Natya should not be dismissed as a mere extra-curricular activity. As Bharata envisioned, it embodies every form of human knowledge and expression
Updated On – 8 May 2025, 05:02 PM
By Sarani Oddiraju
In April 2025, UNESCO added Bharata Muni’s Nāṭyaśāstra to its Memory of the World Register, recognising it as a global treasure of cultural knowledge. This ancient text, composed over 2,000 years ago, is not just a manual for Performing arts, but it is also a guide to life itself.
As Bharata Muni wrote:
Na tat jñānaṁ na tat śilpaṁ
Nāsa vidyā nāsa kalā
Nāsau yogah na tat karman
Nāṭye’smin yanna dṛśyate
(There is no knowledge, no art, no education, no skill, no yoga and no action that is not found in Natya)
Bridge between eras
Nāṭya, goes far beyond performance. It is a living medium through which mythology, spirituality and morality are passed down through generations. Stories from the Mahābhāratam and sacred texts come alive on stage, allowing children to connect with their heritage in an engaging way.
Carved in stone
The cultural importance of Nāṭya is carved in stone across Indian temples. The Brihadīśvara Temple in Thanjavur, for example features 81 of the 108 classical Karanas (dance poses) described in the Nāṭyaśāstra. These sculptures reflect how Nāṭya was once considered a divine offering, a prayer in motion.
A mix of many skills
To perform Nāṭya, children must have a broad understanding of emotions (Bhāva), music tunes (Rāga), rhythm (Tāla) and meanings of the song (Sāhitya). It sharpens memory and cultivates sensitivity to language and music.
Additionally, through the four types of Abhinaya (mode of expression), children learn to communicate with a holistic form of learning that traditional classrooms rarely offer. These are:
- Āṅgika – Gestures and movements
- Vācika – Music, speech and dialogue
- Āharya – Costume, make-up and stage
- Sātvika – Inner emotional state
Body, mind and soul
Like yoga, Nāṭya helps connect the body, mind and spirit. The discipline it requires builds endurance, focus and self-awareness. As children practise this art, they don’t just perform – they transform.
More than just a hobby
Nāṭya should not be dismissed as a mere extra-curricular activity. As Bharata envisioned, it embodies every form of human knowledge and expression.
With its UNESCO recognition and timeless relevance, it’s time we saw this art as something every child can benefit from, not just on stage but also in life.
(The writer is a Diploma Holder from Kalakshetra and is pursuing Masters in Bharatanatyam from University of Madras)