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Dances of India

Classical Dance forms

• The principles of which are derived from Bharatamuni’s Natya Shastra
• Natya comprises of music, dance and drama
• It is Brahma who is said to have created ‘Natyaveda’ which is supposed to be the essence of the existent Vedas!

Bharatnatyam

• It is believed that Bharatnatyam waWs revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance in a Sanskrit text called the Natya Shastra. 
• Probably derives its name from an amalgamation of Bha from bhava Ra from raga and Ta from tala
• Has its origin in the sadir or the solo performance of the devdasis of Tamil Nadu
• Dance fell into disrepute but was brought into the meainstream by Rukmini Arundale through her school Kalakshetra…(also popularized by freedom fighter E.Krishna Iyer)

Famous styles of Bharatnatyam

• Padanallur
• Tanjore

Format of a Bharatnatyam Dance

• Ganapati Vandana- prayer to Ganesha
• Alarippu- invocatory piece
• Jatiswaram- pure dance – create beautiful poses to rhythmic beats
• Shabdam- abhinaya to a song in praise of God
• Varnam- combines nritta and nritya
• Padam- dancer can reveal mastery over abhinaya (usually padams deal with the theme of love)
• Thillana- pure dance

Famous dancers

• Mrinalini Sarabhai
• Rukmini Devi

Kuchipudi

• Originated in AP
• Gets its name from the village of its birth Kuseelavapuri
• Kuseelavas were groups of actors going from village to village
• Basically can be traced to the dance dramas of Brahmins in temples

Features

• Traditionally a Male preserve but now open to women too
• Combines lasya and tandav
• Bhama Kalapam is an important part of its repertoire
• Siddhendra Yogi the one who composed the above believed that it was a dance that could lead to salvation

Exponent

• Raja and Radha Reddy

Yakshagana Bayalata

• Originated in Karnataka
• Performed by male troupes maintained by temples

Features

• Theatre form
• Dances are of nritta variety
• Enacted in open spaces
• Elaborate make up , head dresses
• Colorful clothes

Themes

• Epics
• Dashavtaras
• Focused on celebrating victory of good over evil

Famous exponent

• Dr.Kota Shivaram Karanth

 

Chchau

• Ancient but obscure origin
• Derived from ‘chchaya’ or shadow
• Term acc to odissi indicates war dance
• 3 stream of chchau nritya- Seraikela, Purulia and Mayurbhanj

 

Features

• Performed during sun or spring festival
• Shiva and Parvati are presidingdeities
• Stance resembles combat
• Male preserve though women have started learning
• Usage of masks
• Very vigorous, martial style, requires lot of stamina
• Musical accompaniment- flutes, drums

Themes

• Epics
• Puranas
• Nature

Exponent

• Raja Bijay Pratap

Kathak

• UP
• Probably inspired by Rasleela
• Influenced by Vaishnavism
• Revolves around Radha Krishna dance
• Derives name from kathika or story tellers who would recites stories from the epics with gestures
• Involves nritta and nritya
• Branched into a courtly stream in the Mughal period
• Fell into disrepute, later revived
• Influenced by different styles of diff gharanas- Lucknow, Jaipur, Varanasi and Raigarh

Features

• Intricate footwork
• Usage of facial expressions and hastas
• No bending of knees unlike bharatanatyam
• Indian and Persian costumes

Format

• Ganesh Vandan
• Aamad (dancer enters on stage with this item)
• Thaat (soft and varied movements)
• Gat Nikaas (brief outlines of mytho stories)
• Padhant (recitation of complicated bols and demonstration)
• Tatkar (conclusion- intricate footwork and complex)

Exponents

• Birju Maharaj
• Sashwati Sen

Manipuri

Features

• Emphasis on bhakti
• Not sensuous
• Awesome costumes, serene expressions
• Limited use of mudras
• Flourished with the advent of Vaishnavism
• Usage of drum or pung
• Cholom means dance- both tandav and lasya elements are present
• Inseparable from Rasleela
• Usage of compositions or songs composed by Jayadeva, Chandidas
• Brought to prominence by Rabindranath Tagore who introduced it in Shantiniketan

Exponent

• Charu Mathur
• Bipin Singh

Mohiniattam

 

• Kerala ‘dance of the enchantress’
• Origin apparently in the 19th century at Travancore
• Songs composed by Swami Thirunal

Features

• Elements of Bharatanatyam and Kathakali
• Grace of the former vigour of the latter
• Girls dance
• Erotic and lyrical
• Distinctive costumes

Exponent

• Hemamalini
• Vijayantimala

Odissi

• Probably derives its name from Odra nritya mentioned in Natya shastra
• Dance of the devdasis
• Influenced by Vaishnavism and the Bhakti cult
• Brought to light by Dr.Charles Fabri, dance critic who documented it

Features

• Called mobile sculpture cause its graceful and sensuous
• Great importance to tribhanga posture
• After the devdasis fell into disrepute it became a male preserve
• Jayadeva s ashtapadi is a compulsory item in its repertoire

 

Format

• Mangalacharan
• Batunritya
• Pallavi
• Tharijham
• Moksha (final dance of liberation)

Exponents

• Madhavi Mudgal
• Rani Karna

Kathakali katha- story kali- drama

• Temples of Kerala
• Main sources Kudiattam and Krishnattam
• Ramanattam evolved into Kathakali
• Popularized through Kalamandalam set up by Vallathol Menon

Features

• Male preserve
• Suited to open air stage
• Elaborate make up
• Emphasis on gestures and expressions
• Great use of eye expression
• Color to indicate character (green- nobility; black for wickedness)
• Thiranottam- expressive fiery character

Themes

• Epics
• Puranas
• Presents the eternal conflict between good and evil

Nikita Kametkar