Professional Documents
Culture Documents
Dances
Dances
Dance:
Vehicle of worship
Expression of mans profound emotions
Technique of Indian classical dance was clearly enunciated in the ancient treatise of
Natyashasrta and till today Indian dancers closely follow its strict code
Every movement of the face, body, hands and feet is significant and fully controlled and
the poses and gestures are classified thematically
According to tradition the image of shiva as Nataraja is the greatest inspiration for a
dancer and to achieve this ultimate perfection years of training and dedication are
essential.
Every year in March, the majestic temples of Khajuraho come alive to the sound of the
bells of the most famous Indian dancers who perform there during the annual dance
festival
CLASSICAL DANCES:
BHARATANATYAM (Tamil Nadu):
Comes from 3 words Bhava (Expression), Raga (Melody) and Tala (Rhythm)
Bharatnatyam is a solo dance, which has graceful feminine lines and movements and also
the masculine aspect.
Bharatanatyam dance has been handed down through the centuries by dance teachers or
gurus nattuwanars and the temple dancers called devadasis
The 4 great nattuwanars of Tanjore were known as the Tanjore Quartet and were brothers
named Chinnaiah, Ponnaiah, Vadivelu and Shivanandam.
E Krishna Iyer was the one who raised the status of Bhartanatyam and popularised it.
Rukmini Devi Arundale was influential in bringing it to the attention of the West.
Started the institution kalakshetra in 1936
There are several religious mythologies associated with the origin of this dance form.
It got its name from sage Bharata who was entrusted with the work of writing
Natyashastra following the instructions of Lord Brahma
KATHAKALI (Kerala):
Originated from Theyyam, a ritual tribal dance of North Kerala and Kalaripayattu
Literally means story play and is an elaborate dance depicting the victory of truth over
falsehood
Nrithyam, the use of hand gestures "mudras, to convey meaning and emotion
Nritham (Dance), the use of rhythm and movement of hands, legs and body
The lyrics, which qualify as literature (Sahithyam), are considered a component of Geetha, and play a supplementary role
to Nritham, Nrithyam and Natyam. Kathakali songs, couched in rich poetic diction, are among the gems of Malayalam
literature
Uses colourful and elaborate facial makeup where green colour denotes good, black
denotes demon and red colour denotes evil
The simple makeup represents gentleness and simplicity and white represents
superhuman Hanuman
Women and saints are portrayed with lustrous yellowish faces
Themes: Ramayana and Mahabharatha and other Mythologies Mudras follow the
song sung at backstage. Use of eyes and eye brows are involved
Mohini Attam
Women dancers basically perform it and its movements are very graceful
The word Mohini means who attracts and steals the heart of the onlooker.
Vishnu saw Mohini during churning of the ocean.
Basically includes a white saree with gold borders and jewellery charming the audience
Essentially solo dance with graceful movement and costumes used are sober and
attractive lasya and tandava styles > technique is based on kathakali mode
The dance has mnemonic syllables Which are sung.
Though the dance units in Mohiniyattam are limited, its distinct features are exemplary
grace and the measured movements
Basic movements in the dance Attavakul
Vocal music involves the variations in the rhythmic structure known as Chollu
It borrows features from both kathakali and Bharatanatyam.
It is performed by women only. It caters to both God and Man. It is known as dance of the
charmer or temptress
Except its emphasis on animation, the grammar is from Natya Shastra. In all other aspects
it is akin to Bharatnatyam
A solo recital consists of such items as the Sabdam, Bhamakalapam which is the main
item, Padams and Tarangams
In Bhama Kalapam, the dancer has enormous scope for the dramatisation of characters
Today kuchipudi is considerably a different style of dance form than it originally used to
be.
In most of the cases it is now a solo performance done by female dancers
Odissi Orissa
Origin evolved as a religious dance
Temple dance
Devadasis are responsible for the popularity of dance
Dance to the narration of hymns and bols of talas in temple before the introduction of
Gita Govinda
Gita Govinda Jayadeva > Bible of an Odissi dancer has great influence on the arts of
Orissa
Dancers use their head, bust and torso in soft flowing movements to express specific
moods and emotions
Performances full with teachings of 8th incarnation of Lord Vishnu and Lord Krishna
Oldest surviving dance form of India
Characterized by various bhangas >> stamping of the foot and various striking postures
Common Bhangas Bhanga, Abhanga, Atibhanga, Tribhanga
Tribhanga feminine bhanga where the body is detercted at the neck, torso and knees
Style lyrical which follows unique body names Tribangha linking philosophy and
physical aspects.
It follows the strict rules of position for the body, feet and hands.
Sensual and devotional feelings are expressed by the dances
Costume Silk saree draped in a practical and comfortable style
Head ornament Mathami, Ears kapa, wrists kankana
Theme Secular under Muslims but religious under Hindus (Natwari style). Rhythmic
footwork is the most important part of this dance. It is the most dynamic dance. During
Muslim rule it was taken from the temples to the courts.
Absorbed certain features of Persian dance and Central Asian dance which were imported
by the Mughal era
3 major Gharanas from which performers today draw their lineage jaipur, lucknow and
banaras and less prominent Rajgarh gharana
Lucknow school emphasized on expression and depicts traces of Muslim court etiquette
whereas Jaipur school focuses on stories of Rajput valour and popular Gods. It became
secular art during Mughals.
Dance form ia bound with classical Hindustani music and rhythmic quick movement of the
feet is accompanied by tabla or pakhawaj
Popular characteristics fast footwork, spins and use of Bhava in Abhinaya
Present day kathak relies heavily on Ras Lila medieval period local dance in the Braj
region of Uttar Pradesh
Wajid Ali Shah patronized and practiced this dance in early 19th century
Both men and women take part
Dancer is not required to stick to fixed steps and stages in a fixed order > can change the
sequence of the stages to suit his or her aptitude and style of dancing
Manipuri:
Origin: Bhakti movement of 14th and 15th century
Theme Radha Krishna romance and popular love tale of Khamba Thoibi of Meithei
legends Ras Leela
Repertoire is dominated by the themes from Vishnu Puranas, Bhagvata Puranas, and
Geeta Govinda.
Religious dance and associated to Vaidhnav cult of Hinduism
Originally performed only in temples and continues to form an integral part of the
religious and social fabric of Manipur.
Manipuri dance, whether folk, classical or modern is devotional in nature
Performed by both men and women
Sattriya (Assam)
Recognised in yr 2000
Extracted from a massive organisation of theatrical activities Ankiya Bhaona form
Theme Mythological
Devotional in character and involves Bhakti rasa (spiritual aspects)
Evolved by Vaishnava Saint Shankar Dev in 15th century