History of Bharatanatyam from 16th to 20th Century

By- Sneha S J

snehajagavkar@gmail.com

Sneha S J is a Master’s degree holder in two different yet interrelated subjects – Psychology and Bharatanatyam. She is a disciple of Smt. Ujjwala Pendse of Mudra Nrityalaya and Smt. Anjali Bhatavdekar of Nrityanjali.

Introduction – Indian Dance since ages has been one of the finest expressions of the cultural fabric of India. The nature and essence of Indian dance is creativeness, joyousness and spirituality. This art of India has a very holy and hoary past. The recorded history of Indian dance proves the antiquity of art to the Vedas. In addition to Vedas, most of the epics and the literature are replete with references regarding the dancing divinities and the dances of celestial nymphs. 

NatyaShastra (NS) is the earliest treatise in Sanskrit around 200BC – 200AD. According to its author Sage Bharata, the art of natya with its component parts of speech, music, dance, gestures, emotions and sentiments was evolved by Lord Brahma, the creator of universe by taking the essentials of all 4 vedas. As this art was born out of the vedas, it was dogmatized (represent an undeniable truth) by its creator as the 5th Veda/Panchamveda. NatyaVeda is the extract of 4 vedas and was intended by its originator to reach all the sections of the society and embrace the universal life with a globate appeal. With passage of time, arts, music, and dance have kept a glorious heritage with a pre-conceived aim of devotion to God for spiritual realization.

Dance a pure offering of art at the feet of the divinity was considered the best path to attain the almighty. Dance for centuries, with its religious fervor has been nurtured within the sacred precincts of the temple. Temple became the heavenly abode of fine arts and dance, music became definite forms of worship giving dance its distinctive religious quality which to this day has remained a satisfying concept to all. This concept – ‘Dancing for Divinity’ was harnessed in South India by the onset of Bhakti Movement around 6-8th century. This set of beliefs (doctrine) inaugurated the new era of spiritual learning in South India with the appearance of Saivaite and Vaishnavite saints known as the Nayanmars and Alvars. They provided a fresh impetus to the twin arts of music and dance and made an impeccable influence in the minds of devout public by their soul stirring devotional compositions known as Tevarams and Divyaprabandhas. The devotional compositions coupled with captivating music and garbed the general public with utmost religious consciousness. Dancing with such devotional fervor on such hymns became a regular feature and an indispensable aspect of worship in temples in south India. Dancing became an exclusive domain of the fairer sex and they adopted ‘kaisiki vritti’ / the graceful representation of highly facilitated the employment of the graceful style of kaisiki vritti.

Saivaite = 63 Nayanmars = Tevarams
Vaishnavite = 12 Alvars = Divyaprabandhas

Accomplished girls in the field of music and dance were dedicated to the temples and specially recruited to the ritualistic dance services of the temple. These girls termed as “Devadasis” were attached to these places of worship. These Devadasis were the sole custodians of the art of dancing until the beginning of the 20th century. Though the art practiced by them was known by various names right from Sangam age, Chola, Nayak, and Maratha period of 19th century, this art finally got rechristened as “Bharatanatyam” in 20th century. Hence the present Bharatanatyam which has reached at its peak of excellence over the period of time, owes its existence to South India and Thanjavur district in particular. Certain periods and regions in dance history have marked as unique and significant as they have facilitated and fostered the betterment of art.

Thanjavur has been blessed with rule of three great Hindu dynasties – Cholas – Tamil, Nayakas – Telugu, and Marathas – Marathi. Under these dynasties patronage art of dance and music was richly nourished and grew in myriad dimensions. Though the art of dancing was known under different names – Kuttu, Adal, Natyam, Dasiattam, Bharatam, Natyamu, Chinnamelam, and Sadir, each of these names were coined and got established during these three dynasties who ruled Thanjavur from 9th – 19th century AD. In the Sangam and Chola period it was known as – Kuttu, Adal, Natyam and Dasiattam. In Nayak period – Natyamu, Kelika, Chinnamelam and in Maratha period – Sadir. The Sadir term was in popular usage till the Anti – Nautch movement appeared on dance scene.
Ancient indigenous literature of Tamilnadu had three aspects comprising – Iyal = Poetry, Isai = Music, and Natakam = Dramatics. Copious references and complete picture of the then dance, music and drama that flourished in ancient tamilnadu can be inferred from several classical treatises like Tolakappiyam and Silappadikaram which speaks volumes of status enjoyed by this many splendored art and its practitioners.

1. Tolakappiyam – The oldest literary works in Tamil providing abundant information regarding triple arts of music, dance, and drama of ancient Tamil authored by – Tolakappiyar – a great grammarian of 3rd century BC. From this treatise we learn to take to the art of dancing and those sections of people who took dance as their profession, formed an honored class in Tamil society.
2. Silappadikaram – The most important and valuable literary work available in Tamil – 2nd century BC. Written by Prince of Cera royal line Ilango Adigal. A chapter in this book gives a detailed account of the rules and principles pertaining to the dance music i.e. vocal as well as instrumental dance musical accompaniments; the importance of proper instrumentation, the manner in which the combination of these instruments should exist and be executed which ultimately facilitate in heightening the aesthetic pleasure of dance have been mentioned in elaboration. It also clearly states the qualifications of a good dance teacher.

The Chola Period – Latter half of 1st century – 1279 AD – With inauguration of bhakti movement, the advent interest among kings in temple construction and in the art of music and dance associated with the sacred edifice captured South India especially Thanjavur during 9th – 10th century AD which had been the capital of Cholas. The Cholas were instrumental in construction of many splendid temples. The Brihadishavaralaya known as the big temple of Tanjore shows the patronage of Rajaraja Chola – I. He also made elaborate arrangements for temple dance rituals by transferring 400 Devadasis from 50 temples to this sacred temple. He also allocated separate colonies around the temple to the musicians and dancers attached to the temple, which ensured permanent settlement for artists. During Rajaraja Chola reign, based on language there were two types of dance forms –

• Arya Kuttu – dances performed on songs of Sanskrit language. Vocalists accompanying Arya Kuttu were Arya Paduvor.
• Tamil Kuttu – dances performed on Tamil language. Vocalists accompanying Tamil Kuttu were Tamil Paduvor.
• Appointment of these vocalists depended on the mastery over language – Sanskrit or Tamil. 
• The names of the dancing girls were prefixed – Nam-Akkan = our elder sister.

These Devadasis performed pure dance and abhinaya to Tevarams songs. And Devadasis who excelled the co-dancers in their abilities were conferred with different titles. Also the dance teachers were conferred with different titles like “Talaikol Asan”, “Nrtta Vinoda Marayan” etc. In addition to these titles the artists in Chola period were paid emoluments too – 

• Dancing girl – 100 Kalams of paddy per year
• Dance Teacher – 200 Kalams of paddy per year
• Lute Player – 175 Kalams of paddy per year
• Drummer – 100 Kalams of paddy per year
• Musicians – 150 Kalams of paddy per year
• Persons stitching dance costume – 150 Kalams of paddy per year

For regular performances in temples, kings had donated lands – “Pokam = Bhoga”/Enjoyment in Sanskrit. Nrtta Pokam was given specifically for maintenance of temple dancers. Lands given to dancers, dance masters, and music teachers on account of their individual merit were referred as “Kani = Fruit/Reward”. 

• Patiyilar Kani – female temple dancers
• Nattuvakani – dance masters
• Panakanni – music teachers. 

Along with temple dancers, court dancers too enjoyed high respect during this period. These records of Chola period serve as authentic evidences in unraveling the legacy of art and also the distinguished status enjoyed by artists. 

Nayak Period – Telugu – (AD 1532 – 1675) – next followed the rule of Nayak Kings who were equally great lovers and promoters of art and literature. Initially appointed as Viceroys of Vijayanagar Empire Nayakas formed their own autonomous (separate) kingdom in Tanjore after the Talikota war in 1565 where Vijayanagar Empire came to an end. Their rule lasted for more than a century. The culturally vibrant atmosphere of Thanjavur was further enhanced by Nayak rulers. Tanjore became the abode of many talented artists and scholars in the sphere of music, dance and Telugu literature. There was exuberant growth of Sanskrit and Telugu literature and King Raghunatha Nayaka and son Vijayaraghava Nayaka were not only liberal patrons but scholars, accomplished royal artists and were credited with many scholarly writings in field of music, dance and Yakshagana compositions. Telugu Yakshagana gained highest popularity during Nayak rule. It was during the Achyutappa Nayaka reign and Vikram Chola reign, that there were several renovations made in temples and Vikram Chola, the lover of arts, endowed the entire village to 500 Brahmin families called “Bhagavatars”. These Bhagavatars were practitioners and promoters of dance dramas, made the village, center of Bhagavatamela Natakas. It is a privileged place which later produced many illustrious composers in the field of music and dance whose names have been prefixed by village Melattur. 

Raghunatha Nayaka – AD 1600 – 1634 – The Nayaka rule reached at its peak during his reign. He was highly proficient in Sanskrit and Telugu languages, versatile composer, musician and musicologist of higher repute. Raga Jayantsena and Ramananda Tala are his creative inventions. He is the author of many meritorious kavyas – Parijataharana Prabandha, Gajendramoksha, Valmikicharitra, Achutendrabhyudam, Nalacharitram, Shri Rukmini Krishna vivaha Yakshagana. In most of his works, there is an extensive treatment regarding mode of playing the Vina and other technical aspects related to the instrument and the 24 fretted Vina was named after the King – “Raghunatha Mela Vina”. Among the several kavyas authored by the king, Valmiki Charitra – a fine kavya in Telugu signifies the capacious (vast) knowledge of king in theory and practice of art of dancing. This work describes the beautiful dances of celestial nymphs – Rambha and Urvashi and the technical aspects of dance like Hastabhinaya, Sharirabhinaya, Padabhedas etc. it also gives detailed account of different musical instruments – Mukhavina, Kinnari and Tambura. This shows the depth with which the royal composer dealt with the minutest details and technicalities of dance and other related arts. Many distinguished scholars, learned poets, musicians, and dancers who adorned his court had further hailed him as “AbhinavaBhoja”, “Bharata Vidyadhurandhara” and “Danavinoda” as he had endowed innumerable villages to Brahmins. It was during his reign that “Kshetrayya” the peerless composer of padas visited his court. 

King Vijayaraghava Nayak – AD 1634 – 1673 – The cultural fragrance of Tanjore was kept alive by this king, son of Raghunatha Nayak. King Vijayaraghava was a past master in the theory and practice of art of music and dance which is evident by his innumerable Yakshagana authored by him. Poet Venkatamakhi – The Chaturdandi Prakashika and inventor of 72 Melakarta system, Cengalvakala Kavi – author of Rajagopala Vilasmu were a few eminent poets who adorned his court. During his reign many dancers, musicians and other artists have received royal honors depending upon their work proficiency. Poet Kshetrayya, Dancers Rupavati, Shashirekha, Bhagirathi are a few to name who received royal honors. These royal honors usually included a beautiful palace and Agraharas (residential quarters). Among the prolific writings of this King, Yakshaganas in Telugu form a major part. Some of his creditable works – Pralhada Charitam, Putanaharanam, Raghunathabhyudayamu, Raghunathanayakabhyudayamu, Vipranarayan Chatirtra. In most of his works, a definite treatment of dance incorporated is seen which only points his interest and love for the art. The uniqueness of this King’s Yakshagana composition is, it adopts dance musical forms called darus and prose dialogues instead of the conventional meters such as Ardhachandrika, Dhavala etc. Such an innovation born out of creative mind of this king seems to have had its sway on later Yakshagana compositions. This was the nature and standard of art in Nayak period.

Maratha Period – Marathi – AD 1676 – 1855 – At the end of Nayak rule, Tanjore witnessed the distinguished rule of Maratha dynasty under the headship of King Venkoji/Ekoji – I, the eldest brother of Chatrapati Shivaji. The Marathas continued the legacy of royal patronage to art and literature. The praiseworthy aspect of Maratha rulers is that they not only mastered South Indian language but became consummate exponents of art and literature. Most of the Maratha kings were scholars, musicologists, and the brilliant literary renaissance period was mainly due to the inspiring works of highly accomplished kings – Shahji – II, Tulaja – I, Pratapsimha and Serfoji – II. It was during Maratha period that “Dasiattam” came to be known as “Sadir” which is presently called as “Bharatanatyam”. The Sadir performed in temples and court steadily attained high level of excellence especially during the period of King Serfoji – II (1798 – 1832). 

Shahji – II – AD 1684 – 1712 – Ekoji’s – I eldest son Shahji II was crowned as King after his father’s death. Shahji – II ruled Thanjavur for the above mentioned period. He was enthroned at a very tender age of 12. His two younger brothers – Sarabhoji – I ruled Sakkotai near Kumbhakonam and Tukoji – I / Tulaja – I ruled Mahadevapattanam near Mannargudi. Shahji II with passage of time proved to be an able administrator who strived for the prosperity of his kingdom and being learned person, he took immense interest in promotion of art and literature. He was associated with many saint composers like – Bodhendra Saraswati, Sadashiva Brahmendra, etc. which shows his deep interest in spiritual pursuits. He continued the old order of patronage by gifting villages as appreciation and encouragement to scholars who gave their credit to literary productions. There were several luminaries attached to his court who were highly proficient is Sanskrit, Marathi and Telugu. Shahji himself was one of the outstanding royal composers and musicologist of high repute. He also had mastery over Tamil, Telugu, Sanskrit, Marathi and Hindi languages and this is seen from his literary and artistic works which is in abundance. His works are Pallakiseva Prabandha, Tyagaraja Vinoda Chitra Prabandha, Chandrashekhara Vilas Nataka, and Panchabhasha Vilas Nataka. The Panchabhasha Vilas Nataka is composed in 5 languages which shows that he was not only a multilinguist but had profound knowledge in literature. His unique productions include several beautiful padas of his personal God – Tyagesha. He has written almost 208 padas in Sanskrit, Marathi, Telugu which focus on different themes like bhakti, shringara, hasya, vairagya, bhava, mangala, niti. Each and every pada makes a perfect blend of music and thematic content and also creates an urge among dancers to portray various emotions and sentiments and to manifest the different states/avasthas of the Nayika and Nayaka. He was the 1st royal composer of several musical plays in Marathi in Tanjore – RadhaBansidhara Vilas Nataka, Sri Krishna Vilas Nataka, and Sita Kalyanam. He had been hailed by the votaries of art as “AbhinavaBhoja”. He was a good judge of scholarship and was conferred many such titles which include “Sarvadyna Chudamani” praising him as the heart and soul of the muse of learning. During his reign many Marathi saint poets the bhajana and kirtana paddhati and art of “Harikatha Kalakshepa” in South and established several mutts at Tanjore. Tanjore automatically became a culturally multilingual area. He died very young age at 40 leaving no heir to the throne. 

Sarabhoji – I AD 1712 – 1728 – Sarabhoji too extended tangible amount of patronage to art and literature. He was a pious and benignant person. He too had endowed Brahmins with Agraharas. Many scholars and ministers who adorned Shahji – II’s court, they continued under Sarabhoji reign too. The king had good warship qualities as he saved the Kaveri dam from destruction at the hands of Madura King. He was a distinguished scholar and was hailed as “Vidyabhoja”. He died in 1728 without a progeny. His brother Tukoji / Tulaja – I ascended the throne. 

Tulaja – I AD 1728 – 1736 – He is popularly known as author of Sangita Saramrita. An important treatise on theory and practice of music. It also has a full chapter on dance – Nrittaprakarnam. There is no need to mention that Tulaja – I wasn’t only musicologist of merit, but was an ingenious composer of fine Yakshaganas too. Shivakamasundari Parinay Nataka, Rajaranjan Vidya Vilas Nataka shows his expertise in dance field too. The Yakshaganas written in Telugu language interspersed with scholarly darus facilitates in invoking a visual portrayal of emotional content of the theme in minds of the reader as it strikes a perfect balance of lyrics and music which proves King Tulaja a playwright par excellence. Rajaranjan Vidya Vilas Nataka is a play based on philosophical concept of individual soul merging with supreme by conquering six enemies – lust, money, anger, infatuation, miserliness and intoxication. A very unique feature of this play is – the names of ragas are well matched with the character appearing in darus. Ex. – moha is portrayed by daru set to mohana raga. Joy – anandbhairavi. This proves his power of expedience in the selection of ragas to aptly portray the importance of darus. He also has several padas in Marathi, Telugu and Sanskrit to his credit. Another noteworthy feature of the King – he had a sound knowledge in other faculties of learning and had authority in different fields – Jyotisha, Ayurveda, Dharmashastra and Politics. 

Ekoji – II – AD 1736 – 1737 – He was the eldest son of Tulaja. Despite of chaotic conditions and inquietude situation (due to the internal fights for the throne). Ekoji – II kept the cultural fragrance of Tanjore afresh. He was a liberal patron and his court was ornamented with highly accomplished dancers. (Muddumanga was often one of them who left the audience spellbound – every time). The king was highly impressed by her talents and every time she danced he presented her a pearl necklace as a token of appreciation. He himself was a royal artist of merit. He had good command over Sanskrit, Marathi and Telugu language. Tyageshwar Kamalamba Parinava Nataka, Vigneshwar Kalyanam are a few of his classic works. There are total 86 padams on themes – Shringara, niti, bhakti etc. which again are par excellence. He too could not beget a son and died after one year of rule. 

Pratapsimha – AD 1739 – 1763 – He was the most brave intelligent and man of iron will. He was one who saved Thanjavur that was plagued by selfish policies to acquire the throne by non-eligible people fake pretenders of throne. He encouraged Sanskrit, Marathi, Telugu and Tamil languages and had several learned men and composers in his court. Several sallamdarus were composed by his court poets in praise of him. He was a distinguished scholar in Marathi and his contribution to Marathi literature is significant. Krishnamanjari, Ramadinacharya, Madanasanjivani (book on sexology), Uma Samhita are his best works in Marathi. He died in 1963 when Thanjavur started seeing a downfall due to the English dominance over India. 

Tulaja – II – AD 1763 – 1787 – Son of Pratapsimha took the power. Despite the growing pathetic situation, due to the British / East India Company, there was no dearth of the royal patronage to fine arts. He had patronized several Marathi, Sanskrit and Telugu poets. The period of Tulaja and his son Serfoji was an Augustan age of Carnatic music, as the musical trinity – Sri Tyagaraja, Sri Shayamasastri and Sri Mutthuswami Dikshitar lived during the period and contributed magnanimously to the lakshana and the lakshya of Carnatic music with their divine compositions. He had gifted 30 velis of land to many artists. Mahadeva Annavi, Subbaraya Oduvar (father of Tanjore Quartette) were given an honored place in the galaxy of his court musicians. Bhagavatamela Natakas received full patronage at the hand of both King Tulaja and Serfoji – II. Separate Bhagavatamela troupes were attached to the court. The expenditure incurred for the maintenance of these artists were met from royal treasury. Tulaja – II lost both his sons at a very young age and hence decided to adopt a son. The adopted son was from Bhosla dynasty and he rechristened him as Serfoji – II. 

Maharaja Serfoji – II – He occupies a significant place in the history and development of Sadir dance, presently known as Bharatanatyam. Despite limited powers and financial resources during foreign invasion, King’s period witnessed a fresh impetus in socio – cultural and literary activities. He was a great patron of art and literature and encouraged numerous scholars, poets of different branches to maximize their outputs. He himself a scholar in almost all disciplines, was a distinguished king endowed with such high privet and encyclopedic knowledge in different subjects that he seems to have been truly blessed by muse in learning. His erudition in different sciences, ingenious composer, multilinguist, architect of internationally renowned library. The “Thanjavur Maharaja Saraswati Mahal Library” is a literary treasure house of knowledge, richest collection of innumerable manuscripts of rare merit, bulk of valuable treatises and book on varied disciplines – music, dance, literature, grammar, medicine, ethics, astrology, yoga, Kama sutra, math, philosophy, architecture in different languages – Sanskrit, Telugu, Tamil, Hindi and Marathi. This library was built in his reign. 

Apart from being adept in oriental languages, the king had proficiency in foreign languages – French, German, Latin, Italian and English. Some of his celebrated works are (Sanskrit) – Kumara Sambhava Tika, Mudrarakshasachaya, Smriti sangraha, Smritisarasamuchya. His Marathi works are mostly based on mythology – Ganesha Lilarnava Nataka, Ganesha Vijaya Nataka, Ganga Vishveshwara Parinay Nataka, RadhaKrishna Vilas Nataka, Shivratri Upakhyana Nataka and many more. His contribution to music and dance is immeasurable. The musical forms such as ovi, abhang, sakhi, dindi, nirupanas etc. which are of Marathi origin, were utilized profusely by the kirtankaras in Harikatha Kalakshepa. The unique feature of Serfoji – II’s nirupana is – all characters of nirupana were portrayed by a single dancer and sometimes 2-3 dancers. This shows that the practice of ‘solo’ dancer was prevalent then is still followed today in Bharatanatyam. 

Another distinguishing feature of Serfoji’s nirupana is all its 18 items have been set to single raga and tala of Carnatic music. These nirupanas reveal high degree of co-ordination and perfect synthesis of Marathi language and Carnatic music. The King’s intention to make such synthesis was simple – making art more interesting and understandable and create deep appreciation for same, creating right attitude towards dance developed in south by Maratha people. Stimulating an extensive propagation of beautiful art, thereby not making it an exclusive preserve of South India. His nirupanas are - Uma Maheshwara Parinaya, Kumara Sambhava Nirupana, Kiratarjuniya Nirupana, Dandaniti Kalpita Katha, Suladi Nirupana etc. to name a few. His another work – Vividha Karnataka Raga Ragini consists of dance numbers set to several ragas and Suladi tala fashioned on the lines of ragamalika and talamalika. Such creative works were remarkable of its richness and variety but haven’t been adequately known. These dance numbers if revived will prove a valuable addition to the present day Bharatanatyam. These works of the king can be considered as milestone in growth and development of the theory and practice of Sadir. 

The king had also authored a Kurvanji Nataka as well as a Lavani. Kurvanji’s theme generally is nothing more than the depiction of the lovelorn sickness of the heroine towards her lover. The lover is usually the king or the deity of the temple. But Devendra Kurvanji authored by King Deals with different aspect – it deals with the world’s geography i.e. geographical description of several countries, mountains and rivers, narrated in a scholarly manner by Kuratti with help of simple yet beautiful Marathi songs. Lavani which is a folk dance of Maharashtra is performed during socio-religious festivals such as holi etc. during his reign Lavani were also written in Tamil. During his sojourn to Banaras, he made a good collection of rare manuscripts, inaccessible anywhere, in return to his precious jewels. After returning to Tanjore, he ordered the court poets and scholars to transcribe these manuscripts in library for its effective and extensive use for future generations. He is said to have constructed and renovated many temples in and around Tanjore. 

The king himself was an expert of both Indian and Western music. He was credited with the formation of Tanjore Band which gained high popularity and appreciation from various people during his reign. Many of the winged and stringed instruments like clarinet, violin came to be utilized for 1st time in South Indian chamber music and Sadir dance. The concluding charana svaras of some varnams produced during the period were called Notu svaras indicating the impact of English notes of the band music on Carnatic music. Such was the deep influence of Western music on the king. On the request of Governor of Madras, he sent his Tanjore band, for a special program and it is said that they received the highest approbation from the governing forces who lauded the king for his exemplary creative ideas and egalitarian outlook. Serfoji composed many songs with European staff notation for the Indian ragas which is recorded in several music books specially maintained by the king himself. It was at the king’s request that several European instruments – Harp, Clarinet, Bagpipe, Harpsichord, Pianoforte, Brass Horns, Concert Trumpet, Tambourine and Organ were supplied from London. Because of the Western influence many European instruments got added to the Indian band and Western dance on par with Sadir and Hindustani Nautch was also encouraged in the court. 

The king’s court always beamed with brilliant poets and scholars of high repute, and it’s needless to say that he himself was a blazing star. His period is called Augustan age of Carnatic music and the Trinity of music – Tyagaraja, Shayamasastri and Mutthuswami Dikshitar lived in Tanjore during his reign. These musical genius paved way for evolution of several ragas, the popularity of musical form Kriti took place in his reign. During his reign there was an influx of musicians, scholars and artists from far wide. He was an achievement oriented by nature, always appreciated the artists and felt whatever gifts he gives in appreciation is way too small compared to the artists’ talents. This shows his humbleness towards artist and above all his unstinted devotion for arts. He also maintained amicable relationships with Maharaja Swati Tirunal of Travancore who too was a true votary of arts and literature. 

Serfoji - II occupies significant place in the history and development of Sadir dance. His court was remarkable with confluence of many eminent Nattuvanars, composers, musicians and dancers whose creative energies fostered the development of Sadir and marked the period of most innovative and distinguished annals of Bharatanatyam. The artistic and intellectual atmosphere of the Tanjore court was further illuminated with the Tanjore Quartette. They deserve the greatest credit of systematizing the Sadir attam format. These Tanjore brothers launched new teaching and learning methods and improvised, developed and established the pedagogy of Sadir and systematized its format and the presentation order with an artistically graded progression of dance numbers. It was the king’s utmost dedication, devotion and bountiful patronage extended by him that Sadir attam steadily attended high level of excellence especially during his period. 

The term Sadir might have originated during the Nayak period, evolved out Telugu word “Caduru = Sabha” and a dance performance arranged during occasions like weddings. The word Caduru/the square dais = Sabha / court. The term Sadir perhaps coined during the Maratha period seems to be more convincing as this dance performances by court dancers were usually witnessed by kings seated in large chamber/ Darbar and Urdu word for Sadar. Since the dance (attam) was held in court (Sadir) it was called Sadar attam. With passage of time and result of tongue twisting the pronunciation got modified slightly Sadar- Sadir was ultimately named Sadir attam. Hence it was during Maratha period that Dasiattam came to be known as Sadir. 

Besides the Sadir dance several folk art forms – Lavani, Dummy horse dance, Pinakolattam, Modi dance, Kanchin etc. were highly encouraged by the king. This shows the king’s interest in these arts which gained high popularity along with classical counterpart. Several Natakas produced from the royal pen and court poets of Maratha kings were especially enacted during important festivals like –Vinayak Chaturthi, Navaratri, and Diwali and so on. Sarvanga Sundara Natakam, Panchabhasha Vilas Natakam, Subhadra Kalyan Natakam, Rati Kalyanam Nataka are a few to name which were enacted during festivals. Along with dance programs folk dances Bhagavatamela Natakas were also regularly enacted in Sangeeta Mahal, an auditorium built during Nayak period which Maratha kings enlarged and designed with such acoustic perfection that form the remotest corner of the hall. One could hear the softest tune and the highest footfall. This hall was a triumph of artistic and engineering skill. Wrestling and other sports competitions and arts were also witnessed by the king in this hall. There were separate departments for music, dance, Bhagavatamela and the musicians belonging to these departments. The music and dance had three different departments within the – the Carnatic, the Hindustani, and Western music and dance. 

There were certain set of rules and regulations to be allowed by the court dancers and Nattuvanars – the ornaments, certain types of dress and flowers were forbidden to be worn by dancers. 

• Dancers had to wear Chandrama, Panpattya, diamond rakodi, mukutti, makarkanti, metti/jodvi, addigai compulsory. But they were not supposed to apply kumkum and abir on their forehead in cross-wise pattern. 
• Dress – dancers were forbidden to wear gold and silver, brocaded saris and extremely artistic embroidered saris. No saris to wear having artistic lace. But, only during puja they were allowed to wear these saris. Only colored shawl to be worn around their shoulders, no white dupatta to be used. Disallowed to use kerchief. 
• Use of Palanquin – It was not allowed for dancers the use of palanquin unless with prior permission from court with royal order and seal. They were allowed to use palanquin only on two occasions – 

1. At the time of dancers maiden performance and 
2. In case of illness of dancers. 

The Nattuvanars too had some rules to follow – 

• They were forbidden to wear turban and slippers. The angavastra was to be worn round their waist and wear expressly prohibited from covering their chest and shoulders. 
• No use of gold cymbals for conducting dance.
• The dance purpose for entertainment in court dancer is supposed to dance on in praise of God and King and not any other mortals. 
• They should stand and perform in Mela. Not allowed to perform if disobeyed rules. 
• Pung / Percussion instrument, bagpipe not to be used before prior permission from court. 

Thus this shows that the effective organization of music and dance with clearly formulated procedures and well worked out strategies pertaining to dancers and musicians. This clearly manifests that discipline was uniformly enforced without any consideration by the king. It is also unique that the payment of regular salaries, providing facilities, advance payment for festivals and other occasions and gifting lands to artists, had made artists to consider music and dance as their profession. Thus Serfoji – II was dynamo galvanizing the entire artistic world of Tanjore during his period.

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References:

Srividya Natarajan, Another Stage in the life of the Nation - Sadir, Bharatanatyam, Feminist Theory.