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Arangetram is a significant milestone in the life of a student of Indian classical dance. It marks the completion of years of dedicated training and practice, and is a formal graduation ceremony that is steeped in tradition and cultural significance.

During an Arangetram, the student performs a solo dance recital in front of an audience, which can include family members, friends, and members of the dance community. The performance is a culmination of the student’s training and showcases their mastery of the dance form.

The history of Arangetram can be traced back to the ancient temples of India, where dance was performed as part of religious rituals. Over time, dance evolved into a form of entertainment, and Arangetram became a way for students to demonstrate their skills and seek the blessings of the gods for a successful career in the performing arts.

Preparing for Arangetram requires years of rigorous training under the guidance of a skilled guru. The student must learn not only the technical aspects of the dance form, but also its cultural context, history, and philosophy. They must also select appropriate costumes and music, and prepare for the emotional and psychological challenges of performing in front of a live audience.

Arangetram is an important cultural tradition that celebrates the beauty and richness of Indian classical dance. It is a testament to the dedication and hard work of the student, as well as the enduring legacy of this ancient art form.

The term “Bharatanatyam” is believed to have been coined by the famous art historian and scholar, Dr. S. K. Govindaswamy Pillai, in the early 20th century. Dr. Pillai was a pioneering figure in the study and promotion of Indian classical dance, and his efforts helped to elevate Bharatanatyam to its current status as one of the most popular and widely recognized forms of Indian dance.

Before the term “Bharatanatyam” came into use, the dance was known by a variety of other names depending on the region and tradition. In Tamil Nadu, where the dance originated, it was known as Sadir or Dasi Attam, and was primarily performed by women in the temples and royal courts. However, in the 20th century, as the dance began to gain wider recognition and popularity, Dr. Pillai felt that a new name was needed to reflect its unique style and heritage.

The term “Bharatanatyam” is derived from three Sanskrit words – “bhava” (emotion), “raga” (melody), and “tala” (rhythm) – which together reflect the essential elements of the dance form. By coining this new term, Dr. Pillai helped to establish Bharatanatyam as a distinct and recognizable form of Indian classical dance, and paved the way for its continued growth and development in the decades that followed.

There are several books available on the Natyashastra, but one of the most widely recognized and respected translations is “The Natyashastra: A Treatise on Hindu Dramaturgy and Histrionics” by Manomohan Ghosh. This book provides a comprehensive translation of the original Sanskrit text, along with detailed commentary and analysis that elucidates the key concepts, techniques, and principles of the Natyashastra.

Another notable translation is “The Natyashastra: The Oldest Treatise on Indian Music” by Bharata Muni and translated by M. Ramakrishna Kavi. This book also includes a translation of the original text, as well as an extensive introduction that provides historical context and outlines the significance of the Natyashastra in Indian culture and history.

Other books that provide useful insights and commentary on the Natyashastra include “Theories of Dance in Indian Classical Literature” by Mandakranta Bose and “Dance in Indian Painting” by Kapila Vatsyayan. These books explore the influence of the Natyashastra on various aspects of Indian culture, and provide a broader context for understanding the significance of this ancient text.

Ultimately, the best book on the Natyashastra will depend on the reader’s interests and level of familiarity with Indian performing arts. However, the above-mentioned books are widely recognized as authoritative and accessible translations that provide valuable insights into this important work on Hindu dramaturgy and histrionics.

The Natyashastra is an ancient Sanskrit text that is considered to be one of the most important works on Indian performing arts. It is attributed to the sage Bharata, who is believed to have lived around the 2nd century BCE. The text contains detailed descriptions and instructions on various aspects of dance, music, and theater, including the techniques, movements, gestures, and expressions that are used in classical Indian dance forms like Bharatanatyam, Kathakali, and Kuchipudi.

The Natyashastra also provides a theoretical framework for the performing arts, outlining the principles of aesthetics, emotion, and communication that underpin these art forms. It describes the concept of rasa, which refers to the emotional resonance that a performance creates in the audience. According to the Natyashastra, there are nine primary rasas, including love, anger, fear, and compassion, and the performer’s goal is to evoke these emotions in the audience through their movements, expressions, and music.

The Natyashastra has had a profound impact on Indian culture and history, and has influenced the development of not only the performing arts but also literature, philosophy, and spirituality. It has been studied and interpreted by generations of scholars, artists, and practitioners, and continues to inspire and inform contemporary creative work.

In addition to the Natyashastra, there are other important texts and treatises on Indian performing arts, including the Abhinaya Darpana, Sangita Ratnakara, and Sangita Makarandha, which provide further insights and guidelines for the practice and interpretation of these art forms.