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Bharata Natyam, an ancient Indian dance form was codified and documented as a performing art in the 19th century by four brothers known as the Tanjore Quartet.

The art was handed down as a living tradition where highly talented women and their male gurus (nattuvanars) were dedicated to temples to serve the deity as dancers and musicians. A resurgence of interest in the early 20th century was a result of pioneers such as Rukmini Devi Arundale brought the dance onto the proscenium stage while retaining its devotional character.

Positions, patterning and parallel movement of each dancing was engaging and attractive and the nerves (which showed by a tenseness of upper body and arms) of some of the less experienced performers calmed down as the show progressed.

Alarippu, the first piece opened with the quartet (two musicians and two vocalists) on a dais bathed in golden light. The rest of the stage, submerged in a pool of rich blue light, was empty as they started. The auditorium was fully lit and people were still talking and settling down. From left to right were the mridangam player (a large drum-like instrument), female vocalist and percussionist (natturvangam), male vocalist and a flautist.

As the pace and intensity of the first piece increased the sea of blue light faded to black and the rhythm metamorphosed into a complex multi-tonal composition by the Tanjore Quartet, the entire troupe entered. The choreography, also from the Tanjore Quartet demonstrated arm movements, head lifts and roles, eye movements and expressions using the hands that are considered characteristic of Bharata Natyam.

The dancers who performed an attractive and engaging set of pieces had obviously come from a variety of backgrounds and at the beginning of the performance the nervousness of some of the less experienced performers showed in a tenseness of stance. Others had echoes of flamenco, classical ballet and even line dance in the way they moved but all melded together into a pleasing whole that showed a great interest and enthusiasm for the dance irrespective of their origins.

As the performance progressed the patterning, stories, messages and forms became more complex and the approach more modern. All related to worship, messages related to humour, prayer, joking, warmth and devotion were displayed.

Despite the apparent inexperience of some of those on stage it was a pleasant, entertaining and educational evening. Whether by intention or design I’m unsure, but the performance left me wondering how seasoned professionals would perform the same pieces and I’ll be looking out for more.