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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.

The Kalakshetra Foundation is an arts and cultural institution based in Chennai, India, that was founded in 1936 by Rukmini Devi Arundale, a prominent Indian classical dancer and choreographer. The institution is dedicated to the preservation and promotion of Indian classical dance, music, and visual arts.

The foundation offers a range of courses and programs in Indian classical dance, music, and other art forms, and has become a major center for the study and practice of Bharatanatyam and other traditional Indian dance forms. Its curriculum emphasizes the spiritual and cultural roots of Indian art and seeks to foster a deeper understanding and appreciation of these art forms.

The Kalakshetra Foundation also houses a museum and archives dedicated to Indian art and culture, as well as a theater and auditorium for performances and events. The institution has played an important role in the development and preservation of Indian classical arts, and has produced many notable dancers, musicians, and artists over the years.

Today, the Kalakshetra Foundation continues to be a vital institution for the promotion and preservation of Indian classical arts, and its legacy continues to inspire and influence generations of artists and cultural enthusiasts around the world.

Rukmini Devi Arundale (1904-1986) was a prominent Indian classical dancer, choreographer, and activist who is often credited with popularizing Bharatanatyam and reviving the Indian dance tradition. She was born in Madurai, India and was trained in Bharatanatyam, as well as in Western classical dance and music.

In the 1930s, Rukmini Devi Arundale founded the Kalakshetra Foundation, an arts and cultural institution based in Chennai that has since become a major center for the study and practice of Indian classical dance, music, and visual arts. Through Kalakshetra, Rukmini Devi Arundale worked to develop a modernized approach to Bharatanatyam that emphasized its spiritual and cultural roots, and helped to establish it as a respected art form both in India and abroad.

In addition to her work in dance and the arts, Rukmini Devi Arundale was also a prominent social activist and advocate for animal welfare. She was instrumental in the founding of the Animal Welfare Board of India and worked tirelessly to promote humane treatment of animals.

Rukmini Devi Arundale was widely recognized for her contributions to Indian culture and the arts, and received numerous awards and honors throughout her lifetime, including the Padma Bhushan and Padma Shri, two of India’s highest civilian honors. Her legacy continues to inspire and influence generations of dancers, artists, and cultural activists in India and around the world.

It is difficult to pinpoint the very first Bharatanatyam dancer, as the origins of the dance form date back centuries and it has evolved over time with various influences. However, some historians believe that Bharatanatyam has its roots in the ancient temple dance tradition of the devadasis, who were women trained in dance and music and dedicated to serving the deity in Hindu temples.

Over time, Bharatanatyam developed into a more formalized and structured dance form with specific techniques and styles. Some early pioneers of modern Bharatanatyam include Rukmini Devi Arundale, who founded the Kalakshetra Foundation in Chennai in 1936, and E. Krishna Iyer, who was instrumental in developing a system of notation for Bharatanatyam. However, many dancers and gurus have contributed to the development and preservation of Bharatanatyam over the years, and it continues to be a vibrant and evolving art form to this day.

Salangai Pooja, also known as Salangai Puja or Ghungroo Puja, is a traditional practice in Bharatanatyam, a classical dance form of India. It is a ceremony where the dancer performs the ritual of blessing their ankle bells, known as “salangai” in Tamil, which are an essential component of the Bharatanatyam dance.

The ceremony is usually performed by the dancer in the presence of their guru, family, and friends. It involves the offering of flowers, fruits, and other symbolic items to the salangai, followed by the recitation of mantras and hymns to invoke the blessings of the divine and the dance gods.

The salangai are considered sacred in Bharatanatyam and are believed to possess the power to enhance the dancer’s performance and elevate their spiritual and artistic experience. Through the Salangai Pooja, the dancer seeks to imbue the bells with divine energy and blessings, thereby enhancing their own performance.

The ceremony also serves as a way for the dancer to express their gratitude towards their guru, who has trained and guided them in their journey of learning the dance form. It is a mark of respect and honor towards the teacher, and a way to seek their blessings for a successful performance.

Overall, the Salangai Pooja is a significant ritual in Bharatanatyam that symbolizes the importance of the ankle bells in the dance form and highlights the dancer’s reverence and devotion towards their guru and the divine.