Editing Bharatanatyam (section)

==Elements==
[[File:Bharatanatyam danseuse.jpg|thumb|upright|[[Rama Vaidyanathan]] using expression and posture]]

Bharatanatyam is traditionally a team performance art that consists of a [[solo dance]]r, accompanied by musicians and one or more singers. It is described as classical art because the theory of musical notes, vocal performance, and the dance movement reflect ideas of the Sanskrit treatise ''[[Natya Shastra]]'' and other Sanskrit and Tamil texts, such as the ''[[Abhinaya Darpana]]''.<ref name="O'Shea2007p1"/><ref>{{cite journal | last=Meduri | first=Avanthi | title=Bharatha Natyam-What Are You? | journal=Asian Theatre Journal | publisher=University of Hawaii Press | volume=5 | issue=1 | year=1988 | pages=2–3 | doi=10.2307/1124019 | jstor=1124019 }}</ref>

The solo artist (''ekaharya'') in Bharatanatyam is dressed in a colorful [[sari]], adorned with jewelry and presents a dance and it is synchronized with Indian classical music.<ref name="O'Shea2007p1"/> The hand and facial gestures are a coded [[sign language]] able to recite legends and spiritual ideas from the ''[[Mahabharata]]'', the ''[[Ramayana]]'', the [[Puranas]] and historic drama texts.<ref name="O'Shea2007p1"/><ref name="meduri1"/> The dancer deploys turns or specific body movements to mark punctuations in the story or the entry of a different character in the play or legend being acted out through dance. ''[[Abhinaya]]'' is the art of expression in [[Indian aesthetics]]; footwork, body language, postures, musical notes, the tones of the vocalist, aesthetics and costumes integrate to express and communicate the underlying text.<ref name="O'Shea2007p1">{{cite book|author=Janet O'Shea|title=At Home in the World: Bharata Natyam on the Global Stage|url=https://books.google.com/books?id=4CfA4uDwCKwC |year=2007|publisher=Wesleyan University Press|isbn=978-0-8195-6837-3 |pages=1–3, 26, 85–86 }}</ref><ref>{{cite journal | last=Meduri | first=Avanthi | title=Bharatha Natyam-What Are You? | journal=Asian Theatre Journal | publisher=University of Hawaii Press | volume=5 | issue=1 | year=1988 | pages=1–22 | doi=10.2307/1124019 | jstor=1124019 }}</ref>

In modern adaptations, Bharatanatyam dance troupes may involve many dancers who play specific characters in a story, creatively choreographed to ease the interpretation and expand the experience by the audience.<ref>{{cite journal | last=Katrak | first=Ketu H. | title=Cultural Translation of Bharata Natyam into Contemporary Indian Dance. Second-generation South Asian Americans and cultural politics in diasporic locations | journal=South Asian Popular Culture | volume=2 | issue=2 | year=2004 | pages=79–102 | doi=10.1080/1474668042000275699 | s2cid=144136967 }}</ref>

The repertoire of Bharatanatyam, like all major classical Indian dance forms, follows the three categories of performance in the ''Natya Shastra''. These are ''Nritta'' (Nirutham), ''Nritya'' (Niruthiyam) and ''Natya'' (Natyam).<ref name=meduri1>{{cite journal | last=Meduri | first=Avanthi | title=Bharatha Natyam-What Are You? | journal=Asian Theatre Journal | publisher=University of Hawaii Press | volume=5 | issue=1 | year=1988 | pages=3–4 | doi=10.2307/1124019 | jstor=1124019 }}</ref>

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| quote = '''The purpose'''<br />
Bharata Natyam is an art which consecrates the body (...)<br />the dancer, who dissolves her identity in rhythm and music, makes her body an instrument, at least for the duration of the dance, for the experience and expression of the spirit.<br />The traditional order of Bharata Natyam recital viz. ''alarippu'', ''jatiswaram'', ''varnam'', ''padams'', ''tillana'' and the ''[[shloka]]'' is the correct sequence in the practice of this art, which is an artistic [[Yoga]], for revealing the spiritual through the corporeal.
| source = [[Balasaraswati]], a devadasi<ref name=tbalasaras3>T Balasaraswati (1976), Bharata Natyam, ''NCPA Quarterly Journal'', Volume 4, Issue 4, page 3</ref><ref>{{cite journal | last=Meduri | first=Avanthi | title=Bharatha Natyam-What Are You? | journal=Asian Theatre Journal | publisher=University of Hawaii Press | volume=5 | issue=1 | year=1988 | pages=7–8 | doi=10.2307/1124019 | jstor=1124019 }}</ref>
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*The ''Nritta'' performance is an abstract, fast, and rhythmic aspect of the dance.<ref name=koskoff955/> The viewer is presented with pure movement in Bharatanatyam, wherein the emphasis is the beauty in motion, form, speed, range, and pattern.<ref name=meduri1/> This part of the repertoire has no interpretative aspect, no telling of the story. It is a technical performance and aims to engage the senses (Prakriti) of the audience.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref>
*The ''Nritya'' is a slower and more expressive aspect of the dance that attempts to communicate feelings, and storyline, particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref> In a ''nritya'', the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message. This part of a Bharatanatyam repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name=meduri1/><ref name="Descutner2010p45"/>
*The ''Natyam'' is a play, typically a team performance,<ref name=kjayakrishnan25/> but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A ''Natya'' incorporates the elements of a ''Nritya''.<ref name=meduri1/>

=== Arangetram ===
[[File:Bharatanatyan Student with Guru.jpg|thumb|Bharatanatyan Student with Guru in Arangetram Ceremony<ref>{{Cite web |title=Shivam Natyalaya - Bharatnatyam School |url=https://www.facebook.com/ShivamNatyalaya |access-date=2024-02-27 |website=www.facebook.com |language=en}}</ref>]]
A Bharatanatyam [[Arangetram (dance)|arangetram]] is a solo debut performance that signifies the completion of initial formal training of a young dancer, female or male in Indian classical dance. The term ''Arangetram'' translates to "ascending the stage". This performance is typically done ten to twelve years after a dancer begins learning Bharatanatyam. Still, more importantly, it is done when the [[guru]] believes the student is ready for a solo performance. This solo debut is synonymous with a "coming-of-age" celebration. The arangetram is a culmination of multiple years of hard work by the student and the guru, and it is an opportunity for the dancer to showcase his or her dedication and skills developed over the years. Throughout this debut, the dancer performs a series of dances. The dancer must build up his or her concentration and stamina to perform solo dances for approximately three hours. Each dance performed symbolizes various aspects of [[Hinduism|Hindu religion]].<ref>{{Cite news|last=Chatterjee|first=Jagyaseni|date=2016-12-08|title=Much ado about a debut|language=en-IN|work=The Hindu|url=https://www.thehindu.com/entertainment/dance/Much-ado-about-a-debut/article16777939.ece|access-date=2021-09-27|issn=0971-751X}}</ref><ref>{{Cite web|date=2009-05-13|title=Arangetram|url=http://library.thinkquest.org/04oct/01260/arangetram.html|access-date=2021-09-27|archive-url=https://web.archive.org/web/20090513051757/http://library.thinkquest.org/04oct/01260/arangetram.html|archive-date=13 May 2009}}</ref>

==== Sequence of dances ====
[[File:A girl performing a Bharatanatyam dance at a Pongal Festival in Namakkal, Tamil Nadu, India.jpg|right|thumb|A girl performing a Bharatanatyam dance at a Pongal Festival in Namakkal, Tamil Nadu, India]]
A traditional Bharatanatyam arangetram dance performance follows a seven to eight-part order of presentation. This set is called ''Margam''.<ref name="tbalasaras3" /><ref>{{cite book|author1=Ann Cooper Albright |author2=David Gere |title=Taken by Surprise: A Dance Improvisation Reader |url=https://books.google.com/books?id=OYbHhwUpxAMC&pg=PA143 |year=2003|publisher=Wesleyan University Press |isbn=978-0-8195-6648-5 |page=143}}</ref>

'''''Pushpanjali'''''

The Arangetram performance typically begins with a dance called the ''[[Pushpanjali]]'', which translates to "offering of flowers". In this dance, the performer offers flowers and salutations to the [[Hindu deities]], the [[guru]], and the audience as a mark of respect. The beginning of the dance symbolizes supplication, from which the dancer then commences the rest of the performance.<ref>{{Cite web|title=Pushpanjali – Nadanam|url=http://www.nadanam.com/bharatnatyam/techinque/margam/pushpanjali/|access-date=2021-09-26|language=en}}</ref>

'''''Alarippu'''''

The presentation can also begin with a rhythmic invocation (''vandana'') called the ''[[Alaripu|Alarippu]]''.<ref name="McCutchen2006p450">{{cite book |author=Brenda P McCutchen |title=Teaching Dance as Art in  |url=https://books.google.com/books?id=C0yjXGJ3EEoC&pg=PA450 |year=2006 |publisher=Human Kinetics |isbn=978-0-7360-5188-0 |pages=450–452}}</ref> It is a pure dance, which combines a thank you and benediction for blessings from the gods and goddesses, the [[guru]] and the gathered performance team. It also serves as a preliminary warm-up dance, without melody, to enable the dancer to loosen their body, and journey away from distractions and towards single-minded focus.<ref name="tbalasaras3" />

'''''Jatiswaram'''''

The next stage of the performance adds melody to the movement of ''Alarippu'', and this is called ''Jatiswaram''.<ref name="McCutchen2006p450"/><ref name=tbalasaras3/> The dance remains a prelim technical performance (''nritta''), pure in form and without any expressed words. The [[drum]]s set the beat, of any Carnatic music ''raga'' (melody). They perform a sequence (''Korvai'') to the rhythm of the beat, presenting to the audience the unity of music, rhythm and movements.<ref name=tbalasaras3/>

'''''Shabdam'''''

The performance sequence then adds ''Shabdam'' (expressed words).<ref name="Vatsyayan1997p81">{{cite book|author=Kapila Vatsyayan |title=The Square and the Circle of the Indian Arts |url=https://books.google.com/books?id=vwLJc3pBzzUC&pg=PA81 |year=1997 |publisher=Abhinav Publications |isbn=978-81-7017-362-5 |page=81}}</ref> This is the first item of Margam where expressions are introduced. The solo dancer, the vocalist(s), and the musical team, in this stage of the production, present short compositions, with words and meaning, in a spectrum of moods.<ref name=tbalasaras35/> This performance praises God (such as Krishna, Shiva, Rama, and Murugan) and their qualities.<ref>{{Cite book |last=Sinha |first=Aakriti |url=https://books.google.com/books?id=h67wZpGPUi0C&q=Andhranatyam&pg=PA8 |title=Let's Know Dances of India |date=2006 |publisher=Star Publications |isbn=978-81-7650-097-5 |pages=10 |language=en}}</ref><ref>{{Cite journal |last1=Parida |first1=Srikanta |last2=Roshni |first2=CP |date=April 2022 |title=An analysis of Bharatanatyam |url=https://vedasamskritaacademy.org/wp-content/uploads/2022/05/Centenary-Commemoration-Volume.pdf#page=109 |journal=Journal of Veda Samskrita Academy |volume=I |pages=107}}</ref>

'''''Varnam'''''[[File:Rajasree warrier IMG 7539.JPG|thumb|180px|The ''Varnam'' part of Bharatanatyam emphasizes expressive dance.]]

The performance thereafter evolves into the ''Varnam'' stage.<ref name="Vatsyayan1997p81"/> This marks the arrival into the sanctum sanctorum core of the performance.<ref name=tbalasaras3/> It is the longest section and the ''nritya''. A traditional Varnam may be as long as 30–45 minutes or sometimes an hour. Varnam offers huge scope for improvisation and an experienced dancer can stretch the Varnam to a desirable length. The artist presents the play or the main composition, reveling in all their movements, silently communicating the text through codified gestures and footwork, harmoniously with the music, rhythmically punctuated. The dancer performs complicated moves, such as expressing a verse at two speeds.<ref name=ccrtindia/> Their hands and body tell a story, whether of love and longing or of a battle between the good and the evil,<ref>{{cite book |author1=Bajaj, Tanvi |author2=Vohra, Swasti Shrimali |title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ |year=2015 |publisher=Routledge |isbn=978-1-317-32572-7 |page=127}}</ref> as the musicians envelop them with musical notes and tones that set the appropriate mood.<ref name=tbalasaras35>T Balasaraswati (1976), Bharata Natyam, ''NCPA Quarterly Journal'', Volume 4, Issue 4, pages 3-5</ref>

'''''Padam'''''

The ''Padam'' is next.<ref name="Vatsyayan1997p81"/><ref name="AlbrightGere2003p143">{{cite book|author1=Ann Cooper Albright |author2=David Gere |title=Taken by Surprise: A Dance Improvisation Reader |url=https://books.google.com/books?id=OYbHhwUpxAMC&pg=PA143 |year=2003|publisher=Wesleyan University Press |isbn=978-0-8195-6648-5 |pages=141–147}}</ref> This is the stage of reverence, of simplicity, of ''abhinaya'' (expression) of the solemn spiritual message or devotional religious prayer ([[bhakti]]). The music is lighter, the chant intimate, the dance emotional.<ref name=ccrtindia>[http://ccrtindia.gov.in/bharatnatyam.php Bharatnatyam Dance], Centre for Cultural Resources and Training, Government of India</ref><ref name=tbalasaras56>T Balasaraswati (1976), Bharata Natyam, ''NCPA Quarterly Journal'', Volume 4, Issue 4, pages 3, 5-6</ref> The choreography attempts to express ''rasa'' (emotional taste) and a mood, while the recital may include items such as a [[kirtan|keertanam]] (expressing devotion), a ''javali'' (expressing divine love) or something else.<ref name=ccrtindia/><ref name="AlbrightGere2003p143"/>

'''''Tillana'''''

The performance sequence ends with a ''[[Tillana]]'', the climax.<ref name="Vatsyayan1997p81"/> It closes out the ''nritya'' portion, the movements exit the temple of expressive dance, returning to the ''nritta'' style, where a series of pure movement and music are rhythmically performed. Therewith the performance ends.<ref name=tbalasaras3/><ref name=ccrtindia/>{{Refn|group=note|After the Tillana, the dancer may continue to the seventh part, called ''Shloka''.<ref name="Sinha2006p10"/> It is a reverential greeting, a thank you or a prayer to one or more gods, goddesses or to one's teacher. This is a post-performance, where a Sanskrit verse (Shloka) is danced out in the form of ''nritya''. An example Shloka:<ref>{{cite book |author1=Swami Paramatmananda Puri|author2=Amritanandamayi Devi |title=Dust Of Her Feet|url=https://books.google.com/books?id=cIOdCQAAQBAJ |year=2015 |publisher=Sterling |isbn=978-1-68037-296-0 |page=82}}</ref> "The [[Guru]] (teacher) is the Brahma, the Guru is the Vishnu, the Guru is the Maheshvara (Shiva). The Guru is the pathway to Supreme [[Brahman]] (supreme soul), to you the auspicious, I reverentially bow." Original: गुरुर्ब्रह्मा गुरुर्विष्णुर्गुरुर्देवो महेश्वरः । गुरुरेव परं ब्रह्म तस्मै श्रीगुरवे नमः ।।}}

'''''Shlokam or Mangalam'''''

The seventh and final item in the sequence can be either a ''[[Shlokam]]'' or a ''Mangalam''. The dancer calls for blessings on the people all around.<ref>{{cite book |title=A Short Introduction to Bharatanatyam |date=24 November 2018 |publisher=[[Sadler's Wells]] |series=Darbar Festival 2018 {{!}} An Evening of Bharatanatyam}}</ref>

The overall sequence of Bharatanatyam, states Balasaraswati, thus moves from "mere meter; then melody and meter; continuing with music, meaning and meter; its expansion in the centerpiece of the varnam; thereafter, music and meaning without meter; (...) a non-metrical song at the end. We see a most wonderful completeness and symmetry in this art".<ref>T Balasaraswati (1976), Bharata Natyam, ''NCPA Quarterly Journal'', Volume 4, Issue 4, page 4</ref>

[[File:Bharathanatyam By Ranjitha.jpg|thumb|200px|left|Costumes in Bharatanatyam]]

===Costume and attire===

The costume of a female Bharatanatyam dancer resembles a Tamil Hindu bridal dress. It typically consists of a [[sari]] in bright colors with golden or silver ''[[zari]]'' embroidery on the borders. The costume can be stitched from the ''[[sari]]'', with individual pieces for a bottom (either a skirt or ''[[salwar]]''-shaped pants), a pleated piece which falls in front and opens like a [[hand fan]] when the dancer flexes her knees or performs footwork, a hip piece that covers the seat of the pant/skirt, and a torso piece that looks like an ''aanchal'' (i.e. the draped part of a regular sari). Some dancers also opt for an '''unstitched''' ''sari'' that is draped specially, with the single piece of cloth starting around the legs like a ''[[dhoti]]'', then upwards along the front torso, over the left shoulder, and then down the back with its end held at the waist by a jeweled belt.<ref>{{cite book|author=Anjani Arunkumar|title=Compositions for Bharatanāṭyam: A Soulful Worship of the Divine|url=https://books.google.com/books?id=3UXkAAAAMAAJ |year=1989| publisher=Bharatiya Vidya Bhavan|pages=xxi–xxii}}</ref> The costume of a male Bharatanatyam dancer is usually either a ''sari'' or a white cotton cloth draped around the legs and bottom half of the body like a ''dhoti''. During performances, the upper body of the male dancer remains bare. Male dancers typically do not wear stitched costumes.

Both female and male dancers wear elaborate jewelry on their ears, nose, neck, and wrists. Female dancers wear additional jewelry on their heads that emphasizes their hairline and parting. They also wear a smaller piece of jewelry on each side of their parting. These represent the sun and the moon.

Long hair on both male and female dancers is either secured by a bun or a braid. Female dancers with short hair often use braid extensions or bun hair pieces to simulate long hair. Female dancers also wear imitation flowers made of either cloth or paper around their braids or buns. These are known as (or ''[[gajra]]'').

Both male and female dancers wear makeup, including foundation, blush, lipstick, and thick eyeliner or [[Kohl (cosmetics)|kohl]], which helps the audience see and understand their facial expressions.<ref name="Ravindranath1980p75"/>

All dancers wear leather anklets on each foot, which are called ''salangai'' or ''[[ghungroo]]s''.<ref>{{cite book|author1=Gurcharan Singh Randhawa|author2=Amitabha Mukhopadhyay|title=Floriculture in India|url=https://books.google.com/books?id=bQCIZoKDG1kC |year=1986|publisher=Allied Publishers|isbn=978-81-7023-494-4 |pages=607–608 }}</ref><ref>{{cite book|author1=Swarajya Prakash Gupta|author2=Krishna Lal|author3=Mahua Bhattacharyya|title=Cultural tourism in India: museums, monuments & arts |url=https://books.google.com/books?id=QNeAAAAAMAAJ|year=2002|publisher=Indraprastha Museum of Art and Archaeology |isbn=978-81-246-0215-7|pages=198 }}</ref> These are made of small bells attached to a broad leather strap with belts that secure them at the back of the ankle. The bells are arranged in uniform rows and can be heard when the dancer moves their feet. The ''salangai'' helps emphasize the rhythm of the music as well as the dancer's footwork.

Lastly, all dancers outline their hands and feet with red ''kumkum'' powder or [[alta (dye)|alta]], a tradition that helps the audience easily see their hand and foot gestures.<ref>{{cite book|author1=Maratt Mythili Anoop|author2=Varun Gulati|title=Scripting Dance in Contemporary India|url=https://books.google.com/books?id=8aE8CwAAQBAJ |year=2016|publisher=Lexington Books|isbn=978-1-4985-0552-9 |pages=96 }}</ref>

For classes, training, practice, or rehearsals, dancers traditionally wear a special dance sari. These saris are always cotton and have a shorter breadth than normal saris, falling at the knees rather than the ankles. These are paired with cotton pyjamas and blouses. The sari is worn with pleats at the front and tied tightly around the torso and hips. However, in recent times, dancers also opt for [[Shalwar kameez|salwar kameez]] or athletic wear (like T-shirts and leggings) when not performing.<ref>{{cite web |last=Desifaves |title=Dance Practice Attire: Comfort Rooted in Tradition |url=https://www.desifaves.com/the-evolution-of-bharatanatyam-from-devadasis-to-the-global-stage/ |website=Desifaves |date=2025-04-08 |access-date=2025-04-08}}</ref>

The accompanying music to Bharatanatyam is in the [[Carnatic music|Carnatic]] style of [[South India]], as is the recitation and chanting.<ref>{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA132 |year=2016|publisher=Routledge|isbn=978-1-317-27886-3 |pages=132 }}</ref> The vocalist is called ''nattuvanar'', typically also the conductor of the entire performance, who may be the [[guru]] of the dancer and may also be playing cymbals or one of the musical instruments.<ref name="Sinha2006p10">{{cite book|author=Aakriti Sinha|title=Let's Know Dances of India|url=https://lakshmidanceacademy.com/ |year=2010|publisher=lakshmidanceacademy|isbn=978-81-7650-097-5 |pages=10–11}}</ref><ref>{{cite book|author=TM Krishna|title=A Southern Music|url=https://books.google.com/books?id=WqvRBgAAQBAJ&pg=PT148 |year=2013|publisher=HarperCollins Publishers|isbn=978-93-5029-822-0 |pages=147–148 }}</ref> The recited verses and text in Bharatanatyam are in [[Tamil language|Tamil]], [[Telugu language|Telugu]], [[Kannada]] and [[Sanskrit]].<ref>{{cite book|author1=Rosenblatt Louis|author2=Sanford B. Steever|title=The Dravidian Languages|url=https://books.google.com/books?id=n2DxBwAAQBAJ&pg=PA2 |year=2015|publisher=Routledge|isbn=978-1-136-91164-4 |pages=2 }}</ref>

The instruments used include the [[mridangam]] (double-sided drum), [[nadaswaram]] (long type of oboe made from black wood), nattuvangam (cymbals), the [[flute]], [[violin]] and [[veena]].<ref name="Sinha2006p10"/><ref name="Ravindranath1980p75">{{cite book|author=P. K. Ravindranath|title=Bhavaṁ, ragaṁ, talam, natyaṁ: a hand-book of Indian dance|url=https://books.google.com/books?id=cBP0AAAAMAAJ|year=1980|publisher=Savita Damodaran Arengetra Samiti|page=75}}</ref>

===Symbolism===

Bharatanatyam, like all classical dances of India, uses symbolism in its ''[[abhinaya]]'' (acting) and its goals. The roots of ''abhinaya'' appear in the ''[[Natya Shastra]]'' text, which defines drama in verse 6.10 as something that aesthetically arouses joy in the spectator, through the medium of the actor's art of communication, that helps connect and transport the individual into a sensual inner state of being.{{Sfn|Tarla Mehta|1995|p=3}} A performance art, asserts ''Natya Shastra'', connects the artists and the audience through ''abhinaya'' (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music.{{Sfn|Tarla Mehta|1995|p=3}} Drama in this ancient Sanskrit text, thus is an art that engages every aspect of life to glorify and give a state of joyful consciousness.{{Sfn|Tarla Mehta|1995|p=5}}

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The communication through symbols is in the form of expressive gestures and pantomime set to music. The gestures and facial expressions convey the ''ras'' (sentiment, emotional taste) and ''bhava'' (mood) of the underlying story.<ref name="BajajVohra2015p82"/> In the Hindu texts on dance, the dancer successfully expresses the spiritual ideas by paying attention to four aspects of a performance: ''Angika'' (gestures and body language), ''Vachika'' (song, recitation, music and rhythm), ''Aharya'' (stage setting, costume, makeup, jewelry), and ''Sattvika'' (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates).<ref name="BajajVohra2015p82">{{cite book|author1=Tanvi Bajaj |author2=Swasti Shrimali Vohra|title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ |year=2015|publisher=Routledge |isbn=978-1-317-32572-7 |pages=82–84}}</ref> ''Abhinaya'' draws out the ''bhava'' (mood, psychological states).<ref name="BajajVohra2015p82"/>

The gestures used in Bharatanatyam are called ''Hasta'' (or ''[[List of mudras (dance)|mudras]]''). These symbols are of three types: ''asamyuta hastas'' (single hand gestures), ''samyuta hastas'' (two hand gestures), and ''nrtta hastas'' (dance hand gestures).<ref name="BajajVohra2015p85"/> Like words in a glossary, these gestures are presented in the ''nritta'' as a list or embellishment to a prelim performance. In ''nritya'' stage of Bharatanatyam, these symbols set in a certain sequence become sentences with meaning, with emotions expressed through facial expressions and other aspects of ''abhinaya''.<ref name="BajajVohra2015p85">{{cite book|author1=Tanvi Bajaj |author2=Swasti Shrimali Vohra|title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ |year=2015|publisher=Routledge |isbn=978-1-317-32572-7 |pages=85–87}}</ref> The basic standing position is called as Aramandi.

Bharatanatyam contains at least 20 [[asana]]s found in [[modern yoga]], including [[Dhanurasana]] (the bow, a back-arch); [[Chakrasana]] (the wheel, a standing [[backbend|back-arch]]); [[Vrikshasana]] (the tree, a [[standing asanas|standing pose]]); and [[Natarajasana]], the pose of dancing Shiva.<ref name="Bhavanani 2001">{{cite web |last1=Bhavanani |first1=Ananda Balayogi |last2=Bhavanani |first2=Devasena |title=BHARATANATYAM AND YOGA |url=http://www.dhdi.free.fr/recherches/horizonsinterculturels/articles/bharatanatyamyoga.htm |date=2001 |url-status=live |archive-url=https://web.archive.org/web/20061023215608/http://www.dhdi.free.fr/recherches/horizonsinterculturels/articles/bharatanatyamyoga.htm |archive-date=23 October 2006 |quote=He also points out that these [Bharatanatyam dance] stances are very similar to Yoga Asanas, and in the Gopuram walls at Chidambaram, at least twenty different classical Yoga Asanas are depicted by the dancers, including Dhanurasana, Chakrasana, Vrikshasana, Natarajasana, Trivikramasana, Ananda Tandavasana, Padmasana, Siddhasana, Kaka Asana, Vrishchikasana and others.}}</ref> 108 karanas of classical temple dance are represented in temple statuary; they depict the devadasi temple dancers who made use of yoga asanas in their dancing.<ref name="YJ 2007">{{cite journal |last1=Rea |first1=Shiva |title=The Divine Dance |journal=[[Yoga Journal]] |date=28 August 2007}}</ref> Bharatanatyam is also considered a form of [[Bhakti Yoga]].<ref name="YJ 2007"/> However, Natarajasana is not found in any medieval hatha yoga text; it was among the many asanas introduced into modern yoga by [[Krishnamacharya]] in the early 20th century.<ref>{{cite book | last=Goldberg | first=Elliott |author-link=Elliott Goldberg | title=The Path of Modern Yoga: the history of an embodied spiritual practice | publisher=Inner Traditions | location=Rochester, Vermont | year=2016 | isbn=978-1-62055-567-5 | oclc=926062252 | pages=223, 395–398}}</ref>