Bharata Natyam is one of the oldest dance forms of India. Called  ‘Sadir’ in ancient times, its origin goes back nearly 2000 years. It was nurtured in the temples and courts of southern India and later codified and documented as a performing art in the 19th century. The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity, as dancers and musicians forming part of elaborate rituals.
 
These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India's cultural heritage prompted the educated elite to discover its beauty. The revival of Bharata Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale, brought the dance out of the temple precincts and onto the proscenium stage, to its present day glory.

Today, Bharata Natyam is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India and the world. Due to its wide range of movements, postures and balanced mélange of rhythms, the style easily lends itself well to experimental and fusion choreography. Today, dance recitals and repertoires are evolving into more stylised and sophisticated productions.

While the word ‘Bharata’ is derived from the three syllables meaning BHAva (expression), Raga (music), TAla (rhythm), ‘Natyam’ means dramatic art. The blend of Nritta (abstract and decorative movements), Nrithya (combination of rhythmic dance with gestures to interpret lyrics) and Natya form the basis of Bharata Natyam. Movements in Bharata Natyam are conceived in space, mostly along straight lines or triangles. Hence, the dancer appears to weave an exquisite series of intricate geometrical patterns involving complex  footwork in rhythmic patterns with facial expressions and sculpture like poses.

The principals and techniques of Bharata Natyam are systematised and compiled in Bharata’s Natya Sastra. It is believed that Lord Brahma created the Panchamaveda (or fifth veda), the ‘Natyaveda’- an essence of the four vedas. He took pathya (words) from the Rigveda, abhinaya (gestures) from the Yajurveda, sangita (melody, music and chant) from Samaveda and rasa (enjoyment or emotional element) from Atharvaveda, to create this beautiful classical art form.

Photo Credit: Mansa Photography

Prabha Raghavan
Artistic Director, Sri Sanskriti Dance Academy

Having trained under stalwarts like Guru Shri Mahalingam Pillai and Guru Kalyanasundaram Pillai, Prabha Raghavan has been pursuing and performing  Bharata Natyam  since over three decades now.

As a toddler she took to classical dance, music and fine arts under the able guidance of her mother Smt. Jayalakshmi Subramanian, a trained classical dancer and singer herself. Later, rigorous training in the ‘Tanjavur’ style with Sri Raja Rajeswari Bharatanatya Kalamandir in Bombay, India, proved to be a stepping stone to numerous stage performances, recitals and artistic achievements. Her arangetram was truly, the beginning of her professional career as a classical dancer. She received the title of ‘Singara Mani’ at the all India level in 1984. She also conducted lecture - demonstrations for institutions like the Indo German Association in Mumbai for five consecutive years. Workshops with eminent artists of repute including Smt. Kalanidhi Narayanan and Sir CV Chandrasekar, further kindled her quest for knowledge and learning in the field. She continues to train under and remain a humble student of her Gurus and mentors even today.

A trained Carnatic vocalist, Prabha received lessons from Gurus Smt. Shakuntala Narasimhan and Smt. Raji Gopal. Along with this, Prabha also learnt and played the veena for over seven years, under the guidance and tutoring of Guru Smt. Mangalam Muthuswamy.

An acclaimed artiste, Prabha has performed as a soloist and in several group recitals in India, Bahrain and Canada. She has always received rave reviews for her refined abhinaya and natural grace and finesse. Her sense of rhythm and posture perfect renditions- both inherent skills, have made her an outstanding dancer and sheer pleasure to watch. Prabha’s on stage depiction in the Meera bhajan ‘Hari Tuma Haro’ at Nagpur, moved an audience member so close to tears that he returned the very evening to present her a Krishna idol, a token of his appreciation of the art.

Prabha has also enjoyed training young artists and students over the years. She has taught classical dance in Bahrain for eight years, training students for performances and arangetrams. Associated with Sampradaya Dance Academy for eleven years, she played a vital role in the company’s growth. A driving force for students from intermediate to senior levels and a mentor to numerous students, Prabha has not only been a dedicated and integral part of the academy through its arangetrams, stage recitals and performances, but she has been its principal soloist as well.

With Sri Sanskriti, Prabha continues to nurture her zest for this classical dance form. Besides undergoing dedicated training in practical and theory lessons, her students have performed and participated at various local events in the Greater Toronto Area. A strong believer in classical tradition, Prabha has truly carved a niche for herself through exceptional choreography and as a passionate exponent of Bharata Natyam.

Photo Credit: Mansa Photography

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