The solo dance tradition of South India, known all over the world as Bharata Natyam, is perhaps the oldest among contemporary classical dance forms in India based on literary, sculptural and historical evidence available. The treasure-house of source material for this style of dance is the Silappadhikaram in which five chapters contain detailed information on the dance of the Tamil-speaking areas of that period.

After the 10th century, Bharata Natyam developed chiefly in the areas now known on Tamil Nadu. The Chola kings of Thanjavur were great patrons of the art and maintained a large number of dancers in temples. This tradition continued during the subsequent Nayak regime and the Maratha rule. The repertoire continued to change with the passage of time and received its finishing touches at the hands of Chinnayya, Ponnayya, Sivananandam and Vadivelu, known as the Tanjore Quartette, patronized by Raja Serfoji during the first half of the 19th century.

The present format of Bharata Natyam consists of Alarippu, Jatisvaram, Sabdam, Pada Varnam, Javali and Tillana. The concepts of Nritta, Nritya and Abhinaya are gradually unfolded by these items in their logical order. Nritta is pure dance; Nritya is a fusion of Nritta and Bhava and Abhinaya is acting in which bhava, rasa and gestures are used. The main item in a present day recital is the Pada Varnam in which all these three aspects are of equal importance and it is a touchstone for the dancer’s caliber. The compositions of the Tanjore Quartette continue to be the backbone of Bharata Natyam recitals today.

Recently, however, vast changes have taken place in the character of the orchestra, costumes, stage decor, lightning and announcements. Bharata Natyam is fast becoming popular in countries abroad and acquiring the status of a global art.
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