--- url: 'https://kalasudha.com/en-int/dance/bharatanatyam' title: 'Bharatanatyam: classical dance of Tamil Nadu' author: name: Anonymous updated: '2026-10-31T16:30:49+00:00' type: website summary: "Bharatanatyam is Tamil Nadu's classical dance, performed to Carnatic music from the bent-knee araimandi stance. Devadasis once danced it as Sadir in temples." tags: - Dance image: 'https://kalasudha.com/themes/custom/music_agency/assets/icon/logo.svg' published: true og: site_name: KalaSudha 'image:url': 'https://kalasudha.com/themes/custom/music_agency/assets/icon/logo.svg' 'image:secure_url': 'https://kalasudha.com/themes/custom/music_agency/assets/icon/logo.svg' 'image:type': image/svg+xml 'image:alt': KalaSudha --- Tradition # Bharatanatyam भरतनाट्यम Tamil Nadu's classical dance of bent-knee stance, rhythmic footwork and expressive gesture Tamil Nadu Temple and court tradition Bharatanatyam is a classical dance of Tamil Nadu, danced to Carnatic music from the bent-knee araimandi stance. Devadasis once performed it as Sadir in temples and at court. [ Explore Courses ](/en-int/courses?discipline=177) [ Show interest ](/en-int/dance/bharatanatyam/show-interest) [Sign in to follow](/en-int/user/login?flag_anon=follow_term-177&destination=/en-int/markdownify/taxonomy/term/177) [ Share ](/en-int/share/term/177) ## Overview **Bharatanatyam** (also Bharata Natyam) is a classical dance of Tamil Nadu, danced to [Carnatic music](/en-int/vocal/carnatic-classical). Until the 1930s it went by the name **Sadir**. The name recalls Bharata, reputed author of the Sanskrit Natyashastra; a popular reading also hears bhava (expression), raga (melody) and tala (rhythm) in it. Dancers work from the **araimandi** (also aramandi), a half-sitting stance with knees bent outwards, and build the body into lines and triangles. [Kathak](/en-int/dance/kathak), the classical dance of North India, keeps the knees straight in its basic stance; Bharatanatyam bends them outwards. Pure dance (nritta) rests on adavus, set patterns that co-ordinate feet, hands, head and eyes. In abhinaya the dancer conveys meaning through hand gestures and the face. Beside a singer and the [mridangam](/en-int/instrumental/carnatic-classical/mridangam) drum, the nattuvanar or dance master recites rhythm syllables and plays cymbals. Hereditary devadasi dancers performed it in temples and at court. In the early nineteenth century the **Thanjavur Quartet**, four brothers at the Maratha court, shaped much of the concert repertoire, though scholars debate their share. A classic recital opens with the alarippu invocation, builds to the long **varnam**, moves through padams and ends with the pure-dance tillana and a Sanskrit sloka. Among the dancers who took it to public stages in the 1930s were Rukmini Devi Arundale, who founded **Kalakshetra** in 1936, and T. Balasaraswati, born into six generations of hereditary performers. Part of **Dance**: Indian classical dance is the umbrella name for India's regional classical forms, rooted in the Natyashastra. The list most cited, credited to the Sangeet Natak Akademi, has eight. ### Quick Facts Region Tamil Nadu Foundational Stance Araimandi (half-sitting stance, knees bent outwards) Key Figures Rukmini Devi Arundale, T. Balasaraswati Concert Format Set recital order, from alarippu to tillana ## History & Evolution Bharatanatyam evolved from the **Sadir** tradition maintained by Devadasis in Tamil temples. The Thanjavur court under Maratha patronage (17th-19th centuries) became the centre for systematisation, where the **Thanjavur Quartet** codified the concert repertoire. The colonial-era Anti-Nautch movement marginalised hereditary practitioners. **Rukmini Devi Arundale** led the 20th-century revival, establishing Kalakshetra and transforming the form for concert presentation. **T. Balasaraswati** maintained connections to hereditary practice. Today Bharatanatyam is the most widely practised Indian classical dance globally. 7th - 16th Century ### Temple Origins Temple sculpture documents dance postures. The **Devadasi** system institutionalises hereditary practice. Dance forms integral part of daily worship and festival rituals in Tamil temples. 17th - 19th Century ### Thanjavur Codification The **Thanjavur Quartet** (Chinniah, Ponniah, Sivanandam and Vadivelu) systematise the repertoire under Maratha patronage. The margam concert format crystallises. 1930s - 1960s ### Revival Movement **Rukmini Devi Arundale** founds Kalakshetra (1936). **T. Balasaraswati** represents hereditary tradition. The form transitions from temple to concert stage. 1970s - Present ### International Growth Global dissemination through institutions and diaspora communities. Chennai's December Season becomes major festival. Contemporary choreographers explore new directions while maintaining traditional foundations. ## Technical Aspects ### Araimandi Foundation The **araimandi** (half-seated position) forms the foundational stance. Bent knees with feet turned outward create the geometric base from which all movement originates. ### Adavu System **Adavus** are basic movement units combining footwork, hand positions, and body movement. Students master dozens of adavus across different categories and speeds before learning choreography. ### Margam Structure The **margam** structures concert presentation: Alarippu (invocation), Jatiswaram, Shabdam, Varnam (centrepiece), Padam/Javali, and Tillana (finale). ## Journey to Mastery Follow this structured journey to master this discipline 1. 1 ### Foundation Postures Master the araimandi stance and basic postures. Learn the aramandi, muzhu mandi, and standing positions. Develop stamina and body alignment essential for all subsequent training. 2. 2 ### Adavu Training Learn the fundamental adavus: tattadavu, nattadavu, visharu, tattimetti, and others. Master each adavu through repetition across different speeds. Build the vocabulary for complex choreography. 3. 3 ### Hasta and Abhinaya Study the hand gestures (hastas) from Abhinaya Darpana. Learn both nritta hastas for pure dance and abhinaya hastas for expression. Coordinate hand, eye, and facial movements. 4. 4 ### Margam Repertoire Learn the margam repertoire: Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Javali, Tillana. Understand compositional structure and expressive content for each form. 5. 5 ### Performance Preparation Prepare for arangetram (debut performance). Develop stage presence and concert stamina. Master the complete margam for solo recital presentation. ## Frequently Asked Questions Where can I learn Bharatanatyam online with a live teacher? KalaSudha teaches [Bharatanatyam](/en-int/dance/bharatanatyam), the classical dance of Tamil Nadu danced to Carnatic music, online in live one-to-one lessons with a vetted teacher. Your first work at **Foundation** is the **araimandi**, a half-sitting stance with the knees bent outwards, from which the dancer builds the body into lines and triangles. Then come the adavus, set patterns that co-ordinate feet, hands, head and eyes. You book each lesson in your own time zone, and our [courses](/en-int/courses) run in levels. Workshops and summer camps follow where enough learners sign up, so you can train in person too. Have more questions? Contact our support team and we'll be happy to help! Stay close ## Keep KalaSudha close. Receive news of concerts, learning opportunities, recordings and the work taking shape at KalaSudha. - Concert news - ·Learning opportunities - ·Recordings and stories We respect your privacy. Unsubscribe at any time.