Thanjavur Quartet 

Thanjavur Quartet or Tanjore Quartet   were in Thajavur  during 18th century . They devote themselves in the development of Bharatanatyam.  They are Chinnayya Pillai  (1802–1856), Ponnayya Pillai  (1804–1864), Sivanandam Pillai (1808–1863) and Vadivelu Pillai (1810–1845).  They are in the courts of  Serfoji Maratha King.

Pandanallur Style of Bharatanatyam

Pandanallur Minakshisundaram Pillai was a  nattuvanar who was descended from the Thanjavur Quartet.  He lived in Pandanallur and serve to the Lord Pasubatheeswarar to the entire live time. Chokkalingam Pillai (1893–1968 Subbaraya Pillai (1914–2008) are also in the Pandanalur Style of Bharatanatyam. Thanjavur Kittappa Pillai is also a scholar in Bharatanatyam.

Vazhuvoor  Style of Bharatanatyam

Vazhuvoor Ramaiah pillai (1910-1979) take his own style of bharatanatyam.  Chitra Visweswaran , Padma  are the disciple,  Vazhuvoor stype  adopted the abhinayas that were relatively more realistic

Kancheepuram Kattumannarkoil

Kancheepuram Kattumannarkoil and Kalakshetra having their own concept to specialize in the bharatanatyam.  Kalashetra is in Chennai and contribute to develop the art and culture in the present days.

Meenakshisundaram Pillai is the scholar and genious in Pandanallur Bharathanatyam Style.
He lived at Pandanallur, the village near Kumbakonam whcih has a traditional concept in Bharathanatyam.

Formost among the arts which have contributeed to the greatness of Indian culture is the divine art of Bharathanatyam. This dance especialy in Southern India has always been regarded as a religious art fom. This is why it was known as a Temple dance and was always performed in th sanctum berfore God.Bharatanatyam is an art which purtifles teh mind, speech and body and elevates the performer to a relacton of the Supreme through the perfect blending of music rhythm and emotion.The three main types of dance are NATYAM, NRITTAM and NRITYAM. NATYAM is the art of dancing the stories from great epics with many characters as in a drama. Simple foot movements aided by ankle bells and without elaborate dance postures as resorted to by Harikatha performers is known as NRITTAM. A more elabrotae form is the NRITTYA in which facial expression, mime, bodily postures and foot movements are danced in a well conceived pattern.It contains all the components of Angikam, Mudra, Abhinaya, Natya and Nrittya.O f these three forms, the highly evolved Nrittya is the dance noew known as Bharatanatyam.

This dance was performed on all auspicious and joyous occasions by well trained dancers who were especialy selected for this art. The Sastras have laid down certain precepts for the selection and training of such dancers. The girls seleceted for the dance should have facial beauty, grace nd a well developed figure. A seven year period of training is laid down as absolutely essential to attain mastery in the art. Apart from this, the shape and size of the stage for giving such dance performances is also described in great detail in the Natyasastra.Adherence to tradition is essential to Bharatanatya. Many beautiful Varnams, Padams and songs have been especially composed for the dance by great musicians. It is necessary that the vocal and instrumental accompaniments to the dance should be adjusted in such a manner that it blends well and emphasises the dance movements. The dance programme and the items to be danced have been codified by the ponniah brothers more than two hundred years ago and is still being followed today. Starting with a devotional bymn to prodect the dancer and ward off the evil eye, the dance programmer consists of many items like Alarippu, Varmam, Jatiswaram, Padiam and usually ends with the Tillana and devotional pieces like Ashtapati, Slokam etc.,

Departure from tradition, and inclusion of totally unsuitable pieces in the name of innovatoin only lowers the standard of this art. I am not against change. There is bound to be change and new ideas. But there can be called by a different name and not broght under the name of Bharatanatya. Such innovations make a sublime art ridiculous.I realzed yhow greatly spiritual this art can be when I visited the temple at chidambaram, whre the Lrd Himself is the Divine Dancer. A dedicated dancer who is able to contraol the body and the mind will realize theat the dance transcends the physical and becomes a spiritual expereicnce. Purity in thought and action is therefore necessary for the dancer. The dance then becoems akinto Yoga. By constant practice and control of the body and mind. with proper concetraton to channel the emotions towrds the inner meaning of teh song. it is possible to attain Sayuja (exaltation) realised by great yogis through yougic practices.The modern trend therefore to consider dance as mree entertainment and an art which doce not require muchj effort, is regrettable. It is only throught long and rigorous training that the dancer acan attain perfection which leads to spiritaual awakenig. Blerre costumes and inappropritate themes wil only lead to destruction of this art.It is not pssible for amrere mortal like me to describe the gereatnes s of Bhrarthanatya. ho but divine characters like sir Nndi and Bhringi can describe the cosmic dance of the Lord of Dance. Sri Nataraja?