Different Styles of Bharatanatyam

As a diverse art form, it is inevitable that Bharatanatyam has itself split into various forms throughout India. Each “School” of Bharatanatyam has slight differences in its technique and method of portraying the numerous stories found in Bharatanatyam. Contemporary schools/forms of Bharatanatyam include Mellatur,  Pandanallur, Vazhuvoor and Kalakshetra, as well as Mysore. Each style has its tell tale nuances, from footwork to expression. The Mysore style focuses more on elegance and grace and emphasizes swaying movements and deer expressions.  The Melattur style focuses on abhinaya, or natural expression, and requires the most flexibility for its movements. Known for its flowing emotions, it is also regarded for its crisp footwork (jathis). The Pandanallur style incorporates the feminine style of dance through its deep sitting positions in slow and difficult-to-execute dances.  The Vazhuvoor style has a wide variety of poses to break the continuity of dance and allow for some abhinaya (expression). The expression in this form is more subtle, with more spontaneous expression, rather than pre-choreographed expression. The adavus, or footwork, is much more soft and smooth than that of other styles. Additionally, in this style, the body from above the waist is much slower and contains widespread movement.  Lastly, the most modern, and most “simplified” form is The modern Kalakshetra. It is a form which is based on other forms, including the Pandanallur and Thanjavoor styles. Kalakshetra focuses a lot of adavus (footwork) and intricate beats and patters, and is most extensively used in the contemporary performance world.