In ancient times it was performed as dasiattam by mandir (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharata Natyam dance postures. In fact, it is the celestial dancers, apsara’s, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatanatyam. Dance originated and became a part of the temple because its aim was to attain spiritual identification with the eternal. The center of all arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti. Bharata Natyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharata Natyam has three distinct elements to it: Nritta (rhythmic movements of pure aesthetic value), Nritya (movements in which abhinaya or expression is emphasized), and Natya (dance with a dramatic aspect). The word Bharata, interpreted as the dance form created by sage Bharata, has within it the essence and uniqueness associated with Bharatanatyam: Bha for Bhava or abhinaya and expression, Ra for raga or melody, and Ta for tala or rhythm.