The dance is usually accompanied by classical Carnatic music, Styles of classical Indian dance of Bharatanatyam. (aveholidayhome.com)

Styles of classical Indian danceof Bharatanatyam

In the first half of the 19th century much of classical Indian dance of Bharatanatyam was redefined by the contributions of four talented brothers known today as the Tanjore Quartet: Chinniah, Sivanandam, Ponniah and Vadivelu. Styles of classical Indian dance of Bharatanatyam were preserved in practice mostly by the guru's and performers of the Isai Velalar community of Tamil Nadu. The Tanjore Quartet organized all the basic classical Indian dance of Bharatanatyam movements of pure dance into a progressive series, adavus.

Each adavu is a basic unit taught in systematic order and then combined with others to produce choreographed classical Indian dance of Bharatanatyam sequences based upon the rhythmic pattern of a musical composition. This infusion of creative energy marks the early 19th century as one of the most innovative periods in the history of classical Indian dance. In the 20th century, such prominent personalities as Mangudi Dorairaja Iyer and Krishna Iyer made their significant contributions. Contemporary classical Indian dancers are both maleand female artists. While most learn it as a hobby, very few make it their career and a lifestyle, as it is extremely demanding and complex in terms of dedication and daily practice. While most university degree courses offer mainly a theoretical base in classical Indian dance, there are institutions that offer certificate and diploma courses with the focus on the practical skills.

Classical Indian dance technique

Balasaraswati has said: "Classical Indian dance, in its highest moment, is the embodiment of music in its visual form.... For more than thousand years, the sastra's have confirmed that an individual dedicated todance must be equally dedicated to music and must receive thorough training in both the arts.. In demonstrating the art of classical Indian dance abroad, I have made a special point of showing audiences how delicately linked is the realisation of movement to raga expression in abhinaya, including the subtle expression of gamaka's, intonation of sruti, and the unfolding of improvisation in niraval. In the same way that we look for perfect blending of raga and tala and of raga and bhava in abhinaya, so also it is essential that the raga and the sahitya be perfectly matched and in accordance with the necessities of expression in the dance."

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