BharatNotes What is Bharatanatyam and Kathak?
Bharatanatyam and Kathak are two of the eight classical dance forms of India recognised by the Sangeet Natak Akademi (the others being Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam; Sattriya was added in 2000). Both draw their theoretical grammar from Bharata's Natyashastra and rest on three pillars — Nritta (pure, abstract dance), Nritya (expressive dance with rasa) and Natya (dramatic narrative). Beyond this shared root, the two represent contrasting cultural streams: Bharatanatyam the temple-and-devotional tradition of the Tamil south, and Kathak the storytelling-and-court tradition of the north.
Bharatanatyam — temple dance of Tamil Nadu
Bharatanatyam originated in the temples of Tamil Nadu, where it was performed as a ritual offering, historically by Devadasis, under the older name Sadir or Sadiraattam. It is marked by the Aramandi (Ardhamandala) half-sitting posture, a relatively fixed upper body, geometric lines, expressive hand gestures (mudras) and detailed facial abhinaya. The traditional solo repertoire, the margam — credited to the Thanjavur Quartet of the 19th century — moves in sequence from Alarippu (invocatory pure dance) through Jatiswaram, Shabdam, Varnam, Padam and Tillana, symbolising a spiritual journey from devotion to liberation. In the early 20th century the dance was revived and respectably re-named by reformers such as E. Krishna Iyer and Rukmini Devi Arundale, who founded Kalakshetra in Chennai in 1936.
Kathak — storytelling dance of North India
Kathak takes its name from the Sanskrit katha (story) and the Kathakars, travelling bard-storytellers of northern India. From roughly the 16th century it received Mughal court patronage, absorbing Persian and Central Asian aesthetics in costume, music and theme, and evolving from temple narration into a sophisticated court dance. It is distinguished by intricate tatkar (footwork), rapid chakkars (pirouettes) and rhythmic interplay with the tabla. Its abhinaya often draws on thumri, bhajan and gat-bhava, blending devotional (Radha–Krishna) and courtly themes.
Kathak gharanas
| Gharana | Emphasis |
|---|---|
| Lucknow | Grace, expression (bhava) and abhinaya |
| Jaipur | Vigorous, intricate footwork and technical patterns |
| Banaras | Balanced blend of tandava and lasya |
| Raigarh | Integrates folk and court traditions |
Bharatanatyam vs Kathak — a quick contrast
| Feature | Bharatanatyam | Kathak |
|---|---|---|
| Region | Tamil Nadu (South) | North India (esp. Uttar Pradesh) |
| Root tradition | Temple / Devadasi | Storytellers + Mughal court |
| Signature posture/move | Aramandi (half-sit) | Chakkars, tatkar |
| Older name | Sadir / Sadiraattam | — |
| Organising system | Margam (Thanjavur Quartet) | Gharanas |
Significance and current status
As of June 2026 both remain among the eight officially recognised classical dances and are taught nationally through institutions such as Kalakshetra and the Sangeet Natak Akademi network. They exemplify India's living intangible heritage — Bharatanatyam preserving a temple-devotional lineage and Kathak embodying the Hindu-Islamic cultural synthesis — and continue to be performed on global stages.
