati said that "the effort to purify Bharata Natyam through the introduction of novel ideas is like putting a gloss on burnished gold or painting the lotus". Having studied Bharata Natyam for three years, in 1936Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian musicand art. She was one of first teachers to instruct a few men to perform the dance. The dance, at that time, was exclusively performed by women, while men, called Nattuvanars, had only been teaching Bharata Natyam without actually performing it. It is worth noticing that most of the contemporary Bharata Natyam dancers do not satisfy the criteria for a professional danseuse stated in the scriptures.
Dr. Padma Subrahmanyam, who was originally trained in the Vazhuvoor style of Bharata Natyam, was another figure that greatly influenced the development of Bharata Natyam. She started her research on karanas in early sixties, and later announced the creation of a new Bharata Natyam variety, Bharatanrityam, which was a Bharata Natyam-based reconstruction of Natya Shastra's technique. While the Pandanallur styleTanjore or ThanjavurVazhuvoorMysoreKancheepuram were based on the art of rajadasis and are exoteric in nature, some others, like the Melattur style and Balasaraswati's style grew out of the devadasis' distinctly different esoteric art.
The development of the Bharata Natyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian dance historian have seen it as a means by which many women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of the contemporary devadasis' practices.[1]
At present, Bharata Natyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with a live ensemble. In popular culture, the adapted, or "semi-classical", Bharata Natyam has been exposed largely through depiction in popular movies and TV programs.
Learning Bharata Natyam normally takes many years before the arangetram (debut). There are academic and commercialized dance institutes in many countries. Many people choose to learn Carnatic music along with Bharata Natyam as they go together.
At present, not only Hindus but many Christians and Muslims also learn it, bringing it beyond the rigid forms of religious boundaries.
A paradigm shift was introduced in the field of Bharatnatyam when it got introduced in Maharashtra. Shri Kamleshji Maharaj was the pioneer in Maharashtra who introduced a new confluence of bharatnatyam and local dances like tamasha to create a new form called Tattumucchlum.

Bharata Natyam simplified[edit]

There are 3 aspects to dance; Nritta, Nritya and Natya. Nritta is a pure dance without any emotions, expressions or sahityam. Nritya has sahityam (a sentence which means something). It has emotions, expressions and has a meaning shown by the hastas. Natya is when a person is portraying a character. There are 4 types of abhinaya in dance. They are
  1. Anghika - Physical or body movements.
  2. Vachika - the song being played, poetry
  3. Aaharya - Ornamentation of a character/dancer e.g. jewellery, costume
  4. Satvika - Involuntary movements e.g. trembling, break of voice, tears

Items[edit]

File:Rama Vaidyanathan au musée Guimet 2009.ogv
Bharata Natyam dance performed by Rama Vaidyanathan at the auditorium of the Guimet Museum on June 6, 2009
Typically a performance includes:
Alaripu
A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance. Alaripu is performed in different jatis. Tishra, Mishra, Chatushra, Sankirna are the different types of jatis.
Kautuvam
Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis.
Ganapati Vandana
A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali
todayamangalam
a starting dance in which we show respect towards the god. This item was adopted from the karnatic music margam.A beautiful example of a todayamangalam is "jayajankaki Ramana"
Jatiswaram or Jathiswaram
An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. Here the Dancer displays the Korvai in a rhythmic form. Jatiswaram or Jathiswaram brings out three aspects of dance: unity of music, rhythm and movements.
Shabdam
The dancing is accompanied by a poem or song with a devotional or amorous theme. Shabdam is usually depicting graceful movements in a story or a poem
Varnam
The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
Padam
Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.
Stuti
Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra
Koothu
Item containing a lot of dramatic elements.
Javali
Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.
Tillana
The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
Apart from these items, there are items such as ShlokamSwarajathiKrithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).
Angikam
This is a devotional song on Lord Shiva and an item dance in Bharata Natyam. It can also be performed in byapti slow motion. The words for the shloka are " Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradhi, Tvam Numah Satvikam Shivam"

Other aspects[edit]

Jewelry
Bharata Natyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the performance.
Dancers wear anklets made of rope or leather with rows of sleigh-like (traditionally copper) bells attached on the anklet. The dancer's talent is judged (along with style and presentation) by the amount of ringing heard and the number of bells on the anklet. The less ringing heard from the anklet then the better the dancer, which is seen as having control and fluid movement. Typically, beginners have 1-2 rows, mediocre dancers have 3 rows, and advance dancers have 4-5 rows.
Costume
From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharata Natyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.
Music
The accompanying music is in the Carnatic style of South India.
Ensemble
Mostly, South Indian instruments are used in the ensemble. These include, the mridangam (drum), nagaswaram (long pipe horn made from a black wood), the fluteviolinand veena (stringed instrument traditionally associated with Saraswati, the Hindu goddess of the arts and learning).
Languages
TamilTeluguKannada and Sanskrit are traditionally used in Bharata Natyam.

Ideal qualities of dancers[edit]

A professional Bharata Natyam dancer must demonstrate a number of qualities. As Sangitaratnakara puts it, the true dance is connected to the beauty of the body, therefore any other dance is simply a parody (VII.1246).
The Abhinaya Darpana, one of the two most authoritative texts on Bharata Natyam, has a sloka that describes Patra Prana Dasha Smrutaha — the ten essentials of the dancer:Javaha (agility), Sthirathvam (steadiness), Rekha (graceful lines), Bhramari (balance in pirouettes), Drishti (glance), Shramaha (hard work), Medha (intelligence), Shraddha(devotion), Vacho (good speech), and Geetam (singing ability).
A professional danseuse (patra), according to the Abhinaya Darpana, must possess the following qualities: She has to be youthful, slender, beautiful, with large eyes, with well-rounded breasts, self-confident, witty, pleasing, well aware of when to dance and when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), with splendid costumes, and of a happy disposition.[citation needed]
As Natya Shastra states, narthaki (female dancers), are required to be "Women who have beautiful limbs, are conversant with the sixty-four arts and crafts (Kalā), are clever, courteous in behaviour, free from female diseases, always bold, free from indolence, inured to hard work, capable of practising various arts and crafts, skilled in dancing and songs, who excel by their beauty, youthfulness, brilliance and other qualities all other women standing by."[10]

In Popular Culture (Movies)[edit]

  1. Paattum Bharathamum
  2. Thillaanaa Mohanambal
  3. Saagara Sangamam
  4. Senthamarai (Tamil 1962)

See also[edit]

  • Bhangra- Folk dance of Punjab
  • Chhau dance - classical dance of west Bengal.
  • Kathak - classical dance prevalent in Northern India
  • Kathakali - classical dance of Kerala, largely performed by men
  • Kuchipudi - classical dance of Andhra Pradesh
  • Manipuri - classical dance from Manipur
  • Mohiniaattam - classical dance of Kerala, largely performed by women
  • Odissi - classical dance of Orissa
  • Yakshagana - Kannada theatre
  • Dance - An art form
  • Garba - Folk dance of Gujarat
  • Satriya - classical dance form of Assam