Compare and Contrast: Indian Bharata Natyam and Japanese Noh

At first glance, India's Bharata Natyam and Japan's Noh theatre seem almost polar opposites. Indeed, the similarities are scarce, but there are some. In this essay, I plan to identify these similarities as well as illustrate a few of their differences.

The Bharata Natyam is a Hindu temple dance that was originally performed only by the devidasis (temple dancers). Preformed to honor Shiva, God of the Dance, its written treatise, the Natya Shastra, is said to have been divinely ordained to Bharata Muni and is sometimes called the fifth Veda. The dance works as a vessel through which the dancer can achieve the highest point of emotion'"a Nirvana-like state.

While the Bharata Natyam boasts very religious roots, Noh began more secularly. Noh was created based on the idea of Chinese court dance and Japanese comic performance (mime, puppetry) as entertainment for the nobility. However, Noh is not completely isolated from religion. Noh incorporates the Zen Buddhist ideologies of restraint, discipline, and simplicity along with the strict Bushido codes of the Samurai. Additionally, the stage itself is considered a sacred place. Although it is not done to honor a god, the religious idea of dedication and strict adherence to doctrine is present.

A sense of sacredness playing a role in these dances is not their only similarity. Both dances and their musical accompaniments work to depict some sort of narrative. The dancers do not sing in either style, but there are vocalizations or chanters off stage that help drive the story. Their costumes also provide a culturally-traditional element for both dances: the Sari-like outfit accessorized with several pieces of gold jewelry for the Bharata Natyam dancer and the 14^th or 15^th century Japanese styles for the Noh performer. This is probably where the similarities end, however, since the dances themselves implement contrasting methods of narrating the tales.

In the Bharata Natyam, for example, the dancer is traditionally female. While she must depict a specific Hindu myth, since she is essentially a religious figure, there is some room for improvisation if she is divinely inspired to do so. She uses her entire body to gracefully tell the story through sudden gestures and agile movements. Her hands are of great importance since the mudras (hand gestures) work as specific tools of narration. Her movement is, for the most part, sudden and light, her face is highly expressive, and she dances solo.

Noh, on the other hand, is always performed by men. It is more of a theatrical form than a dance, so the actors follow a script that is not improvised. Noh movements are very gradual and sustained, so much so that traditional performances can last up to six hours. This stems from the Zen Buddhist principles of simplicity and restraint. It is the "Art of Walking" in a very slow, very specific manner that gently propels the narrative. Where the Bharata Natyam dancer's facial expressions are an essential part of the aesthetic, the Shite (main character) in a Noh performance is masked. Also unlike a soloist in the Bharata Natyam, in Noh, while the Shite is the main focus, there is also the Waki, or supporting character, who has a speaking role.

Comparing the Bharata Natyam and Noh theatre may seem like an apples to oranges sort of task, especially after watching both dance styles. Upon closer examination, however, there are interesting similarities, though they are mostly below the surface. Despite these differences, both dances accomplish a similar goal for their respective cultures: preserving the stories of the past through theatre and dance.

Sources:

Masakatsu, Gungi and Selma Jeanne Cohen; Virtuosity and the Aesthetic Ideals of Japanese Dance and Virtuosity and the Aesthetic Ideals of Western Classical Dance

McCormick, Sarah V.; Understanding Dance Lecture (University of Tennessee at Martin)

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