Every person is a Hindu who regards and owns this Bharat Bhumi, this land from the Indus to the seas, as his Fatherland as well as Holyland, i.e. the land of the origin of his religion (…) Consequently the so-called aboriginal or hill tribes also are Hindus: because India is their Fatherland as well as their Holyland of whatever form of religion or worship they follow.
...in the period from 1923 to 1948, known as the Bharata Natyam revival. Performers, critics, and promoters through Bharata Natyam to the urban proscenium stage, recontextualizing and renaming it. In doing so they crafted a genealogy in which Bharat Natyam came to represent ancient tradition and critical experimentation, nationalism, regional identities and the global transference forms outside of geographical and cultural boundaries.
The revival of Bharat Natyam therefore depended not only on politics, but also on the ability of practitioners and promoters to articulate their understanding of the dance form’s history .
The basis for the Bharat Natyam technique is the perception of the human body as a geometric ideal both in its static position (pictured as the straight axis around which a circle could be drawn) and its articulation through the dance (which explores all the harmonious geometric shapes possible from the central axis within the circle).Shobana Jeyasingh
Vyasa is depicted as the spiritual preceptor of five Brahmins who learned from him the Vedas and the MBh, and whom he instructed in religion . He also gave spiritual counsel to members of the Bharat family, both Pandavas and Kauravas , exercising control over their lives. That he was their spiritual preceptor as well as their concerned elder is particularly evident in the case of Pandavas, in whose lives the major events were supervised by Vyasa.
Bharat Natyam transcends national and cultural boundaries yet remains resolutely tied to them. It circulates globally but operates as a symbol of exotic.
Bharat Natyam’s immediate predecessor was sadir, primarily a solo dance form practiced by devadasis, courtesans affiliated to temples and courts as performers and ritual officiants.
Maharaja Swati Tirunal of Travancore (1813-1847) wrote 67 padams in Sanskrit, Telugu , Kannada and |Malayalam and he introduced them in Bharata Natyam performance by artists patronized by him in his own state. His padams have a rare literary flavour and the padams of this composer are becoming increasingly popular in the Bharat Natyam field…
Traditionally Bharat Natyam has a close affinity to the floor and pull of gravity. The body “sits” in a demi pile position and energizes itself through rhythmic contact between feet and ground.