Originally known as Dasi Aattam, it is the classical dance that originated in Tanjore, South India during the reign of King Sarabhooji (1798 - 1824 A. D). It is one of the most highly developed and stylized dances.

Bharatha Natyam is a science in itself. It has been said that the Natya Shasthra (science of Indian Dramatology, with 6000 stanzas) was enunciated by Lord Brahma, written and compiled by sage Bharatha, and hence derived the name of Bharatha Natyam. Another theory interprets the three syllables of Bharatha Natya as 'Bha' (for Bhava or emotion), 'Ra' (for Raga or melody) and 'Ta' (for Tala or rhythm). According to the critics, Natya Shasthra is said to have originated sometime between 200 B.C and 200 A.D.

It has been said that the Natya Veda (scripture) was created by Lord Brahma by combining aspects from the existing Vedas, such as the recitation or poetry from the Rig Veda, the song from the Sama Veda, the gestures from the Yajur Veda, and the sentiments and emotional aspects from the Atharva Veda.

This dance discipline has been handed down (by word of mouth and example) by the gurus (teachers) to their chelas (disciples). Over the years Bharatha Natyam has become more creative and innovative, and the original style has gone through numerous changes, but it still has preserved its original regional flavor and essence.

Originally, its chief exponents were the devadasis or women dedicated to the service of the Gods, but social reformers associated the dance with pagan worship, banned it as being disreputable, and the devadasis were prohibited from performing this art form. It was not until the early part of the 20th century that the dance was revived, and popularized among the various classes in society, thus opening the way for future dancers. Rukmani Devi Arundale of the famous "Kalakshethra" school of dancing was one of the pioneers in this movement.

The basic unit of this dance is called the Adavu. They belong to the realm of Nritta. Some of the common adavus are Tattu Adavu (to strike flat), Naatu Adavu (the use of one's heels) and so on. Adavus are combined to form what is called a korvai. Sizable sequences of these rhythmic phrases, set to a determined format are known as Jathis. There are five types of Jathis based on three counts (Thishra), four counts (Chathushra), five counts (Khanta), seven counts (Mishra) and nine counts (Sangeerana). Teermaanam (meaning 'to conclude') refers to a group of rhythmic phrases that are positioned in the dance is such a way that they terminate exactly at the beginning of the cycle of rhythm on which the dance is based on. In a way, Teermaanams provide lively flourishes to the composition (rendered three times in succession).

The vocal representation used for Jathis are called Sollukatus and recited by the Nattuvanar (conductor). A small block of wood (called the tattukali) along with a wooden stick (which is used to tap the rhythmic patterns on this block) are used for practice sessions.

Tala refers to the rhythm or beats. There are different time measures based on a unit of time (or the kaala).

 Raga is the tune, or the  melody in which each item is composed.

The main languages used it the songs are Sanskrit, Tamil and Telugu

Bharatha Natyam shares the basic principles with the other classical dances, and falls into three main categories:

Nritta or pure dance, which consists of movements (of the body and limbs) which are performed for the visual beauty they create, and not signify any particular mood, emotion or meaning. It encompasses steps and movements in the form of patterns of dance. It has pure aesthetic value.

Nritya is that element that suggests sentiment and mood (bhava). It emphasizes on expressions essentially through stylized gestures of the hands, fingers and other parts of the body. It emphasizes on Abhinaya (a Sanskrit word which means, "To carry to the spectators or audience"). Abhinaya itself is classified into four categories:

1. Aangik Abhinaya, which relates to the gestures of the body, the head, eyes, neck, and the movements of the hands called hasthas, which are formed with either one or both hands. This Abhinaya also relates to the postures of the body, hand and foot movements, called "karanas". There are 108 karanas.

2. Saathvik Abhinaya is about the mental and emotional states called rasas of which there are nine.

• Shringar or Love
• Hasya or Humor
• Karuna or Pathos
• Rudra ( Raudra) or Anger
• Vir or Bravery
• Bhayaanaka or Terror
• Bibhastha or Disgust
• Adbudha or Wonder
• Shantha or Serenity

3. Vaachik Abhinaya relates to the dancer's use of poetry and song.

4. Aahaarya Abhinaya relates to jewelry, costumes, and makeup.

Natya relates to the dramatic aspect of the dance, and is a combination of both Nritta and Nritya. It is the dramatic element of a stage performance, mimicking the life and stories of the gods and the asuras (demons).

Before starting and ending a performance, the dancer always salutes the deity with a small gesture called 'Thatti Kumbudu' ('Kumbudu' in Tamil means 'to pray' or to salute with both palms joined together to form a Namasthe.). It has also been said that it is a salutation to Mother Earth. The components of a typical Bharatha Natyam recital in a given order are:

• The Allarippu and the Kauthuvam, which are invocations and prayers to the presiding deity. They are used to open a performance. The term Allarippu is derived from a word in Telugu called Alarimpu, which means, 'to decorate with flowers'. It falls into the Nritta category.
• The Jathiswaram, which is a form of pure dance, set to definite patterns of syllables and a specific Raga or melody form. The swaras are sung in a raga.
• The Shabdam, which is a judicious mixture of both pure and interpretative dance. Shabdams are usually set to a string of Ragas (Ragamalika). A raga commonly associated with the Shabdam is the raga Kamboji.
• The Varnam, which is by far, the most complex composition, combining pure and expressive dancing. It is normally based on a love theme.
• Dances of exclusively expressive nature, like the shlokas, padams, jawalis and kritis follow the Varnam and convey specific love themes and situations. They emphasize on Bhava, Saathvik and Vaachika Abhinaya. Also included in this set of dances are dances like the Andal Thiruppavai (a set of bhajans written by Andal, a devotee of Lord Narayana), the gypsy dance (called 'kurathi' in Tamil) and so on.
• The Thillana is a fantasy of pure dancing combining intricate footwork and beautiful poses, and is a display of the complete form of this art. It is said that this originated in North India, and was later brought into South India during the rules of the Mughuls.
• The Mangalam (prayer) marks the end of a recital.