A Tradition in Danger
By the early twentieth century, the temple-dance tradition had been pushed to the margins of society and faced the threat of legal abolition. The art that had been refined over a thousand years stood at the edge of being lost forever, surviving only in a handful of devoted families and gurus.
E. Krishna Iyer — The Advocate
The lawyer and dancer E. Krishna Iyer was among the first to publicly campaign for the dignity and survival of the art. Through lectures, performances, and tireless advocacy in the 1920s and 30s, he helped change public opinion and made it respectable once more for audiences and artists to embrace the dance.
Rukmini Devi & the Founding of Kalakshetra
The most transformative figure was Rukmini Devi Arundale, who learned the art, brought it to the concert stage with great refinement, and in 1936 founded Kalakshetra near Chennai — an academy that taught Bharatanatyam in a structured, institutional setting open to students from all walks of life. She emphasised grace, devotion, austere costuming, and ensemble productions, shaping what is now known worldwide as the 'Kalakshetra style'.
Balasaraswati — Guardian of Tradition
Alongside the Kalakshetra movement, the great T. Balasaraswati carried forward the traditional hereditary lineage with extraordinary depth of Abhinaya, especially in the Padam and Javali. Her artistry ensured that the older, more emotionally daring temple-dance sensibility was preserved even as the art modernised. Together these figures gave Bharatanatyam both a wide future and a deep root.
What 'Kalakshetra Style' Means Today
When a course (like ours) describes itself as 'Kalakshetra style', it signals an emphasis on clean geometric lines, crisp and clearly articulated Adavus, restrained and dignified Abhinaya, and a strong devotional spirit. It is one of several respected banis (styles) — others include the Vazhuvoor, Pandanallur, and Thanjavur styles — each with its own flavour, all flowing from the same ancient source.