Narrated by Shantha Lakshmi

Chapter 10 of Shall We Dance explores the intricate art of Bharatanatyam, emphasizing its synthesis of various fine arts, including music, poetry, drama, painting, and sculpture.

The chapter begins with a quote by Constanze Mozart, "Dancing is like dreaming with your feet," highlighting the expressive nature of dance. It discusses the universal instinct for dancing and how Bharatanatyam, rooted in the Natya Shastra, has achieved unparalleled technical excellence in India.

The chapter delves into the fundamental aspects of Indian dance—Nrittya, Nritya, and Natya—along with the vigorous Tandavam and graceful Lasya styles. It emphasizes the importance of Abhinaya (gesticulatory expression) in conveying the dance's meaning, dividing it into four types: Angika, Vachika, Aharya, and Satvika.

The traditional structure of a Bharatanatyam performance, including Alarippu, Jatiswaram, Shabdam, Varnam, Padam, and Tillana, is also outlined. The chapter concludes by highlighting the goal of evoking rasotpatti (aesthetic emotion) in the audience, achieved through the dancer's deep connection with the character and emotions portrayed.

Narrated by Shantha Lakshmi

Chapter 9 of Shall We Dance explores the profound connection between the Brihadeshwara Temple in Thanjavur and the rise of Bharatanatyam in South India. The chapter delves into the symbolism of the temple's vimana (tower over the inner sanctum) and gopuram (entrance tower), emphasizing their spiritual significance.

The vimana represents a cosmic mountain, symbolizing spiritual ascent, while the gopuram marks the transition from the material to the spiritual realm. The chapter highlights the deliberate placement of the 108 karanas (dance postures) in temple iconography, symbolizing Shiva's cosmic dance and yogic energy. It underscores the integration of these architectural elements into Bharatanatyam, preserving cultural and spiritual traditions.

The chapter also draws from various scholarly sources to provide a comprehensive understanding of the cultural significance of the Brihadeshwara Temple's architecture and its deep connection to Bharatanatyam, illustrating the intertwined nature of South Indian dance, spirituality, and cultural heritage.

Narrated by Shantha Lakshmi

Chapter 8 of Shall We Dance explores the theoretical framework of Bharatanatyam, emphasizing the importance of understanding fundamental elements such as space, time, force, body, and form. These elements are crucial for mastering the art of Bharatanatyam, as outlined in A.G. Gilbert's Brain-Compatible Dance Education.

The chapter delves into the Natya Shastra, an ancient Indian text attributed to Sage Bharata Muni, which serves as the primary guide for Bharatanatyam, covering drama, music, dance, and gestures.

Key concepts include Adavus (basic dance units), Hastas (hand gestures), Abhinaya (expression), Nritta (pure dance), Nritya (expressive dance), and Natya (storytelling through dance). The chapter also discusses the traditions within Bharatanatyam, such as the Margi tradition, which adheres to classical practices, and the Desi tradition, which incorporates regional and folk elements.

The chapter underscores the significance of these theoretical principles in preserving Bharatanatyam’s cultural heritage and enabling dancers to convey its profound beauty and cultural essence.