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Shrimati [[Rukmini Devi Arundale]], raised Bharata Natyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the <i>Sringar</i>, or the expressive Tantric elements) from some ogirinal styles of Sadir (such as [[Pandanallur]], [[Tanjore or Thanjavur]], [[Vazhuvoor]], [[Mysore]] etc.), according to Shri Sankara Menon. She founded the school [[Kalakshetra]] outside the city of [[Chennai|Madras]] to teach it and to promote other studies in Indian [[music]] and art. She was one of first teachers to instruct a few [[man|men]] to perform the dance, which until then was the exclusive ___domain of women, while men, called <i>Nattuvanars</i>, had only been teaching [[Bharatanatyam]] without actually performing it. Rukmini was also instrumental in modifying mainly the Pandanallur style of Bharata Natyam and bringing it to the attention of the West after being heavily influenced by Anna Pavlova, a Russian ballet dancer.
Bharatanatyam is considered to be a [[fire-dance]], being the mystic manifestation in the human body of the metaphysical [[element of fire]], is one of the five major styles that include [[Odissi]]([[element of water]]), and [[Mohiniattam]] ([[element of air]]). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. The Natya Shastra-based dance styles were conceived in order to spiritually elevate the spectators.
Bharatanatyam proper is a solo dance, with two aspects, [[lasya]], the graceful feminine lines and movements and [[tandava]], masculine aspect. Typically a performance includes:
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