Bharata-Natyam is one of the most important and perfect among the eight Indian classical styles of dance. It is practised throughout the South of India, and particularly in the Tanjavur region. Bharata- Natyam is the most faithful style in relation to the rules enunciated in the "Natya Shastra", which is a treatise about drama, dance and music written around 2000 years ago by the sage Bharata Muni. One has only to observe the thousands of sculptures of the temples to note the similitude of the attitudes of the dancers in stone and that of dances of today. Indian dance is above all religious and, in the past, was performed strictly in the temples by the "devadasis", female dancers who were attached to the temple hereditarily and dedicated to the God since childhood. Bharata-Natyam has disappeared from the temples and is now performed on the stage. In the past a dance offering was a part of the daily ritual and was the most important act of devotion, as is explained in the Indian sacred books : "no prayer, no offering is more agreeable to God".

Bharata Natyam's blend of the abstract & the emotional is derived from its fusion of two prime elements, nritta (pure dance or dance without interpretive meaning) & nritya (expressive dance). Bharathanatyam derives much of its intense, dramatic impact from the juxtaposition & contrast with which both elements are utilised. Nritta comprises adavus, which are the basic dance units of Bharathanatyam. Each adavu contains 3 essential elements, a basic standing position (sthanaka), movement of the legs & feet (chari) & decorative hand gestures (nritta-hasta).

Bharata Natyam incorporates the use of thala & raga as exemplified in Carnatic music. A live orchestra accompanying a performance would include a nattuvanar--a symbol weilder, a mridangamist (drummer/percussion), and supplemental violinist, veena, and/or bamboo flute.

A bharata natyam repetoire called "Margam" incorporates a series of pieces that begin with an introduction - pushpanjali, alaripu, jathiswaram, and/or shabdam followed by the main piece - Varnam. The Varnam serves as the heaviest and most demanding piece in a margam. This piece illustrates the blend of nritta and nritya as well as displays the structural components of Carnatic music. The Varnam is usually followed by a few padams or javalis -- shorter expression-filled pieces, and the margam is finally concluded by a Thillana - a fast-paced rhythmic composition. A full-length recital can be easily performed by a solo artist, while a full-scale dance drama or themed production includes multiple artists.