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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
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
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
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
Exponent
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
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
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