A manual of Bharatha Natyam for art lovers

Bharatha Natyam A Divine Dance
Author: Subashini Pathmanathan
Publisher: India-Sri Lanka Foundation

Reviewed by Brindha Sheshan

Bharatha Natyam A Divine Dance, a book on Bharatha Natyam, was written by Sri Lankan born Bharatha Natya exponent Subashini Pathmanathan. This is her 12th book and third English book. The printing of the book was sponsored by the India-Sri Lanka Foundation.

Subashini has written hundreds of articles in Tamil and English, since 1983. She is one of the reputed artistes and writers on dance, culture, tradition and related topics. The book deals with numerous aspects of Bharatha Natyam. Each chapter is unique, independent and individual. The independent view of the author is reflected in each chapter of the book. The book deals with Bharatha Natyam and numerous aspects of society including social, spiritual, cultural and linguistic factors. Each chapter has been written with meticulous care from a research and analytical point of view.

The book reveals by and large the author’s personal and independent analytical views.

Lord Siva

The book contains some of the interesting aspects of Bharata Natyam.

The opening chapter deals with the significance of Ananda Thandavam of Lord Siva and it gives a meaningful explanation to the reader. The reason for adopting the Ananda Thandavam has been discussed.

The approach of Bharatha Natyam in the modern society is another important aspect discussed in the book. It reveals the mentality of the present society in handling the divine art. This is the first book which is released on dance of this nature, with so many important and valuable practical analytical aspects of dance.

The outstanding fact of the book is, that the author compares Bharatha Natyam with Sri Lankan dances. In Sri Lanka Bharatha Natyam is one of the most popular dance forms. But so far no book has been written on Bharatha Natyam in relation to Sri Lankan resources. The book bridges the gap which has not been filled by anybody so far. It brings out the writer’s own personal experience, knowledge and observation in relation to the dance.

Guardstone

Especially the chapters such as archaeological guardstone sculptures of Sri Lanka in relation to Bharatha Natyam, Lankan Hindu Temple Sculptures in general, the role of Sri Lankan sculptures and Bharatha Natyam and their uniqueness are some of the important chapters.

A special place is given to the indigenous Sri Lankan Tamil Koothu forms.

The author deals with the indigenous Tamil dance forms of the North, East and North West provinces of Sri Lanka.

One chapter is totally dedicated to promote and build the communal harmony among the two major communities of Sri Lanka.

She explains how Bharatha Natya repertoire is based on sacred Hindu temple structure. The sixth chapter reveals how Bharatha Natyam was preserved by the Tamil community as a part of their culture.

One chapter describes the impact of sculptures on dance. It beautifully describes Bharatha Natyam influence on ancient temple sculptures. Another chapter is allocated for the development of institution of the Devadasi system in dance.

Information

The book provides valuable information about the historical and the development of Bharatha Natyam in Sri Lanka. The author analyses the importance of the females’ contribution for the development of Bharatha Natyam.

The chapter on the role of revivalists in Bharatha Natyam highlights a wealth of information on the development of Bharatha Natyam in the 20th century, from the temple dance Sadir.

One chapter of the book deals with the role of Hinduism in the Indian dances.

Another chapter deals with the contribution of temple halls for the development of Bharatha Natyam. These chapters provide valuable information about how Hinduism and temple environs played a vital role for the development of Bharatha Natyam.

Two more chapters of the book are dedicated to Guru Bakthi in classical dance and Guru Shishya tradition in classical Bharatha Natyam. These two chapters impart the moral value of the guru to the present generation of the student community.

Hand gestures

Some of the chapters deal with the practical aspects of dance such as the role of hand gestures in Bharatha Natyam, role of Abhinaya in Indian classical dance, role of personality in dance, role of garlands in Bharatha Natyam, impact of technology on Bharatha Natyam, fusion dances and the role of make -up and hairdressing in Indian classical dances.

These chapters impart and emphasise how numerous practical factors influence the classical dance.

The last two chapters are quite different from the earlier chapters, because they are allocated for the dance illustration and explanation with beautiful diagrams of the eye neck, and body positions.

The last chapter elaborately provides the 108 Karanas of Lord siva.

On the whole the book provides valuable information on various aspects of dance to art lovers, teachers and students.