Bharatanatyam Banis

Bharatanatyam Banis & Styles
‘Bani’ means tradition. It’s the dance technique and style specific to the guru/school.
Melattur Style:
Natural (spontaneous) and highly expressive Abhinaya with emphasis on ‘Sringara Bhakti’ and dramatic elements (characterisation)
Largest amplitude of movements, which require a higher degree of flexibility
Emphasis on crisp Adavus and accuracy of Jathis/Gathis
Fluid variations of patterned Korvais
Original methods of application of principles of ‘Loka Dharmi’ and ‘Natya Dharmi’
Avoid items praising living patrons
Encourages dancers to stamp the floor softly, focusing on the sound created by the Salangai.
Pandanallur Style:
Intensity and understatement in Abhinaya and abhinaya is more classically stylized rather than realistic.
Renowned for its masterpieces in choreography
Deep sitting positions
Lasya (feminine dance style) of Padams is rather slow and difficult to perform
Performed on three levels: in deep sitting position, on the ground, in standing position and while moving or jumping.
Emphasis on linear geometry in Adavu technique.
Vazhuvur Style:
Wide range of dance pace
Static postures are inserted, most often in the Tillana, to add to the variety of rhythms
Soft facial Abhinaya: abhinaya is subtle with more ‘Natyadharmi’ (spontaneous expressions), so the presentation is not "overdone" with rich Sringar elements
Adavu’s performed in deep sitting positions and flow smoothly, with rare abrupt movements
The dancer’s body from the waist up is slightly bent forward
The dancer starts the performance while entering the stage from the wings
This style is more feminine, emphasizing Lasya over Tandava
Variety of positions on the floor
Leaps are introduced into every Jati
The Jati's have more Korvais (intervals), which creates a suspense effect
Extremely elaborate movements.
Thanjavur Style:
Bharatanatyam was redefined by the contributions of four talented brothers known today as the Tanjore Quartet: Chinniah, Sivanandam, Ponniah, and