The Natyashastric tradition mentions that “natya” (inclusive of dance and music) is to be performed for the entertainment of the king and then his populace. Indian history provides many references to the practice of dedicating girls to the dancing tradition – the girls being referred to as “ganika” in the North and “kuttiyar” or “virali” in the South. The roots of this system can be traced all over the country, but the system appears to be of a special significance in the South. Traditionally, it was the proud privilege of the dancing girl “Devadasi” (servant of God) to practice this glorious art. “Ra” from “raga” (musical mode) and “Ta” from “tala” (time measure). It was also called “Bharatam” not after sage Bharata rather the term is derived from three essential facets of the style: “Bha” from “bhava” (mental state or emotion).
It had several names like Chinna Melam, Sadir, Dasiattam etc.
Today’s Bharata Natyam is the end product of this great tradition. It may not be wrong to conclude that for dancing at least, Bharata may have turned to the South. There are specifications for the guru, music teacher, the mridangist, the composer of songs, the flautist, the player of the yaal (forerunner of the veenaa) etc. The Shilappadikaram is a literal storehouse on the position and practice of dance and music of that era. This appears to be due to the influence of the Natyasastra. But during the times of the Shilappadikaram, it appears, dances were performed for secular purposes also. It appears that earlier, in the pre-historic era, dances were performed to propitiate deities or for ritualistic purposes. It is however clear that this epic comes later than the Natyasastra, since it shows an awareness of the Natyasastric practices. It is a treatise on the three-fold classification of the Tamil language – literary Tamil, music and drama. The earliest reference to systematised dance referred to as kuttu, is to be found in the great Tamil epic Shilappadikaram, written in all probability in the 3rd or 4th century A.D.
#Tamil christian song ekla shabdam professional
One finds references dating from the first few centuries of the Christian era to a very vigorous system of dance and music being practiced at the highest professional level in the Dravida country. One cannot hazard a guess as to when it arose out of the soil of the Dravida culture. Kanak Rele.īharata Natyam is the glorious dance style from the southern state of Tamil Nadu. It is Devadasis and their great spirit which have perpetuated this art, writes Dr. Bharata Natyam, the glorious dance style from Tamil Nadu is designed as a votive offering to be placed at the feet of the lord.
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