[et_pb_section fb_built=”1″ _builder_version=”4.8.1″ _module_preset=”default” custom_padding=”0px||0px||true|false”][et_pb_row _builder_version=”4.8.1″ _module_preset=”default” width=”100%” max_width=”100%” custom_padding=”0px||0px||true|false”][et_pb_column type=”4_4″ _builder_version=”4.8.1″ _module_preset=”default”][et_pb_image src=”https:\/\/serverbordoni.com\/nuria\/wp-content\/uploads\/2021\/04\/slidbn.jpg” title_text=”slidbn” force_fullwidth=”on” _builder_version=”4.9.4″ _module_preset=”default” custom_padding=”0px||0px||true|false”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.8.1″ _module_preset=”default” background_enable_color=”off” custom_padding=”0px||||false|false” collapsed=”off”][et_pb_row column_structure=”1_4,1_2,1_4″ use_custom_gutter=”on” gutter_width=”1″ make_equal=”on” _builder_version=”4.8.1″ _module_preset=”default” background_color=”#FDF8E1″ background_enable_image=”off” background_size=”initial” width=”100%” max_width=”100%” custom_margin=”||||true|false” custom_padding=”0px||0px||true|true”][et_pb_column type=”1_4″ _builder_version=”4.8.1″ _module_preset=”default” custom_padding=”||||false|true”][et_pb_image src=”https:\/\/serverbordoni.com\/nuria\/wp-content\/uploads\/2021\/01\/bharatanatyam-01Mulas.jpg” title_text=”bharatanatyam-01Mulas” _builder_version=”4.8.1″ _module_preset=”default” custom_margin=”40px||||false|false”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.8.1″ _module_preset=”default” background_image=”https:\/\/serverbordoni.com\/nuria\/wp-content\/uploads\/2021\/01\/42053042.jpg” custom_padding=”||||false|true”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_font=”||||||||” text_font_size=”16px” background_color=”#FFFFFF” text_orientation=”justified” custom_margin=”250px|50px|50px|50px|false|true” custom_padding=”25px|25px|25px|25px|true|true” hover_enabled=”0″ box_shadow_style=”preset3″ sticky_enabled=”0″]<\/p>\n
The Bharatanatyam<\/strong><\/span> whose origin goes straight back to the second millennium B.C., draws on the mythical repertory and depicts the feats of the gods<\/strong><\/span> with a precise body language which was codified from the beginning of the first centuriesof the Christian era in the<\/span> “Natyashastra<\/strong>“<\/span>,an ample treatise concerning theatre, dance and music.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.8.1″ _module_preset=”default” custom_padding=”||||false|true”][et_pb_image src=”https:\/\/serverbordoni.com\/nuria\/wp-content\/uploads\/2021\/01\/bharatanatyam-012Mulas.jpg” title_text=”bharatanatyam-012Mulas” _builder_version=”4.8.1″ _module_preset=”default” custom_margin=”40px||||false|false” custom_padding=”||||false|false”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.9.2″ _module_preset=”default” width=”100%” max_width=”100%” custom_padding=”0px||0px||true|false” border_width_all=”12px” border_color_all=”#842E30″ box_shadow_style=”preset3″][et_pb_column type=”4_4″ _builder_version=”4.9.2″ _module_preset=”default”][et_pb_gallery gallery_ids=”1376,1377,1378″ fullwidth=”on” _builder_version=”4.9.2″ _module_preset=”default” auto=”on” auto_speed=”3000″][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_6,1_6,1_6,1_6,1_6,1_6″ use_custom_gutter=”on” gutter_width=”1″ _builder_version=”4.9.2″ _module_preset=”default” background_color=”#FDF8E1″ width=”100%” max_width=”100%” custom_margin=”||||false|false” custom_padding=”0px||||false|false” collapsed=”off”][et_pb_column type=”1_6″ _builder_version=”4.8.1″ _module_preset=”default”][\/et_pb_column][et_pb_column type=”1_6″ _builder_version=”4.8.1″ _module_preset=”default”][\/et_pb_column][et_pb_column type=”1_6″ _builder_version=”4.8.1″ _module_preset=”default”][\/et_pb_column][et_pb_column type=”1_6″ _builder_version=”4.8.1″ _module_preset=”default”][\/et_pb_column][et_pb_column type=”1_6″ _builder_version=”4.8.1″ _module_preset=”default”][et_pb_text _builder_version=”4.9.2″ _module_preset=”default” text_font_size=”18px” custom_padding=”20px|0px|||false|false”]<\/p>\n Photo by Melina Mulas\u00a0<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_6″ _builder_version=”4.8.1″ _module_preset=”default”][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.8.1″ _module_preset=”default” width=”100%” max_width=”85%” collapsed=”on”][et_pb_column type=”4_4″ _builder_version=”4.8.1″ _module_preset=”default”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_font=”||||||||” text_font_size=”16px” text_orientation=”justified” hover_enabled=”0″ sticky_enabled=”0″]<\/p>\n The traditional performance, true and literally sacred representation, is articulated in a series of pieces where two types of dance alternate, one so-called \u201cexpressive\u201d that relates the mythological event using a rigorous vocabulary of gestures, \u201cAbhinaya\u201d; the other defined \u201cpure\u201d, Nritta, where the artist expresses his own emotions through movements characterized by its geometry of line, speed and rhythmic richness. Marilia Albanese<\/p>\n * This article was published in the magazine \u201cAll Dance\u201d summer 1999, together with the photographic service of Angelo Redaelli.[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" The Bharatanatyam whose origin goes straight back to the second millennium B.C., draws on the mythical repertory and depicts the feats of the gods with a precise body language which was codified from the beginning of the first centuriesof the Christian era in the “Natyashastra”,an ample treatise concerning theatre, dance and music.Photo by Melina Mulas\u00a0THE […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1693","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/pages\/1693","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":3,"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":1698,"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/pages\/1693\/revisions\/1698"}],"wp:attachment":[{"href":"https:\/\/serverbordoni.com\/nuria\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}THE DANCE OF THE GODS<\/h1>\n
\nAmong the various styles of traditional dance that developed through the centuries, one of the best known is the Bharatanatyam, originating before the year one thousand in the area which today is the state of Tamilnadu, in the south of India.
\nTo perform it, until the last century, were the Devadasi, the \u201cmaidens of the gods\u201d, young girls dedicated by their families to ritual service in the temples, instructed in dancing and in the other refined arts, who enjoyed high social consideration.
\nHistorical events, however, led to the decadence of the institutes of the Devadasi who were losing their sacred role, with the consequent devaluation also of the Bharatanatya. At the beginning of our century a group of enlightened personalities, among whom the great dancer Rukmini Devi, endeavored to save from oblivion and bring back to its ancient splendor a noble art.
\nA king of prayer in movement, the Bharatanatya represents the games of the gods and their interaction with the human world, expressing at the same time the nine fundamental emotions of the soul: love, humour, compassion, anger, heroism, fear, disgust, wonder and peace.
\nThe artist, thanks to his sensitiveness, makes exactly the mythical event that is about to be represented and that he knows in the smallest details, transforming himself thus into the character that he is interpreting and living the tragedy or the joy with complete participation.[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.8.1″ _module_preset=”default” width=”100%” max_width=”100%” custom_margin=”35px||35px||true|false” custom_padding=”0px||0px||true|false” collapsed=”on”][et_pb_column type=”4_4″ _builder_version=”4.8.1″ _module_preset=”default”][et_pb_gallery gallery_ids=”1576,1577″ fullwidth=”on” _builder_version=”4.9.4″ _module_preset=”default” auto=”on” auto_speed=”3000″][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”2″ _builder_version=”4.8.1″ _module_preset=”default” width=”100%” max_width=”85%”][et_pb_column type=”4_4″ _builder_version=”4.8.1″ _module_preset=”default”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_font=”||||||||” text_font_size=”16px” text_orientation=”justified” hover_enabled=”0″ sticky_enabled=”0″]SAlthough even masters convey the teaching, the performance is almost entrusted to female dancers, to dancers who generally perform in \u201ca solo\u201d, draped in silk saris, six meters of material wrapped around the waist and passing over the shoulder, nowadays often substituted by close-fitting trousers on which a fan of pleats opens. A bolero, a stole, many jewels, tinkling ankle supports and a head-dress of flowers complete the dress of the dancers, whose elaborate make-up helps to emphasize their facial expression and the mobile play of their eyes.
\nThe musical accompaniment is entrusted of the violin, the flute, the mrudangam (percussion), the cymbals and the tanpura, while singers intone the strophes that narrate the mythical event, mimed in the passages of expressive dance, the nattuvanar scan the syllables that rhytmize the exhibition of pure dance.
\nThe long preparation and the discipline which they underwent for years permits them to free themselves from their individuality and to assume a universal personality, the interpreter of an emotion which does not belong to a single person, but belongs to humanity.
\nThus the spectator, contemplating the dance, enters into syntony with the artist and identifies himself with her, experiencing the dancers feelings. And since this is lived in a mythical dimension, beyond time and space, the performance becomes a cosmic event; the secular gestures change into a sacred performance and by means of the dance man converses with God.
\nThe tradition of the Bharatanatya has been rest intact at Kalakshetra, the \u201cHoly place of art\u201d, established in the neighborhood of Chennai by Rukmini Devi according to the forms of the ancient Ashram, the idyllic oases of community life, where the direct transmission from master to disciple is turned into realizing the utopia of perfect and spiritualized art.
\nFar from being an aesthetic form refined in itself, Bharatanatya becomes a fine knowledge of life that teaches how to know oneself and to read in its reality the profound beauty that alludes to another plane of the human being, the divine one.<\/p>\n