Friday, 14 August 2015

HIP HOP(western Dance)

Hip hop culture or hip-hop is a cultural movement that formed during the late 1960s among African American youths residing in the South Bronx in New York City. It is characterized by four distinct elements, all of which represent the different manifestations of the culture: rap music (oral), turntablism or "DJing" (aural), b-boying (physical) and graffiti art (visual). Even while it continues to develop globally in myriad styles, these four foundational elements provide coherence to hip hop culture.The term is often used in a restrictive fashion as synonymous only with the oral practice of rap music.
The origin of the hip hop culture stems from the block parties of the Ghetto Brothers, when they plugged the amps for their instruments and speakers into the lampposts on 163rd Street and Prospect Avenue and used music to break down racial barriers, and from DJ Kool Herc at 1520 Sedgwick Avenue, where Herc mixed samples of existing records with his own shouts to the crowd and dancers. Kool Herc is credited as the "father" of hip hop. DJ Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, to which he coined the terms: MCing or "Emceein", DJing or "Deejayin", B-boying and graffiti writing or "Aerosol Writin".
Since its evolution throughout the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world.[13] Hip hop music first emerged with Kool Herc and contemporary disc jockeys and imitators creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables. This was later accompanied by "rap", a rhythmic style of chanting or poetry often presented in 16-bar measures or time frames, and beatboxing, a vocal technique mainly used to provide percussive elements of music and various technical effects of hip hop DJs.[citation needed] An original form of dancing and particular styles of dress arose among fans of this new music. These elements were adapted and developed considerably over the history of the culture.
Hip hop is simultaneously a new and old phenomenon; the importance of sampling to the art form means that much of the culture has revolved around the idea of updating classic recordings, attitudes, and experiences for modern audiences—called "flipping" within the culture. It follows in the footsteps of earlier American musical genres such as blues, salsa, jazz, and rock and roll in having become one of the most practiced genres of music in existence worldwide, and also takes additional inspiration regularly from soul music, funk, and rhythm and blues

Etymology

Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term[14] in 1978 while teasing a friend who had just joined the US Army by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the "hip hop" cadence into his stage performance.[15][16] The group frequently performed with disco artists who would refer to this new type of music by calling them "hip hoppers". The name was originally meant as a sign of disrespect, but soon came to identify this new music and culture.
The song "Rapper's Delight", by The Sugarhill Gang, released in 1979, begins with the phrase "I said a hip, hop the hippie the hippie to the hip hip hop, a you don't stop". Lovebug Starski, a Bronx DJ who put out a single called "The Positive Life" in 1981, and DJ Hollywood then began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, "There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit ("Rapper's Delight" by the Sugar Hill Gang on Sugarhill Records).[18] Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Lovebug Starski as the first to use the term "hip hop", as it relates to the culture. Bambaataa, former leader of the Black Spades gang, also did much to further popularize the term. The words "hip hop" first appeared in print on September 21, 1981, in The Village Voice in a profile of Bambaataa written by Steven Hager, who also published the first comprehensive history of the culture with St. Martins' Press.


History

In the 1970s, an underground urban movement known as "Hip Hop" began to develop in the South Bronx in New York City. It focused on emceeing (or MCing), breakbeats, and house parties. Jamaican-born DJ Clive "Kool Herc" Campbell was highly influential in the pioneering stage of hip hop music. Beginning at Kool Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough.[21] Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, boastful poetry and speech over music.[22]
This became emceeing—the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment—taking inspiration from the rapping derived from African American-style toasting. The basic elements of hip hop—boasting raps, rival posses, uptown throw-downs, and political commentary—were all present in African American music, moved back and forth between the predominance of boasting and toasting songs packed with 'slackness' and sexual innuendo and a more topical, political, 'conscious' style.
Melle Mel, a rapper-lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an "MC".

Herc also developed upon break-beat deejaying,[24] where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers break-boys and break-girls, or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically".[25]
DJs such as Grand Wizard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.[26] The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks" and The Sugarhill Gang's "Rapper's Delight".[27] Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.[28] The equipment consisted of numerous speakers, turntables, and one or more microphones.[29] By using this technique, DJs could create a variety of music, but according to Rap Attack by David Toop “At its worst the technique could turn the night into one endless and inevitably boring song”.[30] Nevertheless, the popularity of rap steadily increased.
Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.[31]
The New York City blackout of 1977 was what allowed hiphop culture to expand. Initially the African-American community could not afford expensive music making equipment, but then came the blackout. The blackout had widespread looting, arson, and other citywide disorders especially in the Bronx where hiphop began.[32] During the blackout, a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.[33]
In late 1979, Debbie Harry of Blondie took Nile Rodgers of Chic to such an event, as the main backing track used was the break from Chic's "Good Times".[27] The new style influenced Harry, and Blondie's later hit single from 1981 "Rapture" became the first major single containing hip hop elements by a white group or artist to hit number one on the U.S. Billboard Hot 100—the song itself is usually considered new wave and fuses heavy pop music elements, but there is an extended rap by Harry near the end.
Hip hop as a culture was further defined in 1982, when Afrika Bambaataa and the Soulsonic Force released the electro-funk track "Planet Rock". Instead of simply rapping over disco beats, Bambaataa with producer Arthur Baker created an electronic sound, taking advantage of the rapidly improving drum machine Roland TR-808 synthesizer technology, as well as sampling from Kraftwerk.[34] Planet Rock is widely regarded as a turning point; fusing electro with hip hop, was "like a light being switched on," resulting in a new genre. [35] Other groundbreaking records released in 1982 were The Message by Grandmaster Flash and the Furious Five, Nunk by Warp 9, Man Parrish's "Hip Hop, Be Bop (Don't Stop)]," Whodini's "Magic Wand," and Malcom McClaren's "Buffalo Gals." In 1983, Hashim created the influential electro funk tune "Al-Naafiysh (The Soul)," while Warp 9's "Light Years Away"(1983), "a cornerstone of early 80s beat box afrofuturism," produced by Lotti Golden and Richard Scher, introduced socially conscious themes from a Sci-Fi perspective, paying homage to music pioneer Sun Ra. [36]
Encompassing graffiti art, MCing/rapping, DJing and b-boying, hip hop became the dominant cultural movement of the minority-populated urban communities in the 1980s.[37] The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five),[38] a song that foreshadowed the socially conscious statements of Run-DMC's "It's like That" and Public Enemy's "Black Steel in the Hour of Chaos".[39] During the 1980s, hip hop also embraced the creation of rhythm by using the human body, via the vocal percussion technique of beatboxing. Pioneers such as Doug E. Fresh,[40] Biz Markie and Buffy from the Fat Boys made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds.
The appearance of music videos changed entertainment: they often glorified urban neighborhoods.[41] The music video for "Planet Rock" showcased the subculture of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip hop-related films were released between 1982 and 1985, among them Wild Style, Beat Street, Krush Groove, Breakin, and the documentary Style Wars. These films expanded the appeal of hip hop beyond the boundaries of New York. By 1984, youth worldwide were embracing the hip hop culture. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe, as the culture's global appeal took root.[citation needed] The four traditional dances of hip-hop are rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late 1960s or early 1970s.[42] Women artists have also been at the forefront of the hip hop movement since its inception in the Bronx. Negation of female voice and perspective is a theme that defines mainstream hip-hop; the recording industry is less willing to back female artists than their male counterparts, and when it does back them, it often emphasizes their sexuality over their musical substance.[43] Since the turn of the century, female hip hop artists have struggled to get mainstream attention. Several produced platinum albums in the decade to 2003, when Lil' Kim achieved the feat. Since then the only one to achieve platinum has been rapper Nicki Minaj.


Breaking


Breaking, an early form of hip hop dance, often involves battles, showing off technical skills as well as displaying tongue-in-cheek bravado.
Breaking, also called B-boying or breakdancing, is a dynamic style of dance which developed as part of the hip hop culture. Breaking is one of the major elements of hip hop culture. Like many aspects of hip hop culture, breakdance borrows heavily from many cultures, including 1930s-era street dancing,[100][101] Afro-Brazilian and Asian Martial arts, Russian folk dance,[102] and the dance moves of James Brown, Michael Jackson, and California Funk styles. Breaking took form in the South Bronx in the 1970s alongside the other elements of hip hop.
According to the 2002 documentary film The Freshest Kids: A History of the B-Boy, DJ Kool Herc describes the "B" in B-boy as short for breaking, which at the time was slang for "going off", also one of the original names for the dance. However, early on the dance was known as the "boing" (the sound a spring makes). Dancers at DJ Kool Herc's parties, who saved their best dance moves for the break section of the song, getting in front of the audience to dance in a distinctive, frenetic style. The "B" in B-boy also stands simply for break, as in break-boy (or girl). Breaking was documented in Style Wars, and was later given more focus in fictional films such as Wild Style and Beat Street. Early acts include the Rock Steady Crew and New York City Breakers

Effects


A b-boy performing in San Francisco
Hip hop has made a considerable social impact since its inception in the 1970s.[107] Orlando Patterson, a sociology professor at Harvard University, helps describe the phenomenon of how hip hop spread rapidly around the world. Professor Patterson argues that mass communication is controlled by the wealthy, government, and businesses in Third World nations and countries around the world.[108] He also credits mass communication with creating a global cultural hip hop scene. As a result, the youth absorb and are influenced by the American hip-hop scene and start their own form of hip hop. Patterson believes that revitalization of hip hop music will occur around the world as traditional values are mixed with American hip hop musical forms,[108] and ultimately a global exchange process will develop that brings youth around the world to listen to a common musical form known as hip hop. It has also been argued that rap music formed as a "cultural response to historic oppression and racism, a system for communication among black communities throughout the United States".[109] This is due to the fact that the culture reflected the social, economic and political realities of the disenfranchised youth.[110] Of particular interest to MCs and MC crews outside of the United States has been the use of rap music as a tool for political, social, and cultural empowerment. Members of minority communities—such as Algerians in France, and Turks in Germany—use rap as a platform to protest racism, poverty, and social structures. Arab Spring hip hop played a significant role in providing a channel for the youth to express their ideas



KUCHIPIDI(classical Dance)




Uma Muralikrishna, a Kuchipudi dancer performing at IIM Bangalore

Vaidehi Kulkarni performing Kuchipudi
kuchipudi-nayika in lathangi posture  Kuchipudi Danseuses in Action
kuchipudi-nayika in lathangi posture
Kuchipudi Danseuses in Action
kuchipidi(stage)
The performance usually begins with some stage rites, after which each of the characters come on to the stage and introduces herself with a dharavu (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a lightweight wood called Boorugu. It originated in the seventh century.

Style 

  • Bharata Muni who wrote the Natya Shastra had explained various aspects of this dance form. Later sometime in the 13th century, the impetus to kuchipudi was given by Siddhendra Yogi. Well-versed in the Natyashasra, he composed a dance-drama Parijatapaharana.[3]

Kuchipudi dancers are quicksilver and scintillating, rounded and fleet-footed, they perform with grace and fluid movements. Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In its solo exposition Kuchipudi numbers include 'jatiswaram' and 'tillana' whereas in nrityam it has several lyrical compositions reflecting the desire of a devotee to merge with God. In an era of the degeneration of dance due to exploitation of female dancers, an ascetic, Beyond the stylistic differences of Kuchipudi and Bharatanatyam steps,[clarification needed] there are certain types of dances that are unique to Kuchipudi: Specifically there is the Tarangam which is unique in that the dancer holds a plate with two diyas (small oil-burning candles) in her hands while balancing a "kindi" (small vessel) containing water.
The dance styles in the state are based on the standard treatises, Abhinaya Darpana and Bharatarnava of Nandikeshwara, which is sub-divided into Nattuva Mala and Natya Mala. Nattuva Mala is of two types — the Puja dance performed on the Balipitha in the temple and the Kalika dance performed in a Kalyana Mandapam. Natya Mala is of three kinds — ritual dance for gods, Kalika dance for intellectuals and Bhagavatam for common place. The Natya Mala is a dance-drama performed by a troupe, consisting only of men, who play feminine roles.

Movements and music

The songs in Kuchipudi are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. In Tarangam at times she places a pot full of water on her head and dances on the brass plate. The song accompanying this number is from the well known Krishna Leela Tarangini, a text which recounts the life and events of Lord Krishna.
In expressional numbers a dancer sometimes chooses to enact the role of Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam. She goes through various stages of love. When in separation from Lord Krishna, she recalls the happy days of union and pines for him. At last they are reunited when she sends him a letter.
One more number from the Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which a milkmaid invites Krishna for a rendezvous in myriads of ways giving full scope for the dancer to display the charms of a woman
Kuchipudi is as ancient as Natya astra (1st century BC)in which mention is made of a dance drama form besides solo. An invocatory verse also indicates that four forms of dance were prevalent then, of which ‘Dakshintya’ or South Indian form is apparently the earliest version of Kuchipudi. There is also historical evidence that the art flourished during the reign of the Satavahanas (2nd century BC). Over the centuries as the performances were dedicated to the worship of Vishnu, the form came to be known as Bhagavata Mela Natakam. It was during Siddhendra Yogi’s time (14th – 15th century) that it came to be known as Kuchipudi, named after the village established by Siddhendra Yogi where his follower, the Brahmin performers settled down.
Two parallel schools of dance have existed since time immemorial, viz. Nattuva Mela and Natya Mela. The former evolved into Bharat Natyam and the latter into Kuchipudi. There is difference in the presentation itself. The main difference lies in the abhinaya. The graceful, lasya oriented Kuchipudi gives importance to Vakyartha abhinaya go together. Bharatanatyam on the other hand is Mudra oriented and gives importance to Padartha abhinaya, each word interpreted through mudras. Certain movements are characteristic to Kuchipudi. Vachika abhinaya (use of words/dialogues) is also a special feature of the Kuchipudi style.


Kuchipudi dancers set a Guinness World Record

Over 2,800 Kuchipudi dancers, including 200-plus natyagurus created a Guinness World Records on December 26, 2010 performing Hindolam Thillana at the GMC Balayogi Stadium in Hyderabad.
The spectacular show performed by dancers from 15 countries and every state was staged in praise of Kuchipudi choreographer Siddhendhra Yogi. The 11-minutes programme was part of the concluding ceremony of the three-day second International Kuchipudi Dance Convention.
The chief guest, the President of India, Smt. Pratibha Patil, the governor of Andhra Pradesh, E.S.L. Narasimhan, and the chief minister, N. Kiran Kumar Reddy, congratulated the participants. Kuchipudi exponents Vempati Chinasatyam, Vedantam Satyanarayana Sarma, Yamini Krishnamurthy, Raja Reddy Radha Reddy, and Sobha Naidu were felicitated by the president.
Rapturous applause filled the venue as the programme came to an end and a representative from Guinness World Records announced that she was speechless with the magnitude of the programme. Later, disciples of Raja Reddy Radha Reddy (Yamini Kapoor et al.) performed Devi Smriti invoking the goddess to remove people’s sufferings. The disciples of Guru Seetha Nagajothy and Guru P. Nagajothy (New Delhi) also participated in this show. Kiran Kumar Reddy, who had announced an assistance of 25 lakh Rupees on the inaugural day, handed over a cheque for the amount to the Union minister of state for Human Resources Development, Smt. Daggubati Purandeswari.

BHARATHNATYAM(Classical Dance)





Bharathanatyam (Tamil: பரதநாட்டியம்) is a form of Indian classical dance that originated in the temples of Tamil Nadu.[1][2][3][4][5] It was described in the treatise Natya Shastra by Bharata around the beginning of the common era. Bharata Natyam is known for its grace, purity, tenderness, expression 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, although it is more commonly danced by women.


Etymology


Bharata Natyam in Serfoji II's period
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 Sadir, Chinnamelan and most commonly Dasi Attam. A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra. The word Bharatnatyam combines "Bhavam" meaning expression, "ragam" meaning music, "thalam" meaning rhythm and natyam meaning dance

Dance tradition


One of the 81 Bharata Natyam dance positions carved on the outer wall of the upper storey of Peruvudaiyar Koyil, Thanjavur. completed in 1010.
Surviving texts of the golden age of Tamil literature and poetry known during the Sangam period of ca. 3rd century BCE to c. 4th century CE, 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 major roles.[8]
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). "Natya" portrays a character and "Nritya" can be seen as a type of story telling, using lots of hand gestures and emotions.
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. The dance forms can be big or small.

Essential ideas

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.
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

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 Lord Shiva, 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.

Medieval decline

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 Maratha King 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


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 Arundale introduced group performances and staged various Bharata Natyam-based ballets. According to Shri Sankara Menon, Rukmini Devi raised Bharata Natyam to a puritan art form, by removing certain emotional elements evocative of the erotic, such as hip, neck, lip and chest movements) from the Pandanallur style. 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 1936 Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian music and 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 style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram 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.[10]
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.

Bharata Natyam simplified

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

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 Shlokam, Swarajathi, Krithi 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"