Bharata Natyam is poetry in motion. Tracing its hoary origins in the Natya Sastra, written by the great sage Bharata,
 it is a highly traditional & stylized dance form. Crystallised in the cast-iron mould of Bharata's technique, this art
 form grossly disallows new-fangled innovations or gimmicks except in repertoire & forms of presentation. Bharata
 Natyam has been immortalised in successive generations, as much by the sinuous grace of great dancers as by the
 nimble fingers of renowned sculptors who have demonstrated the perfection of Bharata's technique in the flowing
 lines of temple structures.

 Bharathanatyam's blend of the abstract & the emotional is derived from its fusion of two prime elements, nritta (pure
 dance or dance without interpretive meaning) & nritya (expressive dance). Bharathanatyam derives much of its
 intense, dramatic impact from the juxtaposition & contrast with which both elements are utilised. Nritta comprises
 adavus, which are the basic dance units of Bharathanatyam. Each adavu contains 3 essential elements, a basic
 standing position (sthanaka), movement of the legs & feet (chari) & decorative hand gestures (nritta-hasta).

Its present form was evolved by the Tanjore quartet namely Poniah Pillai & brothers. Earlier variedly known as Dasi Attam
& Sadir, it was practised by Devadasis of the South Indian temples. It went into disrepute due to economic & social
conditions & it was Rukmini Devi who gave it new life & respectability. Its format consists of Alarippu (invocation), Jathi
Swaram (note combinations), Shabdam (notes & lyrics), Varnam (a combination of pure dance & abhinaya), lighter items
like Padams & Javalis(all forms for storytelling and abhinaya) & finally the Thillana (again pure dance).

I learnt Bharathanatyam from the Sri Rajarajeshwari Dance Academy, Bombay, India under the tutelage of Sri Maha Pillai for 19 years before coming to the United States. I have since performed occasionally. Now I keep up my art more for myself than for professional reasons.