Bharatanatyam is the most widely practised form of Indian classical dances in the world. It is said to be the most ancient of all the classical dance forms in India, which are based on Natya Shastra.

BHAva (expression) + RAga (melodic modes of Indian music) + TAla (rhythm) NATYAM (dance) = BHARATA NATYAM

Bharatnatyam comprises three aspects, Nritta, Nritya and Natya.

Nritta are rhythmical and repetitive elements, i.e. it is dance proper
Natya is the dramatic art, and is a language of gestures, poses and mime. cf. Abhinaya
Nritya is a combination of Nritta and Natya

Nritta can be broadly divided into Chari, Karana, Angahara and Mandala.

One-leg movement are called Chari.
 Two-leg movements are Karana.
3 Karanas make a Khanda.
3 to 4 Khandas make a Mandala.
4 to 9 Karanas make a Angahara.
4 to 5 Angaharas also make a Mandala.
108 Karanas and 32 Angaharas are defined in Natyashatra. The 13 Nritta Hastas (see below) are used to perform nritta. The rythmic body movements along with hand gestures are called aduvus. A number of aduvus constitute a jati. Jati will generally end with a Muktaya or Teermana.

There are diferent types of Aduvus in Bharatnatyam: Tattaduvu, Mettaduvu, Nataduvu, Kattaduvu, Kudittamettaduvu, Maiaduvu, Mandiaduvu, Jati, Nadai, Ardi. There are 12 aduvus in each type, making it 120 aduvus in total. Only about 70-80 are generally practised by an average Bharatnatyam dancer.

Shirobhedha - Head Movement Bharatnatyam
Greevabhedha - Neck Movement
Drushtibhedha - Eye Movement
Paadabhedha
Mandala - Standing Posture
Utplavana - Leaps
Bhramari - Circling Movement
Chari - Leg Movement
Gatibhedha - Charecteristic walks
 

Various Styles of Bharatanatyam:

The following are the six main styles of Bharatanatyam

Melattur
Pandanallur
Vazhuvoor (or Vizhuvur)
Thanjavoor (or Tanjore)
Mysore
Kanchipooram

Melattur style:

natural (spontaneous) and highly expressive abhinaya
largest amplitude of movements, which requires a higher degree of flexibility
emphasis on sringara bhakti
emphasis on crisp adavus, accuracy of jathis/ gathis,
fluid variations of patterned korvais
dramatic elements (characterisation)
original methods of application of principles of "loka dharmi" and "natya dharmi"

The Pandanallur style:

its deep sitting positions
its lasya (feminine dance style) of padams is rather slow and difficult to perform
it is performed on three levels: in deep sitting positions, on the ground, in standing positions and while moving or jumping.

The Vazhuvoor style:

wide range of dancing pace
static postures are inserted, most often in the tillana, to break the monotony and to add the variety of rhythms
softer facial abhinaya
abhinaya is subtle with more natyadharmi (spontaneous expressions), so the presentation is not "overdone"
the adavu's flow smoothly, with rare abrupt movements
extremely elaborate movements
deep sitting positions
variety of positions on the floor
rich sringar elements
lasya dominates tandava
the dancer's body from the waist up is stlightly bent forward
leaps are introduced into every jati
the jati's have more korvais (intervals), which creates a suspense effect
performance begins with a Thodaya mangalam in praise of Lord Gnana Sabesar of Vazhuvoor


The modern Kalakshetra style is a simplified form based on Pandanallur and, to some extent, Thanjavoor styles.
 

A recital of Bharata Natyam dance begins with an invocation. This song offers prayers to a certain god or goddess, associated with knowledge, wisdom and auspicious omens. Then the dancer presents the very first item, usually offering of flower petals at the altar, followed by an introductory dance sequence showing the basic stances of Bharata Natyam. This sequence is called pushpanjali (floral offering) and alarippu (introductory sequence).

The second sequence is a melody and rhythm combination called Jathiswaram) wherein complicated techniques (footwork, body movements, hand gestures all combined) are performed with a serene expression, to a series of musical notes. There is, notably, no story telling or facial expression in this sequence.

The third piece presented is usually a sabdam. This is a form of singing in which a popular legend or myth is told in a simple meter. Accordingly, the dancer conveys through facial expressions, the contents of the lyrics.

The fourth item is one that occupies the central position of the concert, in which the dancer's concentration, stamina and artistic competence are all put to test. This is a dance called Varnam. Varnam is a complicated edifice which starts with an impressive rhythmic passage, leading on to mimetic sequences and concluding in a faster tempo.

The dancer is expected to alternate technique and facial expressions effectively while maintaining the emotional intensity of the song. Varnam is danced for a duration of 40 minutes to even one hour by accomplished dancers. After a brief rest of a few minutes, the Bharata Natyam performance is resumed with leisurely and slow paced love songs and devotional songs to which the dancer gives appropriate expressional interpretation. This part of the dance is called abhinaya and the songs - known as padams and javalis.

Abhinaya represents the real essence of Bharata Natyam and a dancer is acknowledged only after she has mastered this aspect. More mature dancers are expected to freely improvise their expressions and give unusual and varied interpretations even to common songs. Thus abhinaya tests authority of an artist. Having satisfied the highest aesthetic demands of the connoisseurs, the dancer ends the performance with a fast and sparkling thillana in which, once again rapid footwork, pleasing body postures and other techniques of Bharata Natyam are presented. In this manner, the contemporary performer of this ancient classical dance preserves and portrays all aspects of the dance style. The question always arises as to how individual contributions of various teachers and dancers can figure in a rigidly stylized form.