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"Education is a liberating force, and in

our age it is also a democratising force,
cutting across the barriers of caste and
class, smoothing out inequalities imposed
by birth and other circumstances. "
- Indira Gandhi
F
~
~
Indira Gandhi
National Open University
ODN-OOl
School of Performing and Introduction to
Visual Art
Indian Dance Forms
Block
1
UNDERSTANDING INDIAN CLASSICAL DANCES
UNIT 1
Indian Classical Dance 5
UNIT 2
Bharatanatyam 14
UNIT 3
Mohiniattam 21
UNIT 4
Kathakali 27
UNIT 5
Manipuri 3S
UNIT 6·
Kathak 42
UNIT 7
Odissi 48
UNIT 8
Kuchipudi 54
Expert Committee
Prof. T.K. Venkatasubramanian Dr. Kanak Rele
Department of History Director, Nalanda Dance Research Centre
University of Delhi Mumbai
Prof. Chinmay Mehta Prof. C. GajendraNaidu
Former Dean, Faculty of Fine Arts Nodal Officer & Head
University of Rajasthan, Jaipur Project Facilitation Unit
IGNOU, New Delhi
Prof. Mahesh Champaklal
Dean, Faculty of Dramatics Ms. Radhika Puthenedam
M S University, Vadodara Programme Coordinator
Assistant Professor, SOPVA
Dr. (Smt.) Chodamani Nandgopal
IGNOU, New Delhi
Research & Project Consultant
Bangalore
Practical Course Experts

Smt. Saroj Vaidyanathan Smt. Kumkum Mohanty
Founder President, Ganesa Natyalaya Bhubaneshwar
Delhi Sri Munna Shukla, Delhi
Dr. Kanak Rele Sri. Sadanam Balakrishnan
Director, Nalanda Dance Research Centre Tiruvanmiyur, Chennai
Mumbai Sri. R.K. Singhajit Singh
Dr. Uma Rama Rao Delhi
Former HOD of Dance
Telugu University, Hyderabad
Block Preparation Team

Block Contribution Language Editing"
Dr. Kanak Rele Dr. Nandini Sahu
Director, Nalanda Dance Research Centre Associate Professor, SOH
Mumbai IGNOU, New Delhi
Block Introduction and Content Editing Discipline Coordinator
Ms. Radhika Puthenadam Dr. G Bharadwaza,
Assistant Professor, SOPVA SOPVA, IGNOU, New Delhi
IGNOU, New Delhi
Print Production
Mr. B. Natarajan Mr. Jitender Sethi Mr. Ajit Kumar
Deput Registrar (P) Assistant Registrar (P) Section Officer (P)
MPDD MPDD MPDD
January, 2010
© Indira Gandhi National Open University, 2010
ISBN: 978-81-266-4531-2
All rights reserved. No part of this work may be reproduced in any form, by mimeograph or any
other means, without permission in writing from the copyright holder.
Further information on the lndira Gandhi National Open University courses may be'obtained
from the official website of IGNOU at www.ignou.ac.in
Printed and published on behalf of Indira Gandhi National Open University, New Delhi by the
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BLOCK 1 INTRODUCTION
In today's fast paced globalized world when it has become the 'in-thing' to learn
bollywood, hip-hop and salsa and be part of the 'happening' brand, at some point in
time, questions about the validity of our classical dance would have arisen in your mind.
India has its many dances which can be classified under different categories as folk,
tribal, classical and now! bollywood. But now, leave these classifications aside and
start looking at yourself ... your mind. For a moment focus your mind and ask yourself
where from and why the interest to dance comes from and see how your body reacts to
your mind. You will find that the actions and gestures that arise in you are sometimes
partly reactionary, for example, to an outside source like music or to a feeling or emotion
from within you. But many a time, these are stylization of observed behaviour around
you. Here, the cause - as in the form of observed behaviour, and the resultant - in the
form of stylized dance is a part of the larger' culture. Now, if you revert back to our
question about the validity of classical dance in modem Indian times, you'll find the
answer in our culture- its ancient, medieval and modem or contemporary manifestations
and its many facets, moments of which any Indian embodies in her or his own lifetime.
This course will take you through the historical and cultural manifestations of Indian
dance. So, some and join in the journey of learning our different classical dance genres,
their history and form.
UNIT 1 . INDIAN CLASSICAL DANCE
. Structure
1.1 Introduction
1.2 Objectives
1.3 Understanding and Appreciating Indian Classical Dances
1.4 Technique in General of Indian Classical Dance as Derived from the Natyashastra
1.5 The four Abhinayas
1.6 Classifications of Dance
1.7 The Two Main Components - Form and Content
1.8 Emergence of Regional Dance Styles
1.9 The Classical Dances of India
1.10 Self Assessment Question
1.1 INTRODUCTION
In the previous lessons you were introduced to performing arts in general. You are now
able to appreciate performing arts when you have the chance of witnessing any
performances. Let us go a little further from witnessing a presentation of performing art
to actually presenting it yourself. Here there is two fold enjoyment; not only will your
audience enjoy your performance, but more importantly, you would enjoy the act of
creating an art by your body.
We have already examined the importance of understanding and appreciating our

performing arts. This is very essential for human wellbeing. The phenomenon of
enjoyment can be centred on others - that is someone else performs and you watch
and enjoy the performance. This means that you experience the flow of Rasa. (the
experience of joy or delight arising out of witnessing an artistic presentation); this makes
you a rasika (one who experiences Rasa). But this phenomenon of enjoyment can also
be centred on yourself, that is, you yourself perform an art and derive enjoyment.
These observations apply to the art of dance also.
You must 'iave witnessed many dance performances. You must have wondered at the
expertise of the dancer and the beauty of the dance. This dance performance could be
of what we call "classical" or "shaastreeya" dance or it could be a folk dance.
As a student of a classical dance sty le, thus, you should know of the elements that
distinguish a classical dance form from a folk dance form. You would have noticed that
both are accompanied by music - vocal and instrumental, both have set rhythmic patterns,
both have physical movements which are stylised and away from the day to day
movements that you perform in your daily life. Yet both are different. Simply stated:
classical dance is premeditated, is highly systematized with its own rules for performance
and, most importantly.requires a long period of study under a guru. Whereas folk
dance is a simple performance usually performed by a group [0: various social occasions.
A child born in a particular society very automatically learns its folk dances merely by
observing the performance and gradually participating in it. Almost everyone of a
5
particular group of people would know their folk dances. Same is not the case with
Understanding Indian classical dances. Thus, in this lesson you are going to be introduced to the nature of a
Classical Dances
classical dance, its components, its origin, its history of development, etc. You will be
led to the understanding classical dance and appreciating it.
1.2 OBJECTIVES
After studying this unit you should be able to :
• get acquainted with the Sanskrit text - N atyashastra attributed to the legendary
sage Bharata Muni;
• enumerate the facets of the technique in general applicable to all the classical
dance styles derived from the Natyashastra;
• understand the emergence of contemporary classical dance styles.
1.3 UNDERSTANDING AND APPRECIATING INDIAN

CLASSICAL DANCES
The first thing that strikes a beholder about classical Indian dances is the importance of
rhythm (taala) and raaga in its formation. In fact, one cannot imagine an Indian classical
dance without these two elements. Another very significant element is the representation
of human moods and sentiments by the way of facial expressions by the dancer. Another
very important facet of Indian classical dance is the use of hand gestures (hastas to use
the correct technical term) for interpreting the words of the song being sung by the
vocalist or, as it happens sometimes by the dancer himself. There is a veriable dictionary
of the use of hastas prescribed in the N atyashastra and the subsequent texts. This facet
of Indian classical dance puts it apart from the other dances of the world as well as the
folk dances of India neither having this unique system. One can almost converse by the
way of these hastas - one can call them the alphabets of dance. You will also appreciate
the total control that a dancer has over the entire body. Though Indian dance is, as you
will learn, made up primarily of the movements of various limbs of the body including
those situated in the face, it is the superb harmoniously balanced movements that create
the totality of the dance. And the most ennobling element of Indian classical dance is its
spiritual basis. No one can envisage an Indian classical dance without a spiritual base.
You will also be introduced to the fact that though in the past 400 to 500 years different
regions of our country have developed and practised their own special dance styles,
almost all have common elements that distinguish them as classical dance idioms.
1.4 TECHNIQUE IN GENERAL OF INDIAN

CLASSICAL DANCE AS DERIVED FROM THE
NATYASHASTRA
The technique of classical dancing was, in all probability, codified by the legendary. sage
Bharata in his magnum opus- "The N atyashastra" (The Science of Dramaturgy ) in about
the 5th century B.C. This technique basically is applicable to the art of theatre - naatya
- as per Bharata. But he very clearly includes dancing and music as inherent and basic
components of naatya. In fact naatya of the ancient times is unthinkable without dance
and music. Thus, Bharata has not dealt with dancing as a separate and
individualistic art.
In the later centuries, it is evident that dancing as an art came into its own and became
more specialised. Bharata had initially dealt with two arts:-
6
natya theatre and Indian Classical
Dance
nritta dance consisting of body movements.
But in the centuries after that a further classification in the art of dance took place as :
nritta : Pure non-representative dance made up of beautiful movements oflirnbs

of the body. This type of dance does not convey any specific meaning nor does it
project any emotions; it is purely for the purpose of beautification; by its very nature
nritta is bound by the concept of rhythm, taala.
nritya: Representative dance which is designed to convey meanings by the

accompanying emotions. Very naturally in this type of dance the face plays a very
important role to convey various emotions. The meaning of a song that is being danced
is translated by "hastas" or "hand gestures" into the language of dance.
1.5 THE FOURABHINAYAS

Abhinaya is etymologically derived from Sanskrit terms- 'abhi' , meaning 'towards' and
'ni' meaning 'take' . It literally means 'taking towards' which can be understood as
'taking the performance towards te audience'.
According to N atyashastra, the performance of Indian naatya, in its totality, was

presented by the means of variegated components like
angika gestures and other bodily movements.
vachika spoken words
aharya costumes and make-up
sattvika depiction of mental or psychological states.
i.e. the depiction of Rasas. These four components are called the four abhinayas.
Let us consider these components in detail :
1. Sattvika Abhinaya :
This relates to the expression of natural emotions by a performer in response to the
demands of a situation. Let us have a look and understand the major terms associated
with this abhinaya.
a. Rasa: It is the aesthetic experience which one derives while enjoying an artistic
presentation. It is essentially a product of the dramatic art and is not to be found in
the creation of nature. It deals with the creation ofhurnan sentiments in the spectator
or the aesthete, when he becomes one with the focus of the dramatic presentation.
Bharata has listed eight basic sentiments - rasa - at the most generalized or
universalised level. These eight sentiments - the ashta rasa-arise out of eight
universalised fundamental feelings or instincts or emotions or mental states - Bharata
calls them bhaava-s or sthaayi bhaava-s (basic mental states) that predominate
every human soul. They are, so to say, born with the man himself. This basic
mental state is the central and most important phase. This bhaava which is present
in the actor/dancer's mind, when represented on the stage by the prescribed
technique, brings Rasa into existence.
7
Understanding Indian Bharata lists the following eight sthaayi bhaavas corresponding the eight rasa-s.
Classical Dances
sthaayi bhaava rasa
1 Rati (love) Shringaara (erotic)
ii Haasa (laughter) Haasya (comic)
iii Shoka (sorrow) Karuna (pathetic)
IV. Krodha (anger) Roudra (furious)
v. Utsaaha (heroism). Vira (heroic)
VI. Bhaya(fear) Bhayaanaka (terrible)
VD. Jugupsaa (disgust) Bibhatsa (odious)

viii. Vismaya (wonder) Adbhuta (marvellous)
b. Sthaayi bhaava-s : These are the basic or persistent mental states as they are the
source of corrinuity of a particular state of mind and its actions. An actor / dancer's
actions arise from a definite state of mind. They are the results of that particular
state of mind. It is only when these actions are properly performed that this long
lasting state of mind is realised and appreciated by the spector. It is due to this
sthaayi bhaava that the spectator understands the correct effect that the drama
or the dance piece wishes to create. The sthaayi bhaava also helps in smooth
flow of actions.
c. Vyabhichaari bhaavas: These are the transient or non-permanent emotions. They

either spring from or assist the basic mental state. They make the basic mental
state very clear to the spectator. Bharata lists 33 vyabhichaari bhaavas.
d. Vibhaavas: These are the determining situation or circumstances which form or

give rise to the sthaayi bhaava. Without the vibhaava there cannot be sthaayi
bhaava.
e. Anubhaavas: These are the resulting physical movements which mise due to the
establishment of the sthaayi bhaava which is assisted by its vyabhichaari
bhaavas. These resulting movements pertain to the entire human body. Thus we
may say that the sattvika abhinaya is brought forth by angika abhinaya.
f. Sattvika bhaavas: Apart from the sthaayi and the vyabhichaari bhaavas Bharata
lists a third category which he terms as sattvika bhaavas. Bharata lists eight such
bhaavas which can be described as involuntary reaction in an actor / dancer
whose mind (sattva) is completely concentrated on the given artistic situation.
These bhaavas cannot be commanded to appear at will. They are natural physical
reactions which accompany a dominant state of mind. Thus, in a tragic situation
tears would very naturally flow; or in a happy or joyous situation there would be
thrill (tremours) or in everyday language there would be goose bumps on the
body.
The sattvika bhaavas are :

1. Sveda Perspiration
2. Stambha Paralysis or getting stunned
3. Ashra Tears
8 4. Vaivarnya Change of colour.

5. Svara-saad Change in voice Indian Classical
Dance
6. Pralaya Fainting
7. Romaancha Horripilation or thrill
8. Kampana Trembling
2. Angika abhinaya :
Angika abhinaya relates to body movement and the expression of meanings through
different actions of the Iimbs;
~
In dance this abhinaya is the most important factor: Bharata has divided human body
very scientifically into two major parts:
a) Angas - major limbs - six
b) Upaangas - minor limbs - eight.
a) Angas:
i) Shira head
ii) Rasta hands
iii) Vaksha chest
iv) Paarshva sides
v) Trika or kati waist or hips
vi)Paada legs
b) Upaangas: These are situated entirely in face (inclusive of the neck)
i) Taaraa eye balls
ii)Puta eyelids
iii)Bhru eye brows
iv)Naasaa nose
v) Ganda cheeks
vi) Adhara lower lip
vii) Chibuka chin
viii) Grivaa neck
To this list, later scholars have added the following:
o Bhujamoola shoulders
10 Hanoo
iii) Dashana teeth
iv) Jihvaa tongue
9
Understanding Indian v) Mukha the face itself
Classical Dances
vi) Gulpha ankles
vii) Anguli fmgers and toes.
Other later texts have added one more limb of the body.
c) Pratyangas : These are the supportive limbs of the human body:
i) Skandha shoulder blades
ii)Baahoo arms
iii) Prishtha back

~"
iv) Udara ". belly
v) Ooroo thigh
vi) Janghaa shanks
vii) Manibandha : wrists
viii) Koorpara : elbows
ix)Jaanoo calf
x) Grivaa neck.
Bharata further specifies and classifies the movements of the angas, upaangas and the
later scholars specify those of the pratyangas. It is also laid down how and where and
for what purpose each of these very large number of movements are to be utilised.
3. Vachika abhinaya :
In dance this abhinaya deals with the songs to be danced (saahitya) which are usually
sung by a singer who does not dance and the svaras (musical notes) of the raaga being
employed - also by the singer. It would also include the rythernic patterns receited by
the dance teacher (guru or nattuvanar) which is accompanied either by the cymbals
(taala-s) he plays or the percussion instrument (the drum). In an expanded manner it
would also include music created by all the other members of the orchestra (vaadya
vrinda) like the veenaa player, the venu (flute) player and the violin player and other
instruments that are in vogue.
4. Aharya abhinaya :
This abhinaya deals with the use of costumes,jewellery, facial make-up etc. Bharata
has prescribed definite rules and specifications for jewellery, dresses etc to be worn by
different types of characters. But it must be remembered that dancing is full of physical
movements which are very vivacious and expressi ve of feelings. Thus, in dance the
costumes should be such that they permit unhampered movements. It is also to be
remembered that Bharata himself permits different provinces of the country to employ
the types of dressing and jewellery worn according to their own traditions.
Bharata is said to have compiled the Natyashastra some time before the 2nd century
1h
B.c. Some scholars give 5 century B.c. as his period. In the millennia that followed
Bharata, the concept of dance being an integral part of naatya underwent gradual
10
charges. By the 11 th or 12th centuriesA.D. dance emerged as a very independent and Indian Classical
Dance
well established performing art, no more functioning under the shadow of naatya.
1.6 CLASSIFICATION OF DANCE

In the later centuries when the technique of dance emerges as a distinct form, it becomes
apparent that dance utilizes drama as one of its aspects in the same manner as naatya
or drama utilises dance. Similarly, in the later years dance comes to be further classified
into taandava (vigorous) and Zaasya or sukumaara (gentle) types. Again, the
N atyashastra does use these words but not in the manner of this firm classification. The
4th chapter of the N atyashastra dealing exclusively with dancing calls it taandava probably
as emanating from Tandu who was instructed in dance by Lord Shiva & Zaasya which
is mentioned as laasyaanga in the chapter 20 dealing with the Dasharupakas (ten types
of dramas). But the later writers very definitely give the two fold division into naatya,
nritya and nritta on one hand and taandava and laasya on the other hand. But whatever
the era and its classification, the components of the technique remain the same.
1.7 THE TWO MAIN COMPONENTS: FORM AND

CONTENT
In the Indian context dancing has two components.
Dance
_____ 1 _
Form -which is tangible Content - which is

i.e. which is seen. intangible i.e. which is not seen.
In Indian dance, both the components are necessary to convey to the viewer that dance
is taking place. There is form, that which can be seen but unless there is some sort of
mental motivation, it just cannot be sustained. Similarly there can be most overpowering
mental or emotional motivation - the content - but unless there is its manifestation by
way of some physical action, it cannot be felt or realised by the viewer.
Thus the "Form" of dancing would be the 3 abhinayas - angika, vachika, and aharya.
The "content" is the 4th one - saattvika.
In the "Form" we would include nritta but in nritya there are both - "Form" and
"Content". These two logically consist of the entire human body and its different
movements.
1.8 EMERGENCE
;./ ..
OF REGIONAL DANCE STYLES
There is a freedom granted to different regions of the country to develop their own
dance practices as per their own traditions regarding the mode of dressing, speech,
customs, habits, legends, agriculture, animal husbandry and other pursuits of livelihood.
These vary from region to region in India which is actually a subcontinent. Even in
Bharata's times there were diverse practices present in different parts of the country.
As time passed these diverse practises ~\..o""""PP more and more well established and
eventually by the 16th Century A.D. there emerged very well defined dance practices;
but all these dance styles followed the dicta laid down by Bharata and later scholars in
principle.
11
Understanding Indian These diverse practices were regional and further developed in their regions only.
Classical Dances
Thus, today these dance styles are flourishing in their respective regions though abiding
with the ancient rules. Thus, though they are different, they have a good deal in common
and the entire practice is enjoyed and venerated all over the world simply as Indian
Classical Dance.
1.9 THE CLASSICAL DANCES OF INDIA

\ Today eight such regional practices are recognised as classical dance styles:
1. Bharatanatyam from Tamil Nadu
2. Kathakali from Kerala
3. Kathak from central and western India
4. Manipuri from Manipur
5. Kuchipudi from Andhra Pradesh
6. Odissi from Odissa
7. Mohiniattam from Kerala
8. Sattiriya from Assam
1.10 SELF ASSESSMENT QUESTIONS

1. Fill in the blank:spaces in the following statements using the words given below:
(Rasa, human, folk, rasika, wellbeing, vocal, instrumental, classical).
a) When you enjoy a dance performance there is a ------ which

you expenence as a ------
b) Enjoying an artistic presentation is very essential for ----
c) There are two broad categories of dances that are practiced in India ---
and----
d) -----and ----music are an indispensible parts of classical

dances.
2. State briefly the basic classifications of dance in the Indian traditions .

• 3. a) How many abhinayas are there?
b) Enumerate them and give a very brief explanation for each-of them.
c) How are they applicable in classical dances?
Answers
1. a) Rasa, rasika
b) human, wellbeing
c) classical, folk
12
d) vocal, instrumental Indian Classical
Dance
e) guru, observation.
2. Indian dance is primarily divided into nritta (pure dance) and nritya (expressi ve
dance). The next classification is taandava (vigorous suitable for male presentation)
and laasya (soft suitable for female presentation). At the most general level dance is
(
divided socially into classical (systematised and codified) and folk (free and joyous).
3. a) There are four abhi,nayas.
b) Angika is to do with the movements of the different limbs of the human

body. Vachika is to do with spoken words. Aharva dressing and make-up.
Sattvika is to do with emotions.
c) Angika is used both in nritta as well as nritya since physical movements are
essential for both. Vachika is represented by the songs that accompany the
dance and which are accompanied by instrumental music. Aharya is used
for stylised costumes and facial make-up. Saattvika is the base for
interpretation of the emotions.
13
UNIT 2 BHARATA NATYAM
Structure
2.1 Introduction
2.2 Objectives
2.3 Appreciation ofBharatanatyam
2.4 Briefhistory ofBharatanatyam
2.5 The spiritual base ofBharatanatyam
2.6 Technique
2.6.1 Nritta
2.6.2 Nritya
2.6.3 Abhinayadarpana and Bharatanatyam
2.7 Music in Bharatanatyam
2.8 Repertoire
2.9 Some wellknown exponents and performers
2.10 Self Assessment Questions
2.1 INTRODUCTION
Today not only in India but all over the world Bharata Natyam has become extremely
popular. Just as sitaat; tabla and veena instantly evoke the picture ofIndia, Bharata
N atyam transports people all over the world to the land of exquisite and majestic temples,
ennobling music which has roots in the distant past, beautiful silks and gorgeous jewellery
and above all, dancing of the indescribable beauties.
If you are a student of Bharatanatyam, then we can presume that you have come totally
under the spell of this beautiful dance style. You wish to learn it in all its aspects and
acquire mastery over it. If you are a student of some other dance style, it would be very
beneficial for you to compare and contrast your dance style with Bharatanatyam, because
it is one of the most meticulously built and correctly codified dance practices which has
now become uni versal in its appeal. Even if you are a student of some other art form
you could not have escaped the charm and beauty of Bharatanatyam.
Bharatanatyam is the glorious dance style from the southern state ofTamil Nadu. As we
have observed an art is an integral part of any culture or civilisation reflecting the
environmental conditions and social ethos of the group of people who practice it. Bharata
Natyam does precisely this. It is one of the most glorious products of the ancient
Dravidian culture. One finds references dating from the first few centuries of the Christian
era to a very vigorous system of dance and music being practiced at the highest
professional level in the Dravida country.
Today's Bharatanatyam is the end product of this great tradition. It had several names
like Chinna Melam, Sadir, Daasiaattam etc. It was also called Bharatam but not
after sage Bharata; rather the term is derived from three essential facets of the style-
Bha from bhaava (mental state or emotion), Ra from raaga (musical mode - melody)
and Ta from taala (time measure).
14
Thus Bharatanatyam can be described as a perfectly balanced dance style. Bharatanatyam
Bharatanatyam dancer in a Nritta pose
2.2 OBJECTIVES
After studying this unit you should be able to:
• Indentify a Bharatanatyam dancer by the erect and upright position of the torso,
the elegant bearing of the dancer and the precise and crisp footwork;
• Admire and respect the dancer's total dedication to the spiritual element ofthe
dance performance; and
• Be acq.uainted with the artistic elements in the ancient Tamil Culture.
2.3 APPRECIATION OF BHARATA NATYAM

The earliest reference to systematised dance, referred to as kuttu, is to be found in the
great Tamil epic Silappadikaram, written in all probability in the 3rd or 4th century
A.D. Silappadikaram is a treatise on the three fold classification of the Tarnillanguage
-literary Tarnil, music and drama. It is however clear that this epic comes later than the
Natyasastra since it shows an awareness of the Natyashastric practices.
It appears that earlier, in the pre-historic era, dances were performed to propitiate
deities or for ritualistic purpose. But by the times of the Silappadikaram, it appears,
dances were performed for secular purposes also. This appears to be due to the influence
15
c r.
Understanding Indian of the Natyashastra.
Classical Dances
The Silappadikaram is a literal storehouse on the position and practice of dance and
music of that era. Writing about dance "guru" the epic specifies .
... (the guru) could effectively combine the different dancing poses with the vilakku
songs. He had a clear knowledge of the established rules of the eleven modes of the
body movement and limb movement - aadal of the songpaattu. Of the resounding
instruments - drums kottu as also of the dance aadal of gestures - paadal which
were of eight kinds, of the measure beats paani (this was either the hands or mental
discs - taalams) and of time beats tukka. During the course of the performance of the
dancing art, composed of the foregoing elements, he knew when only one hand had to
be used for gesticulation - pindi and when both the hands had to be used - pinaiyaal.
He also knew when hands had to be used for exhibiting actions alone - tolirkai, and
when for graceful effect alone elirkai.
There are specifications for the music teacher, the mridangist, the composer of songs,
the flutist, the player of the yaazh (forerunner of the veenaa) etc.
2.4 BRIEFHISTORYOFBHARATANATYAM
Like the other classical dance styles it is impossible to ascertain the origins of what we
tall Bharata N atyam today. Its roots are certainly to be found in the ancient Dravida or
Tarnil culture.
The Dravidian culture flourished in the deep south of the country from the pre-historic
times. It was a very well defined culture when the Aryans came into our country via the
north-western passes from central Asia.
In the Silappadikaram one finds references to the eleven kuttus - the eleven types of
dances of which many were performed by different deities on specific occasions. By
this time the Hindu deities had found their way into the Tarnil religious ethos, though
their names were very much Tarnil. The Silappadikaram also mentions forms like the
avinay kuttu (abhinaya) the shaanti kuttu etc. At this time the entire south had also
come under their influence of J ainism and many J ain doctrines came to influence their
social life.
The Tarnilliterature has had a very glorious existence of which the epic Silappadikaram
and its twin Manimekhalai are two shining examples. At this juncture dance appears
to be secular in nature.
The Tarnilliterature appears to be going hand in hand with the changing and developing
religious beliefs. As Shaivism and Vaishnavism took deep roots in the Tarnil culture
there arose exquisite literature in Tarnil in these two sects. At the same time, by about
the 4th, 5th centuries A.D., there arose exquisite secular literature chief amongst them
being the Aham and Puram poems collected in anthologies (collective books). It may
be surmised that these poems exerted great influence on the entire Tarnil culture. Their
secular base then gradually converted into the religious base resulting in spiritual poems .
.
It is in the reign of the Chola emperors of Tanjavur (9tl1 century to 11 rh century A.D.)
that the Tarnil culture rose to great heights. It gave forth great architecture in the form of
magnificent temples adorned with beautiful, classical sculptures many of which portrayed
dance poses/sequences. Very notably the temples at Chidambaram, Tanjavur,
Kambakonam have been adorned with tall gopurarns (entrance gates) with exquisite
dance scultures specifically based on the tenets of the Natyashastra. The Chola kings
16
were great patrons of dance and music and employed a large number of devadasis to Bharatanatyam
serve at their great temples. These devadasis were highly proficient musicians and
dancers who performed in the temples singing the praise of the deity.
This tradition of royal patronage came down the centuries where different dynasties
very regularly patronised the arts. Songs and dance were popular court entertainment
and the kings gave patronage to gurus and performers.
f
We cannot very definitely say that what they danced was Bharata N atyam as we knew
it today but it is certain that the system that we find in the Silappadikararn continued
and flourished albeit with changes as the time passed and needs of the society changed.
It is in the 18th century that we have a very definite concretization of the dance practice
in terms of its Form, Content and Repertoire in the court of the Maratha rulers of
Tanjavur. These Maratha Kings were great patrons of the arts but more importantly,
were themselves poets and musicians of great merit. It was in King Serfoji's court that
the present day repertoire of Bharata N atyam was finalised by the famous Tanjore
Quartet (four brothers) Chinnayya, Ponnayya, Vadivelu andShivanandam.
With the advent of the British rule everything Indian was tabooed. Specially the Indian
way of life was very heavily attacked. The British considered Indian dance to be vulgar
and so banned dancing from being performed in the temples. With the British becoming
the rulers the local kings and zarnindars lost their wealth and power. Consequently their
patronage for the arts ceased. The arts, without any financial and social support, started
deteriorating. Even the educated Indians, under the British influence, started shunning.
Indian music and dance.
Then the independence movement started. In Tamil Nadu there arose two saviours for
Bharata Natyam. Hitherto it was the devout devadasis who hadsomehow or the other
kept this magnificent tradition alive. But now, these two individuals, Shri. Krishna Iyer
and Smt. Rukmini Devi Arundale, who had been anguished by the down fall of this art
started very vigorous efforts to restore it to its original glorious status. All this happened
almost 80 ago. But today their efforts and sacrifices have borne great results and Bharata
Natyam now rests on the highest pinnacle of success and glory.
2.5 THE SPIRITUAL BASE OFBHARATANATYAM

Traditionally it was the proud privilege ofthe dancing girl "Devadasi" (servant of
God) to practice this glorious art. The roots of this system can be traced all over the
country but the system appears to be of a special significance in the south.
Indian history provides many references to the practice of dedicating girls to the dancing
tradition - the girls being referred to as "ganikaa" in the North and "kuttiyaar or
virali" in the South. The Natyashastric tradition mentions that "naatya" (inclusive of
dance and music) is to be performed for the entertainment of the king and then his
populance. In the Indian tradition God is the greatest king and thus he also should be
entertained and what better way can there be but "naatya'"! Thus right through the
history of formal worship in India there has been a community of devadasis attached to
temples and one of the principal. functions of these devadasis was to dance before the
deity of the concerned temple. Each reg, ')n of the country had their own temples as well
as cultural ethos.
These devadasis were servants of God but they were also great scholars, experts of
their art and despite adverse conditions, it is they and their great spirit which have
perpetuated this art. 17
Understanding Indian Bharata N atyam is designed as a votive offering to be placed at the feet of the Lord. As
Classical Dances
such it must be remembered that most of the items are either religio-philosophical in
nature or art in the form of straight forward bhakti lyrics in praise of the glory of the
Lord. But it also has items which are secular in nature. It is intended as a solo presentation
but may occasionally have more than one dancer.
2.6 TECHNIQUE
Technically Bharata N atyam has a judicious blend of both nritta and nritya.
2.6.1 Nritta
The basic and fundamental unit of nriita is the adavu. It is composed of an opening or
basic posture which is followed by a combination of steps and movements. Each adavu
has its own rhythmic syllables to which it is danced; the syllables are called sollus. In
fact many of the adavus are named after their indi vidual sollus.
There are about 18 such basic advaus, each having within itself sub varieties. There are
some such families which have 8 to 9 varieties resulting in a fabulous storehouse of
nritta patterns arrived at by adding all the varieties from each family.
The advavus are actually used in the items by creating pure nritta patterns by linking
them in combinations. A passage created by linking the adavus is called ajati which
has an intriguing pattern of rhythm. At the end of such ajati, are a special set of adavus
called teermaana advaus which are to be performed thrice.
The Bharatanatyam technique lays a great stress on the very correct and well defined
lines that the entire body specially the torso and the arms have to maintain. The erect
and upright position of the torso, the elegant stance of the shoulders thrown back gi ve
it an angularity which is crisp and at the same time attractive.
2.6.2 Nritya
Nritya in Bharatanatyam of course uses the rasas laid down in the Natyashastra. These
rasas are very skillfully employed to interpret the saahitya (songs). These lyrics (songs)
are, by and large, selected from the writings of the South-Indian saint-poets and the
Tanjore quartet. In the recent times distinguished musicians have enriched the Bharata
Natyam nritya repertoire by penning lyrics which have different dimensions.
2.6.3 Ahhinayadarpana and Bharatanatyam

So far as Aangika abhinaya is concerned Bharatanatyam style utilizes the
Abhinayadarpanam of Nandikeshwara. In addition to the angas and upaangas and
their codified movements, the Abbinayadarpanam also gives a third category of limbs
the pratyangas which have been discussed earlier.
Here it should not be concluded that this text is used in its totality. There may be some
movements 'which are not used in the Bharatanatyam technique but it must be remembered
that the text is supposed to have been written may be in l O" century A.D .. Thus in the
intervening years changes are bound to have taken place.
You must remember that whenever you feel a lack of a component in your technique
you can definitely refer to Ahbinayadarpanam.
2.7 MUSICINBHARATANATYAM
The musical mode is classical Carnatic with its elaborate taala system. The songs and
18 lyrics for the nirtya popularly called abhinaya i~ems are, by and large, selected from
the writings of the South Indian saint-poets, the Tanjore quartet and some contemporary Bharatanatyam
poets.
2.8 REPERTOIRE
1. Alarippu :This is the opening item which is a nritta item.
Note: Alarippu can be sometimes preceded by an item called Todayamangalam or

Pushpaanjali. Todayamangalam is quite often than not followed by an item called
"Kautavam".
2. latisvaram : This again is a nritta item. It is a combination ofjatis (string of

adavus) danced to the svaras of a raaga.
3. Shabdam :A nritya item which makes use of the saattvika abhinaya for the first
time in a recital. It is addressed to a deity and expresses spiritual love.
4. Vamam :An intricate and complex item which has ajudicious blend of both nritta
and nritya. It is usually addressed to a deity wherein bhakti for the Lord is expressed
in terms of endearment. It has bothjatis as well as svaras of the raaga employed.
These are interspersed with lyrics as saahitya.
5. Padam :A pure nritya item. It is a devotional song depicting the spiritual love of
a bhakta for his deity. It is in this item that deepest human emotions are depicted.
6. Jaavali :Yet another variety of nritya composition which is usually secular in

character. It usually represent the love of a naayikaa (heroine) for the naayaka
(hero).
7. Tillaanaa :A pure nritta item performed as the concluding offering in a Bharata

Natyam recital.
2.9 SOMEWELLKNOWNEXPONENTSAND
PERFORMERS
Smt. Rukmini DeviArundale, Shri. K. Kalyanasunderam, Smt. Rajee Narayan, Smt.
Kalanidhi Narayan, Shri. C. V.Chandrashekhar, Shri. Adyar K. Laxmanan, Smt. Saroja
Vaidyanathan, Smt. Vyjayanthimala Bali, Dr. Padma Subramanyan, Smt. Chitra
Vishvesvaran, Smt. Alarmel Valli, Smt. Malavika Sarukkai, Smt. Sucheta Chaphekar,
Smt. Leela Samson.

1. Fill in the blank spaces in the following statements using the words given below:
(integral, china Melam, votive, music, sarfoji, offering, civilisation, Literary Tamil,
culture, Tanjore Quartet, product, Drama, Tamil, Sadir, Dasiaattam)
a) An art is an part of any or _
b) Bharata Natyam is the of the ancient culture.
c) Bharata Natyam was also kl;vVVli as , ,
d) The ShiJappadikaram is a treatise on the three fold classical of the TamiJ

language and _
19
Understanding Indian e) The present day repertoire of Bharata Natyam was concretised in the court
Classical Dances
of king by the _
f) Bharata Natyam is designed as a _
2. Write on the spiritual base of Bharata Natyam in four or five lines.
3. Write on the Repertoire of Bharata Natyam.
Answers
1. a) integral, culture, civilasation.
b) product, Tamil
c) Chinna Melam, Sadir, Dasiattarn
d) Literary Tamil, Music, drama
e) Sarfoji, Tanjore Quartet.
f) votiveofferring
2. Bharata Natyam is designed as a votive offering to be placed at the feet ofthe

Lord. So most of the items reflect bhakti for the deity and sing the glory of the
Lord.Traditionallyit was the proud privilegeof the dancing girl "Devadaasi" (servant
of God) to practice this dance. In the Indian tradition God is the greatest king and
so should be entertained by "naaty" just like his subjects.
3. The repertoire of Bharata Natyam is ajudicious blend of both nritta and nritya.
The repertoire has been standardised by the Tarnil Quartet in the court of the
Maratharuler King Sarfoji ofTanjavur. This repertoire is universally followed by.
all gurus and performers.
The performance starts with the Alarippu; but many a times an item called
Todayamangalam (pushpaanjali) is performed prior toAiarippu. Another option
is to perform an item called Kautvam followed by Alarippu. Alarippu and
Todayamangalam are nritta items. Next is the Jastisvaram which is also a
nritta item. It is a combination ofjatis and svaras of a raaga. The next shabdam
is a nritya item usually addressed to a deity expressing spiritual love. Varnam is
an intricate and complex item which has a judicious blend of both nritta and
nritya.1t depicts bhakti for a deity expressed in terms of endearment. Padam is
a pure nritya item which is a devotional song depicting the spiritual love of a
bhakta for his deity. Jaavali is another nritya item which can be secular in nature.
It depicts the love of a naayikaa for naayaka. Tillaanaa is the concluding item of
a Bharata Natyam recital. It is a pure nritta item.
20
UNIT 3 MOHINIATTAM
Structure:
3,1 Introduction
3.2 Objectives
3.3 Brief History ofMohiniattam
3.4 Beauty or impact of Mohiniattam

3.4.1 The story of churning of the milky ocean - ksheerasaagara
3.4.2 Cultural values of Mohiniattam
3.5 Technique ofMohiniattam

3.5.1 Nritta
3.5.2 Nritya or abhinaya
3.5.3 The text Balaramabharatam
3.6 Music in Mohiniattam

3.6.1 Standard based on Karnatak music
3.6.2 Recent Developments based on Sopaa~a.music
3.7 Repertoire
3.8 Some Wellknown Exponents and Performers
3.1 INTRODUCTION
, As a student of any classical dance style ofIndia you should be aware of the beauties
and characteristics of all the recognised dance styles. We would say that a student of
any art should develop this awareness.
As we have observed, an art which forms an integral and important part of any culture
or oivilization, reflects the environmental conditions and social ethos of the group of
people who practice it. This is so even more effectively in dances. The dancers of a
particular group of people are always influenced by the nature that surrounds the
geographical area and the spiritual (as apposed to religious) beliefs of the people.
Mohini Attam is the graceful dance from the Southern state of Kerala.In a way Kerala
is i~olated from the rest of the country. On its western side is the Arabian sea along its
entire coast. To the east it is bound by the Nilgiri mountain ranges. In the north also it
has a mountainous country and to its south it has the Indian ocean.
It has great natural beauty and whenever one looks up at the sky one finds millions of
palm fronds swaying gracefully in the breeze blowing from the sea. There are enchanting
baokwaters where graceful boats ply carrying people and goods. The land is evergreen.
Kerala is the home of another majestic art, Kathakali, which is traditionally danced by
men. Mohini Attam is exclusively danced by women. It is also softer than the very
vigorous Kathakali. If Kathakali fills you with awe and just a little bit of fear, Mohini
Attam fills you with an inner joy at beholding something exquisitely beautiful and
en9hanting.
21
Understanding Indian
Classical Dances
Mohiniattam
3.2 OBJECTIVES
After studying this unit you should be able to :
• Identify a Mohini Attam dancer by her costume and graceful movements;
• Appreciate the natural beauty of Kerala which is the reason it is called "Gods
Own Country"; and
• Understand the uniqueness of Mohini Attam.
3.3 BRIEF HISTORY OF MOHINIATTAM

Some scholars trace Mohini Attam to the second or third century A.D. (to the era of the
great Tarnil epic. Shilappadikaram), whereas others maintain that it was created in the
middle of the eighteenth century in the court of Maharaja Svati Tirunal of Travancore at
his behest. Neither premise is correct.
All the dance forms of India are the end products of a long process of evolution, change
and improvement in keeping with the constantly changing social structure. Since dance
and music were two very highly developed arts in the Silappadikaram era, we may
surmise that Mohini Attam has its roots in the dance form which was practiced in Kerala
during that period. Literary evidence shows that it was very much in vogue in the beginning
of the seventeenth century A.D. and thus must have had its origins before that. It is
between 400 to 600 years old.
At the same time it is more or less certain that Mohini Attam acquired its affinity with the
Bharata N atyam technique and Karnatak Music and thereby its repertoire, in Swati
Tirunal's court. It may be presumed that, with his highly developed aesthetic taste,
Swati Tirunal realized the potential of this exquisite art and accorded it patronage with
22
the best of intentions. In the beginning of the 20th Century, like all the other traditional Mohiniattam
arts, Mohini Attam also went into oblivion due to the policies ofthe British. By the
1960s only 4 to 5 items from its once rich repertoire were remembered and that too in
a very haphazard manner. Just like Kathakali Poet Vallathol started reviving it at
Kalamandalam; but unfortunately he died.
3.4 BEAUTYORIMPACTOFMOHINIATTAM
Mohini Attam, a lyrical and enchanting dance form, became the sole vehicle for feminine
interpretation, developed on the lines of the other classical dance styles of India. It is a
solo dance of sheer visual beauty, far removed from the ever- vigilant supervision of the
temple and the girp of rituals. Devotional fervour is permissible in this dance, but not
mandatory. Religio-philosophical ideas are not allowed to interfere with the central idea
of dance-enchantment. The very name expresses its essential soul (Maha Vishnu
appeared as Mohini the enchantress, and danced the dance of enchantment to cast a
spell of his maayaa on the daanava-s). The natural beauty ofthe Kerala landscape
provides ample inspiration for its lyrical and lilting movements. Its rounded body
movements, the distincti ve heave of the torso and the soft walk create the sensation of
the green paddy fields, the undulating palm fronds and the rippling backwaters of Kerala.
3.4.1 The story of churning of the milky ocean - ksheerasaagara

Once the devas and their enemies the daanavas agreed to chum the milky ocean
(ksheerasaagara). Their aim was to extract amruta (elixir) from the depths of the
ocean. Whosoever drank this amruta would become immortal. They used the mount
Meru as the churning rod and the sperpent Vaasuki as the rope. When the amruta
came out, the evil daanavas snatched the jar and refused to share it with the devas.
The devas prayed to Lord Vishnu to save the universe since if the daanavas became
immortal there would be only evil everywhere with no hope for goodness which has to
s
be present to balance the cosmic order. Honouring the deva prayers, Vishnu appeared
in his avataara (incarnation) of Mohini, (the enchantress) a bewitchingly beautiful
woman. She danced her dance of enchantment. She so enchanted the daanavas that
they handed over the jar containing amruta to her. Mohini then surreptiously distributed
amruta amongst the devas while the daanavas received none.
3.4.2 Cultural values of Mohini Attam c
Mohini Attam is, thus, the dance that reflects sheer joy any pleasure of good living. It a
glimpse of the enchanting quality of the life of goodness. It casts a spell of beauty in the
mind of the spectator and gently leads him towards the knowledge of Truth.
At the worldly level the overall impression created by Mohini Attam is shringaara
which is aimed at creating Enchantment of the highest order without there being any hint
of vulgarity. It shines out as an epitome of extreme grace, good taste, dignity and above
all high cultural values.
3.5 TECHNIQUEOFMOIllNIATTAM
Like all the classical dances being practiced today, MohiniAttam also follows the broad
based rules laid down in the Natyashastra. It has the same classification of dance.
Since it is a solo dance presentation it does not have an overwhelming theatrical element.
The most characteristic element of the "form" component ofMohini Attam is the circular
or spiral movement of all the limbs of the body. This gives it a swaying effect which
23
Understanding Indian resembles the movement of a pendulum and thus it is called aandolika. There are no
Classical Dances
movements that are angular and as such there is no heavy stamping of the feet. It has a
judicious blend of both nritta and nritya.
3.5.1 Nritta
The basic stance in Mohini Attam is similar to that of Kathakali and other Kerala arts.
But here the similarity ends.
Mohini Attam has a greater variety of basic dance or fundamental dance units which ate
called adavus. Each adavu is composed of a starting basic posture which is followed
by a combination of steps accompanied by appropriate movement of the arms and
other parts of the body. These adavus are categorised by two systems:
1) According to the rhythmic syllables called shollus or vaitaaris that accompany

them.
2) According to the emphasis or prominence given to the limbs or the body as per 5
levels - from head to shoulders, from shoulders, down to waist, from waist to the
groin, from groin to the thighs and kness and from knees to the feet.
Each category has a number of adavus under it with permutations and combinations of
similar movements.
These adavus are strung together to create a phrase which is called ajati.
At the end of such ajati, to round it off, are a special set of adavus called teermaana
adavus which are to be performed thrice.
3.5.2 Nritya or abhinaya

Like all "classical dance forms, nritya in Mohini Attam also deals with bhaavas and
rasas prescribed in the Natyashastra. Over and above there is an emphasis placed on
the bhakti rasa as well. The projection of the bhaavas is subdued and restrained.
In keeping with the superb Kerala tradition it is the mukhaja abhinaya (facial expression)
which distinguishes a MohiniAttam dancer. A great deal of emphasis is given to nayana
abhinaya, (projection of moods by way of gaze of the eyes) a tradition that harks back
to millennia. In fact this method of communication has been raised to an amazing level in
Kerala arts which is unparallelled.
The most attractive features of a Mohini Attam dancer's face are the bright gaze and
constantly fluttering eyebrows added to a gentle smile - all creating a devastatingly
enchanting atmosphere.
3.5.3 The text Balaramabharatam

Almost all the major art forms of Kerala have some text or the other that is followed.
Similarly BharataNatyamfollows Nandikeshwara'sAbhinayadarpana and Odissi the
Abhinayachandrika. Mohini Attam relies on two texts; one is course of N atyashastra
and the other is Balaramabharatam by Maharaja Kartika Tirunal Balaramavarma of
Travancore (l724-1798A.D.). The Balaramabharatam did not apply to any of the
established arts of Kerala. A detailed study of the text yielded amazingly large number
of aspects of not only the angika abhinaya but also the saattvika abhinaya which
can be found in the present day practice of Mohini Attam. The Maharaja himself has
averred that though he accepts the authority ofBharata, yet he is mainly concerned with
the various forms of abhinaya, both internal and external, that were in vogue in the
24
dance of Kerala alone.
Mohiniattam
3.6 MUSICINMOIDNIATTAM
Like any dance anywhere, music plays a very important and irrevocable role in Mohini
Attam. In Indian dance it is unthinkable to forego music, this music is both vocal and
instrumental. Like the other classical dances MohiniAttam also utilises specific raagas,
taalas and saahitya.
3.6.1 Standard based on Karanatak music

For about 200 years Mohini Attam has been danced to the Carnatic system of music.
It uses the raagas prescribed in that system as well as scheme of seven basic taalas
and five jaatis, which, by multiplication, give rise to the total of 35 taalas.
Due to this influence, it uses the different categories of musical numbers like jatisvaram;
vamam, padam, tillaanaa, jaavali etc. It is conjectured that this trend was set when
Maharaja Svati Tirunal of Travancore took a deep interest in popularization of Mohini
Attam. But the invocatory item is called chollukettu.
3.6.2 Recent developments based on Sopaana music

In the past two decades Mohini Attam has been cast into a new repertoire rooted in the
rich Kerala theatrical tradition. Also an extensive use ofSopaana Sangitam is being
made for the accompanying music. Sopaana Sangitam is a style of singing which is
indigenous to Kerala; it has some exclusive raagas not to be found in other systems,
but by and large the Karnatak raagas are adapted to the Sopaana mode of singing. It
also has a vast variety of taalas which are exclusive to it and which are used in the new
repertoire.
3.7 REPERTOIRE
The new items are categorised like ganapati (invocation), ashtapadis from the Geeta
Govinda of J ayadeva, padams (nritya), panchaarikaattalaa (nritta), mukhachaalam
(nritta), shlokam (nrityai.jeeva (nritta), tattvam (like vamam).
3.8 SOME WELL KNOWN EXPONENTS AND

PERFORMERS
Late Smt. Kalyanikutti amma, Dr. Kanak Rele, Smt. Bharati Shivaji, Smt. Kshemavathy,
Smt. Sathyabhama, Smt. Sugandhi, Smt. Leelamma, Smt. Vimala Menon, Dr. Dipti
Omcherry - Bhalla, Smt. Gopika Varma.

1. Fill in the blank spaces in the following statements using the words given below.
(Hastalakshanadeepikaa, lyrical, Balaramabharatam, women, Maharaja Karttika

Tirunal Balaramavarma, extreme grace, nritya, dignity, high cultural values).
a) Mohini Attam is the dance of Kerala danced exclusively by
b) _______ appeared in his of Mohini to rescue the

devas.
c) The text written by of Travancore is useful for
MohiniAttam.
25
, Understanding Indian d) The text is used in the ofMohiniAttam for interpreting
Classical Dances
padams.
e) Mohini Attam shines out due to _ _____ and
2. State in three or four lines the uniqueness of Mohini Attam.

3. Describe the repertoire of Mohini Attam.
Answers
1. a) lyrical,women
b) Mahaa Vishnu, Avataara.
c) Baalaraamabharatam, Karttika Tirunal Balaramavarma
d) Hastalakshanadeepikaa, nritya.
e) extreme grace, dignity, high cultural values.
2. Mohini Attam is the graceful dance of Kerala danced exclusively by women. It is
distinguished by the rounded and aandolika movements of the body. Its basic
raasa is shringaara. It creates an enchanting atmosphere by its beautiful
nayanaabhinaya and fluttering eyebrows. It is inspired by the natural beauty of
Kerala.
3. The standard Mohini Attam repertoire, almost parallel to that of Bharata Natyam
has chollukettu, jatisvaram, varnam, padam, shlokam and tillaanaa. The recent
one set to Sopaana Sangitam mode has ganapati, mukhachaalam, ashtapadi,jeeva,
padam and shlokam.
26
UNIT 4 KAT HA KA LI
Structure
4.1 Introduction
4.2 Objectives
4.3 Kathakali- the Total Theatre.
4.4 Uniqueness of Kathakali - Its Message
4.5 A Brief History of Kathakali
4.6 Technique
4.7 The Actor Prepares
4.8 Nritta
4.9 Nritya
4.10 Aahaarya in Kathakali

4.11 The Curtain Look
4.12 Orchestra
4.13 Repertoire
4.1 INTRODUCTION
It is now evening in Kerala. From far away you hear the playing of drums and cymbals.
You are visiting your friend who is very knowledgeable. He tells you that the drums are
announcing to the people around that a Kathakali performance will take place later in
the evening. Both of you decide to witness the performance. People arrive in twos and
fours, leisurely chatting with each other. They are discussing the performance that is
going to take place. You are surprised that most of them knowthe story that is going to
be performed; they are most excited that one of the greatest Kathakali artiste is going
to enact the central role. Gradually everyone take their seats.
There is a huge brass lamp placed in the centre of the stage near the frontline. It has two
wicks made up of twisted strips of cloth. A man enters the stage, pours oil over the two
wicks and lights them. Two drummers and two singers now enter the stage and take
their positions almost at the back of the stage. One of the singers holds a metal disc
which he sounds with a flat piece of wood the other holds huge cymbals in his hands.
Now two men enter the stage and hold aloft a colourful curtain just behind the lamp.
With a crash of sound the two drums play a thundering pattern accompanied by the
disc and cymbals. And then you see the top portion of a fabulous headgear when the
dancer enters behind the curtain. You do not see his face but realize that he is performing
some rituals. Then he turns towards the audience and slowly grabs the edge of the
curtain and slowly lowers it shaking it all the while. And then you see the colorfully
made up face, ornaments which do not resemble any that you have seen; from waist
downwards there is a bellowing white skirt made up of layers and layers of cloth. But
27
what rivet your attention are the fluttering eyebrows and mesmerizing gaze out of reddened
Understanding Indian eyes which convey an astonishing range of emotions. On the fmgertips of the left hand
Classical Dances
he is wearing elongated false nails made up of steel. His hands are like two lotuses
whose petals fold and unfold to form stylised gestures which you indentify as hasta
mudraas which translate words of the song being sung. Then another character enters
in the same manner from behind the curtain, but the make-up pattern and colours selected
are different. And then enters a woman character very stylishly dressed. Your friend
tells you that he is actually a man dressed as a woman. Your friend tells you that a
popular story from the epic Mahabharata is being enacted.
You are taken to a fantastic world peopled by imaginary beings who act out our age old
stories. You feel that this is not a dance in the same way like that of Bharata Natyam or
Kathak. There is an element of dance which mingles with the theatre element effortlessly
and completely. It presents a beautiful art which overwhelms you with its majesty and
emotional intensity.
You come away awed but also mystified. What is Kathakali?
4.2 OBJECTIVES
After studying this lesson unit you will be able to:
• Demystify the enigma that is Kathakali;
• Acquaint yourselves with the principles that guide this fantastic facial make-up;
and
• Understand the philosophical message that this gorgeous art form conveys.
4.3 KATHAKALI - THE TOTAL THEATRE

Kathakali is the 'story dance' from the southern state of Kerala. Kathakali literally
means "Katha" -story and "Kali" means a dance or a performance. It is a composite
art where different actor-dancers take different roles. The stories are usually from the
Indian epics, Ramayana and Mahabharata. Kathakali is a very majestic art and when
you see the costumes you realise how much thought and how much aesthetic values
have gone into the making of this art. The entire idea is of 'total theatre' where there are
acting, music - both vocal and instrumental- and also the colourful motifs and costumes
playing important roles -,
4.4 UNIQUENESS OF KATHAKALI - ITS MESSAGE

A performance starts by lighting of the ceremonial lamp. It has just two wicks - one
wick is towards the audience and the other towards the stage. It signifies that the light of
knowledge must spread not only to the actors but also to the audience. And what is the
message? The message is very simple. It is "the victory of good over evil". Kathakali
can be described as the "theatre of imagination" where demons and good human beings
clash in the realm of imagination, where the good human beings are eventually victorious.
4.5 A BRIEF HISTORY OF KATHAKALI

Historically, Kathakali is the end product of a long line of theatrical practices. The origin
of Kathakali is to be found in the Kuttiyaattam the Sanskrit drama which has been
preserved by the Chaakkyaar community for almost 1000 years. There are references
to be found in the Southern epic Silappadikaram which describes a dance that a
28 Chaakkyaar was presented in the honour of the victorious king. The present form of
Kutiyaattam was fmalised in 1000 A.D. Together with the Chaakkyaar's art flourished Kathakali
Nangyaar Kuttu performed by women. In the 16th century we come to the next phase
in the development in the Krishnaattam which presents the Krishna story cycle in eight
days. Later on in the 17th century developed the Ramanaattam which presents the
Rama story cycle. It is Ramanattam, which is no more practiced, which resulted in
Kathakali.
4.6 TECHNIQUE
The technique of Kathakali is very unique. Since there are different types of characters
with their very special types of make-up patterns with different colour combinations
and also differences in the heavy ornamentation, it is very natural that the technique of
presentation would also differ. Yet there are certain common elements which belong
totally to Kathakali.
The first thing that strikes us is the very interesting and unique position of the feet. The
foot is placed on the ground not flat but on the outer edge of the sole. This gi ves the
necessary spring in the walk:. The legs provide the solid base for the thick layers of the
bellowing skirt.It is the waist which acts as the pivot for the torso to perform the full
movements. The knees point outwords like many other dance styles. These positions
are very essential for proper balance to be maintained during the performance. It is
amazing that despite the billowi ng skirt and the heavy ornamentation - specially the
headgear the kireetam - the Kath akali actor/ dancer is extremely agile and does perform
breath taking leaps and jumps.
The most important characteristic of Kathakali technique is that the female roles are
performed by men, it is only recently that women have started learning and performing
Kathakali.
4.7 THEACTORPREPARES
Dance by itself is not natural movement for the human body. So in order to get used to
contortions, bends,jumps one must practice very special exercises and this starts when
a child is 6 or 7 years old. Each dance style has its own way of bending or jumping and
each dance style has evolved its own exercises. In Kathakali, these exercises prepare
the actor-dancer for the sheer majestic bearing and deportment necessary for the
depiction of heroic characters as well as demons. They also tone the body to carry the
bulky Kathakali costumes.
These exercises are inspired by some of the asanas of yoga. They are also inspired by
the martial art of Kerala - Kalaripayettu.
4.8 NRlTTA
Nritta in Kathakali is usually performed during the elaborate nritya pieces called the
padams. Nritta by itself is not performed as a complete item as in the other dance
styles. There are only two or three pieces of pure nritta. The Todayam is an elaborate
piece but it is performed behind the curtain as a ritual. Another nritta item is Purappaadu
which is performed at the beginning of some of the stories. Otherwise nritta sequences
alternate with passages of nritya either to prod aim the end of a passage or; as in many
cases, to support and enhance the central emotion. Thus the nritta patterns vary for the
different types of characters. A unit of nritta is called kalaasham. There are varieties
of Kalaashams, but there is not a very wide variety since nritta, by itself, does not
have much' of an importance. 29
t .
Classical Dances 4.9 NRITYA
Every Indian classical dance style has its own characteristics. Kat:hakaIi the very majestic
dance style utilises heavy facial make-up. As such the facial expressions have to be that
much more pronounced. Kathakali has developed these facial expressions to a very
high level in which every facial muscle plays a very important role. Bharata's Natyashastra
divides the human body into 6 major limbs - angas and 6 minor limbs - upaangas,
which are situated in the face. They are the eyebrows, eyelids and the eye balls, the
nose, the cheeks and the lips. In Kathakali an actor dancer is trained from his childhood
to move these muscles in a specific way in order to create various moods, the bhaavas
which create sentiments; the rasas. As already discussed, it is nritya which holds the
centre stage in Kathakali. Since the sty le is designed for the enactment of full length
stories, the songs assume great importance. Thus, it is very necessary to have a very
large number of hastas (hand gestures) to correctly translate the words into dance.
Kathakali has the most elaborate and advanced vocabulary of hastas, one can say it is
a highly advanced dictionary. The text followed is the Hastalakshana deepikaa which
is very elaborate. Kathakali uses certain elements of grammar and it can create sentences.
Another noteworthy feature of Kathakali is its fantastic nayanaabhinaya (expressing

by the medium of gazes or looks - drishtisi. One can say that a Kathakali artiste
speaks through his eyes.
4.10 AHARYAINKATHAKALI
Kathakali make-up is the most complicated and the most colourful of all the make-up
in the Indian classical dance styles. The make-up is called aharya-abhinaya and it
follows the colur-phychology,
The characters are divided into certain broad based groups. The uttama characters,
that is the lofty characters, the madhyama characters that is the middling characters
and the adhama characters that is the lowly characters. And each sort of character has
its own colour combination.
For instance there is a green base applied on the face which is called the pachba make-
up, it is meant for the good or high sort of characters. The middling characters have a
knife-like pattern, katthi painted on the cheek. The lowly sort of characters, the through
going rascals, are called the beard or thaadi veshams and they have got red and black
predominating. The cheek is outlined by a white outline which is called chutti and
which is made up of strips of cloth which are bound together by a paste made up of rice
flour and lime.
The types of veshams are :
1) Pachha (Green base) - The sattvika characters e.g. Gods like Rama, Krishna,
(Green base) greatheros like Arjuna, Nala etc.
2) Kathi (Green base) - The raajasika characters e.g. Ravana, Duryodhana etc.
(Green base) These are basically courageous people but they have with a knife
evil streak in their character resulting in the katti (knife) like red pattern upon the
cheeks.
3) Thaadi (beard) - The taamasika or lowly characters.
D chukanna thaadi - red beard - Evil characters like Duhshasana, demons

like Bakasura etc.
30
ii) vella thaadi - white beard - Low born characters' who are saintly e.g. Kathakali
Hanumana.
iii) karuppu thaadi - black beard - Jungle folk and very low beings like hunters
etc.
4) Minukku - shining make-up for women characters, sages, Brahmins etc.
5) Kari - black make-up for low females like demonesses, huntresses etc.
Facial Makeup in Kathakali
Hanuman - Thaadi Vesham
31
Classical Dances
Lord Krishna in Kathakali -Pacha Vesham
4.11 THECURTAINLOOK
Another very noteworthy tradition of Kathakali is the "curtain look". The curtain is
called terasheelaa and curtain look-is called teranokku. Before every character makes
an entry, a curtain is held up and to the sounding of the drums it is slowly lowered to
reveal the character. It is by the manner in which the curtain is agitated and lowered that
the audience would cometo know the type of character which is entering, e.g. a gentle
one or a demonic one etc.
4.12 ORCHESTRA
A traditional Kathakali performance starts late in the evening by playing of the orchestra
which is considered to be very auspicious. It also announces to the villagers around that
a performance is going to take place: The orchestra is very traditional and it has not
been changed for almost three centuries. The lead singer has a metal disc in his hands
which is called chengalaa. There is the secondary singer who has heavy cymbals in his
hands which are called yelataalam. The cylindrical drum, the chendaa is played by
two sticks. The maddalam, which is a very ancient percussion instrument, is played by
adding some coating on the fingers of the right hand of the artist in order to give resonance.
The mode of singing is Sopaana Sangitam, indigenous to Kerala,
4.13 REPERTOIRE
The Kathakali repertoire, true to its basic job of dancing stories, very naturally depends
almost entirely on the stories derived from the two epics, Ramayana andMahabharata.
Sometimes it also adapts the episodes from the Bhagvata Puraana. Since it is not
designed as a votive offering, it usually functions at the worldly level. Unlike the other
dance styles the repertoire is made up of kathaas (stories) which are called atta
kathaas.
32
Some of the most popular atta kathaas are: Nala Charitam (spread over four nights), Kathakali
Kalyanasaugandhikam, Putanaa Moksham, Torana Yuddham, Krimeera

Vadham, Kaalakeya Vadham, Baka Vadham, Dushasana Vadham, Santaana
Gopaaia, Rukmangada Charitam, Prahlaada Charitam, Baali Vijayam,
Keechaka Vadham Kuchela Vrittam, Uttaraa Svayamvaram, Daksha Yaagam
etc.
4.14 SOME ',vELLKNOWN EXPONENTS AND

PERFORMERS
Kalamandalam Ramankutty Nair, Kalamandalam Gopi, Vasudevan Namboodiri,
Sadanam Balakrishnan, Margi Vijayan.

(actors, colour psychology, Sanskrit drama, story dance, Chokanna taadi,
Kutiyaattarn, knowledge, Kerala, Total Theatre, two, evil, music, actors, dance,
audience).
a) Kathakali is the from _
b) Kathakali is the which uses
---- and -----------
c) ________ is the red beard for characters like
Dushasana.
d) The germs of Kathakali are to be found in the _~_
e) The huge lamp has wicks, signifying that the light of _

should spread to both the and the _
2. Ennumerate the types of Veshams and their characteristics.
3. Briefly write the history of Kathakali.
Answers
1. Fill in the blanks.
a) story dance, Kerala.
b) Total Theatre, music, dance, colour psychology.
c) Chokanna Taadi, evil.
d) Kutiyaattam, Sanskrit drama.
e) two, knowledge, actors audience.
2. a) Pachha (green base) :- for saattvika (good or lofty) characters like Rama.
b) Katti (green base with a knife like red pattern upon the checks) for raajasika
characters like Ravana who are courageous but have an evil streak.
c) Thaadi (beard) :- chokanna thaadi (red beard) for evil characters like
Duhshasana
Vella taadi (white beard) for low born characters but who have goodness like
Hannumana.
Karuppu thaadi (black) beard for absolutely lowly characters like hunters. 33
Understanding Indian d) M inukku (shining base) : for women characters like Draupadi and sages
Classical Dances
and Brahmins. I
e) Kari (black base) :- for low females like demonesses, huntresses.

3. Historically Kathakali is the end product of a long line of theatrical practices. Its
origins are to be found in Kutiyaattam; the Sanskrit theatre of Kerala which has
been the preserve of the Chaakkyaar Brahmin community for almost 2000
years. The present form of Kutiyaattam was finalized 1000 A.D. In the 16th
century A.D., there appeared the next phase in the development in the form of
Krishnaattam which presents the Krishna cycle in eight days. Next was the
Ramanaattam in the 17th century A.D. which presented the Rama cycle. This
Rmrasm; which is no more practicedtoday,resultedin Kathakaliof today.
34
UNITS MANIPURI
Structure
5.1 Introduction
5.2 Objectives
5.3 In Praise of Manipuri
5.4 Brief History ofManipuri Dance
5.5 The Vaishnavite Base of Manipuri
5.6 Technique
5.6.1 Nritta and Nritya
5.7 MusicalAspectofManipuri
5.8 Repertoire
5.9 Some We1lknown Exponents and Performers
5.1 INTRODUCTION
You are a student of classical dance. You have resolved to master this fabulous art
heritage of our country. Before entering this very complex world of classical dance, you
must have thought of the long and arduous hours that you would have to spend in
receiving training in your chosen field. Now you know that Indian classical dancing is a
saadhanaa which has to be undertaken for life. More than anything else, now you
know that dance is a collection completely stylised movements that are not to be found
in daily life. Even when you project human emotions, you must use stylised movements.
In short, you haveto undergo a specialised training. So you are someone apart from the
others.
But there is one place in India, a very beautiful place, where everyone dances. This
place is the north-eastern state of Manipur and its dance is Manipuri.
Manipur literally means "the city of jewels". Surrounded by very beautiful hills and
verdant fields, this lovely state has presented one to the jewels to Indian culture - the
Manipuri dancing.
Dancing is a way of life with the people of Manipuri. The people are deeply religious
and no worship, no pujaa, is possible unless it is accompanied by song and dance. As
such every inhabitant knows how to dance and sing and many of them also play on
various instruments. The gorgeous colourful costumes enhance the aesthetic beauty of
the dance styles. The women wear beautiful skirts - either green or red - decorated
with brilliant sequins and brocades. They also have side panels, on either side of the
waist, which are equally brilliant with silver decorations. Their heads are covered by
transparent silver veils which also cover their faces. This costume is meant for gopis.
Correspondingly Krishna's costume is equally colourful. On the other side of the spectrum
are the costumes for other items of the repertoire where the men wear white dhotis and
white turbans or some equally simple cotton dhoti. In other items women wear their
simple daily dress which tells us that dancing is a way of everyday life for the Manipuris.
Grace is the keyword of this dance form. Even when the very virile war dances are
performed, this element of grace is never forgotten; every movement of the dance-
performance or ritual- has grace in it.
This is the beauty of Manipuri dance.

35
Classical Dances 5.2 OBJECTIVES
• Identify and enjoy the aesthetic beauty ofManipuri; and
• Learn the elements of the martial art Thaang - Taa as an adjunct to physical well
being.
5.3 IN PRAISE OF MANIPURI

To witness a composite performance of Manipuri is to be a part bewildering opposites.
Ethereal beauty is balanced by boisterous yet superbly controlled vigour. On the side
there are the raasa dances performed by women whereas on the opposite side are the
choloms (playing) - the pung (drum) and the karataala (playing on cymbals). Both
these dances are performed while executing intricate steps and many a times,
incorporating jumps in the air and also performing cartwheels which requires great
expertise and acrobatic abilities. All these movements are accompanied by the drum
playing or cymbal playing which are set to intricate taala patterns. One can say that this
aspect of Manipuri is absolutely unique amongst the classical dance styles which sets it
apart. Another breathtaking item is the dhol cholom in which instead of the pung,
another percussion instrument the called dhol is used. This is even more vigorous.
In the temples there is a daily calendar of worship and pujaa and aaratis. For each
day a specific performance of dance with the choloms is prescribed and till date this
tradition is followed. Even the devotees who throng the temples enter while dancing the
steps that are found in the performance.
There is the phenomenon of mass performances that are arranged in huge maidans,
where a large number of children and teens dance. Usually these participants dance to
repay a vow that has been fulfilled taken by the parents. There are regular dances
commissioned in private houses on various religious and social occasions where a priest
performs which is once again what is seen in the actual performances.
To sum up, entire Manipur, it seems, dances. Due to this fact some scholars maintain
that it is not a classical dance style. This opinion can be refuted by pointing out that
though everyone dances, to achieve professional excellence long and rigorous training
has to be undertaken and the shaastras to be learnt. Even today the ageold traditions
are strictly followed which has kept the style very pure-indeed a beautiful jewel.
5.4 BRIEFHISTORYOFMANIPURIDANCE
The early pre- Hindu dances of Manipur were of an animistic nature; then came dances
offered as worship to Shiva and Parvati in their native avataaras and then came
vaishnavism put in the deep roots and is the chief religion of the state.
At present there are two sects in Manipur - the Meiteis and the Vishnupriyas. The pre-
Hindu culture of Manipur is that of the Meiteis.
A favourite legend, which is part history also, is of Khamba and Toibi who are the
principal male and female characters of the great Manipuri epic Moirang Parba. It
tells the story of their great love for each other, the great pri vation and opposition that
they had to face from the society, their eventual short-lived marriage which ended in the
death of both of them. Apart from their great love story, they are remembered as great.
dancers, so much so that they were regarded as avataaras of Shiva and Parvati. Their
36
favourite dance to be known as Lai Haraobaa (Festivity of Gods) which is one of the Manipuri
main facets of today's Manipuri.
In the 18th century the king Pamheiba ascended the throne. He came under the influence
of Vaishnavism and thus changed the entire nature of the social ethos of Manipur. He
ordered all his subjects also to embrace Vaishnavism and, in a religious fervour,
destroyed all the records of the earlier religion and its culture. He also forbade the
worship of Meitei and the use of the Meitei language itself.
After him came the main architect of what we know as Manipuri- Maharaja
Bhagyachandra who was a great devotee of Shri Krishna. In his reign, the influence of
Bengali took deep roots in Manipur.
5.5 THE VAISHNAVITE BASE OF MANIPURI

The present dance style, the classical part of it, has two major strams. One is the
sankeertana which is the devotional aspect and the other is raasa. The people who
are by and large Vaishnavites in their faith have deep religious fervour towards Krishna
and such as the different raasas that Lord Krishna is supposed to have performed with
the gopis of Gokul on the banks of river Yamuna predominate the presentation. The
gorgeous colourful costumes enhance the aesthetic beauty of the dance style which has
both taandava and laasya very well defined. The taandava aspect is presented in
various drum dances, pung -cholom and dances with cymbals in the hands of Karataala
cholom. The laasya aspect is presented by the ethereally beautiful and delicate
movements representing the gopis and Raadha.
5.6 TECHNIQUE
Manipuri is characterised by its fluid movements. Each movement appears to flow into
the next one. It also has extremely graceful movements of the wrists and palms. Though
having a wide variety of taala patterns, unlike other Classical dances, Manipuri does
not employ heavy and harsh pounding of the feet. The footwork is executed predominantly
on toes lending the dance its renowned ethereal quality. The female dancers appear as
if they are almost gliding in the air. Drum dancers form an integral part of this dance
style. Almost every dancer knows how to play on the pung and most male dancers
perform the pung cholom. Pung cholom literally means the drum dance. Here the
dancer dances with the pung which is Manipuri percussion instrument. It is perhaps the
most beautiful manifestation of the abstract concept of taala being presented in a concrete
form. The dancer dances accompanied by the drum.

In Manipuri not only the hands and the face but the entire body is used to communicate
ideas and meanings and thus one can say that it is nritya that predominates. In this light,
the whole of the raasa technique, though full of nritta patterns, becomes, nritya. This
use of the entire body to emote has, very naturally, lessened the emphasis on the
mukhaja abhinaya which in comparison to the other dance styles looks very tame and
insignificant. One must understand the completely philosophical and spiritual meaning
.of this underplay of emotions. Here the abhinaya is raised to such great spiritual heights
, that it ceases to be a mundane presentation of worldly moods and becomes exalted
• transcendental affair where not so much the body but the soul is to be taken as the
•. supreme vehicle. Rasa thus has an ultimate religious and devotional fervour. The basic
: dance sequences, five in number and very intricate to dance, are the bhangi pareng.
37
Understanding Indian The Sankeertana is presented by the two types of choloms - the Pung Cholom and
Classical Dances
the Kartaal Cholom.
5.7 MUS,ICALASPECTOFMANIPURI
The musical mode for Manipuri does not accord with the more popular systems of
Hindustani or Kamatak music, so far as the singing part is concerned. Yet it has its own
methodology. One can say that the Manipuri people have absorbed influences of
Hindustani music into their well established local tradition. B ut even if the names of the
raagas are similar, the melodic pattern are totally different.
The treatment to the music patterns and the corresponding voice production make
Manipuri singing unique; the singing is almost always in the taar saptak (the highest
octave) - which is very shrill and many a times sounds nasal. The singi ng has an emphasis
on the kampana (tremor) and its very complex patterns.
The taala system ofManipuri is easily the most complex and intricate among the taalas
ofIndia. There are as many as 60 basic taalas. The dancer can improvise and add his/
her own creative patterns to the nritta based on these taalas.
The most important instrument - the pung - is used most effecti vel y. The softer and
smaller sounds are used for laasya and the stronger and larger sounds are used for
taandava.
Manipuri music is also called the Meitei Jagoi music.
5.8 REPERTOIRE
The present Manipuri repertoire has three major streams:
i) Sankeertana, which is deeply religious and ritualistic in nature;
ii} Raasa, performed by Krishna and gopis; and
iii) Lai Haraobaa, which is the oldest traditional stylized dance.
There are three types of Raasas - Kunja Raasa, Vasanta Raasa and Mahaa Raasa.
Kunja Raasa describes the meeting of Radha and Krishna with the help of the sakhis
in a kunja or arbour.
Vasanta Raasa describes the divine play of raasa by Krisna and the gopis and the
resultant jealously of Raadhaa and their eventual reconciliation. This dance is usually
performed at the time of spring and ends with movements representing throwing and
splattering of colour by Krishna and Raadhaa which is reminiscent of the Holi festival.
Mahaa Raasa captures the spirit of the divine raasa danced in a circle by Krishna and
thegopis.
All the raasas are performed on special full moon (Purnimaa) nights. They are very
lyrical and have very graceful and liquid movements done to soft and light stepping
which creates an ethereal atmosphere.
38
Manipuri
Lord Krishna and Gopis in Ras Leela
Lai-Haroaba
39
Classical Dances
Swirling with the Pung - Pung Cholom
5.9 SOME WELLKNOWN EXPONENTS AND

PERFORMERS
Guru Singhajeet Singh, Jhaveri sisters, Th. Babu Singh, R.K. Chaotombi, R.K.
Sanaiyama, Ritha Devi, Kalavati Devi, Priti Patel, Devjani Chalfha, Sruti Banerjee,

. 1. Fill in the blank spaces in the following statements using the words given below:
a) The Manipuri repertoire has three major streams ~_
and _
b) ____ and are the drum

dances ofManipur.
c) The people of Manipur are by and large in faith and thus
have deep religious fervour for _
d) Present day Manipuri was finalised by in the
___ century.
e) The basic dance sequences, in number and very intricate to dance
are the _
40
2. Write briefly on the technique of Manipuri. Manipuri
3. Write briefly on the different types of raasas performed in Manipuri.

Answers:
1. a) Sankeertana, Raasas, Lai Haraoba.
b) Pung Cholom, Dhol Cholam
c) Vaishnavite, Krishna.
d) Maharaja Bhagyachandra, 18thcerttury A.D.
e) Five, bhangi, pareng.
2. Manipuri is characterised by its fluid movements. Each movement appears to flow
into the next one. Unlike other classical dances, Manipuri does not employ heavy
and harsh pounding of the feet. The female dancers appear as if they are almost
gliding in the air. Drum dances form an integral part of this dance style.
3. a) Kunja raasa : It describes the meeting of Raadha and Krishna with the help
of her sakhis in a kunja (arbour).
b) Vasanta raasa :This is performed usually at the time of spring - vasanta. It
describes the divine raasa performed by Krishna and the gopis which makes
Raadhaa very jealous. Eventually she is reconciled with Krishna and both
play the Holi by throwing colour.
c) Mahaa raasa : This is performed in the circle - the eternal mandala by
Krishna and gopis.
All this raasas are performed on special full moon - Pumimaa nights.
41
UNIT 6 KATHAK
Structure
6.1 Introduction
6.2 Objectives
6.3 What is Kathak
6.4 Brief History of Kathak
6.5 The Royal Patronage
6.6 The Two Major Gharanas of Kathak
6.7 Technique and Repertoire

6.7.1 Nritta
6.7.2 Nritya
6.8 Music in Kathak
6.1 INTRODUCTION
You are watching a classical dance recital. The dancer has entered the stage in a languid
and leisurely manner. He literally slides on the stage hardly making any noise which is
very suprising since on his ankles he has layers and layers of ghunghuroos. You are
stunned at his expertise and are a little disappointed. Is this all that the dancer is going to
do? The dancer offers his salutations to the gathering and performs a vandanaa - a
short piece venerating the deity of his choice. And then he unleashes a crescendo of
different sounds that he extracts from his ghunghuroo - now a tinkle, next a thunder
unleashed by a whirl and then a cascade where you almost visualise the scaltering of
water which falls over rocks into a pool below; now he coaxes his ghunghuroos to
create exquisite, musical and rhythmic patterns and now he whirls in pirouettes-
chakkars - with lightning speed to end his frenzied movements with a flourish ending in
a breathtakingly poised and beautiful pose. All the while he is accompanied by an
equally dextrons percussionist - the tabalaa player - whose fingers match the speed of
the dancer's feet and the sound of the ghunghuroos. Accompanied by tremendous
burst of energy, the dancer or the tabalaa player recite a series of bols which are given
physical interpretation by dance and musical accompaniment You are literally left gasping
for breath; you are compelled to express your admiration for this virtuoso exhibition.
And then the dancer embarks upon calm and serene exposition of bhaava; his enactment
is in total contrast with his earlier dance where the footwork predominated. If you are
a north Indian or are someone who is well acquainted with the north Indian ethos, you
will sway to the songs of Meerabai, Tulasidas, Surdas and many more sung to chaste
Hindustani music. The bhajans will transport you to a world of bhakti. The soulful
singing is enhanced by the melancholy notes of the saarangi and sometimes, when
joyousness is aimed at, by the sitaar. What has been presented by the male dancer can
be presented with equal expertise by a woman dancer.
What you have witnessed is a performance of Kathak, a dance style that has enchanted
the world. If you are from other parts of the country than the north, you have been
42 exposed to an understanding and play of taalas hardly to be found elsewhere. You
should know that this is the only style where the dancer has an equal participation in the Kathak
enfolding of taalas as the drummer.
Kathak
6.2 OBJECTIVES
After studing this unit you should be able to:
• Compare and contrast Kathak with the other classical dance styles;
• Be able to realize the fact that foreign influences, if aesthetically introduced, enhance
the beauty of the local tradition; and
• Understand the perfect synthesis of the taala system of Hindustani music with
dance that originated as a folk practice - the result being a beautiful classical style.
6.3 WHATISKATHAK
Kathak, the classical dance style from north India, conjures up visions of scintillating
footwork and lighting chakkars that is the pirouettes. The word Kathak is derived
from the word Kathaa that is story. In ancient times the wandering bards used to go
from village to village and recite chiefly the two epics - Ramayana and Mahabharata. In
order to make their art more attractive they started adding song and dance into it.
Sometimes during the muslim invasion the Persian influence came into the art brought in 43
Understanding Indian by the dancing girls who were called tawaifs and so a very spiritual dance slowly
Classical Dances
started turning into a court presentation. Today what we see in Kathak is a blend of
these two streams. It has the courtly atmosphere at the same time it is highly spiritual.
Kathak can be described as the art of the story-teller - the Kathaakaar. Even today
one can discern the simplicity of the village bards and storytellers in the presentation of
Kathak. One more thing that must be kept in view is that the Persian influence brought
in by the tawaif also resulted in an art form that is today referred to as mujraa which
came to be used for secular entertainment and titillation. Very unfortunately, today many
people think that Kathak and mujraa are synonymous terms something that is far from
the truth.
Today there are three streams in Kathak :
D The Mandir Pravaaha - of the temple
ii) The Darbaar Pravaaha - of the court
iii) The Rangamancha Pravaaha - of the stage.
6.4 BRIEFHISTORYOFKATHAK
A practice which started in the earlier centuries of the Christian era and was a simple
form of expressional dance evolved into a distinct style in the 15th and 16th centuries
with the popularization of the Radha- Krishna legend and the emergence of madhura
bhakti - special manifestation ofVaishnavism. This emergence of madhura bhakti
gave rise to an operatic play called Raasa-Leelaa which developed mainly in the Braj
area associated with Krishna's early life.
This Raasa-Leelaa gradually developed into a well established folk theatre which had
a harmonious blend of song, story telling, acting and dancing.
6.5 THEROYALPATRONAGE
With the advent of the Muslim rulers, from temple dance Kathak turned into a concert
dance. This resulted in two different streams developing - one relying on the Hindu
patronage in the court of J aipur and the other with the backing of the Muslim courts of
Delhi, Agra and Lucknow. Yet in both these strams Kathak came to be treated as a
solo art where the touchstone of excellence was the virtuosity of the solo dancers,
specially his command over laykaari or footwork.
6.6 THE TWO MAJOR GHARANAS OF KATHAK

In the Jaipur-strearn the emphasis almost totally shifted on nritta making the style a
vehicle for mere mechanical display. While the Muslim patrons had no overpowering
preference for mere rhythmical pyrotechnique, they fancied an art that was full of human
sentiments and worldly situations. Thus, their brand of Kathak laid stress on nritya full
ofbhaava. The Kathak turned out to be more graceful and sensuous. This stream came
to be recognised as the Lucknow Gharaanaa and it came into existence in the time of
WajidAli Shah. The chief architect was one Thakur Prasad whose two sons and Binda
Din perfected it.
WajitAli Shah's contribution to the development of Kathak is noteworthy. He was an

accomplished dancer and musician and good poet in Hindi and Urdu. He spent lavishly
on dance and music, much to the disgust of the British of the East India Co. who
dethroned him and exiled him to Calcutta and annexed his principality Oudh. Till his
44
death he lavished his pension on Kathak and music.
Another noteworthy patron of Kathak was Raja Chakradhar of Raigadh in Madhya Kathak
Pradesh. He encouraged both the gharanas - Lucknow as well as Jaipur. He too was
removed by the British for his great love for and lavish spending on Kathak.
6.7 TECHNIQUE AND REPERTOIRE

Kathak technique lays stress on being very natural- be it in dancing postures or costuming
or music. In other words, having arisen out of the story telling art of the masses, it has
continued to keep its ties with the common man. Thus the movements of the body, its
position, its stance are very natural; no unnatural or exaggerated movements are
employed. Natural grace is maintained which leads to the body being adjusted to the
fast tempo of the footwork.
As in real life, Kathak maintains the samabhanga (the vertical position with no bends
in the body). One cannot find the bends in the knees that are to be found in other
classical styles. Kathak lays a great stress on flat foot dancing. Even the gliding walk is
executed with flat foot. This vertical or straight line like stance and the use of the flat
foot makes it possible to perform the chakkars at a lightning speed and maintain balance
at the same time. The movements of the arms are very graceful but do not make in set
patterns. Another noteworthy feature of Kathak is the jumps that are performed by
lifting both the feet in the air.
An important facet of the dance style is its padhant (recitation) of the bols (mnemonics
or recited rhythmic syllables). Before actually executing a rhythmic piece - be it todaa
or tukdaa - the dancer recites the full rhythmic sequence and then dances to it by the
way of the foot work and chakkars - all the while accompanied by the percussion
instrument.
6.7.1 Nritta
Kathak originally had only two instruments - the saarangi and the tablaa. To a large
extent the Kathak technique is nritta oriented and so concerns itself with rhythm and
timing. Due to this the footwork is the predominant element of Kathak. The dancer ties
atleast 100 ghunghroos on each foot and cajoles myriad rhythmic patterns, nauances
and total variations by the footwork which is called tatkaar. It is amazing that a versatile
dancer can sound only one ghunghroo out of the full complement of 100 in the most
melodies manner. Yet a complete unit of nritta has not only scintillating footwork but
also an accompanying, harmonious use of the entire body. Such a piece is called a
todaa which has several varieties. This exhibition of todaas is the true test of a Kathak
dancer's dexterity and virtuosity.
Another noteworthy facet of the Kathak nritta is the chakkar or the pirouette or spin
which are performed at a lightning speed and which end in a superbly balanced flourish
and pose.
The nritta items start with the uthaan in which the dancer introduces an entire range of
dance movements, postures and glances.
Following uthaan are the rhythmic pieces known as aamad which are the introductory
patterns based on the rhythmic syllables.
Then comes the tukdaa in which the simpler varieties of rhythmic patterns from the
tablaa are danced by the way of footwork.
Todaas are pieces of footwork in which a group of patterns are bunched together.
45
Understanding Indian Parans are like the tukdaa but are performed to the rhythmic patterns of the other
Classical Dances
drum - Pakhawaj.
6.7.1 Nritya
The nritya in Kathak has the two types of Gat-Gat-Nikaas and Gat Bhaav. Out of
these the Gat-Bhaav is full blown nritya which depicts a theme, a story or an episode.
But it must be noted here that in comparison to the other developed dance styles,
Kathak has a very few hastas. Thus for emotive passages the attitude of the body and
the different stances it adopts to depict an idea are used in the most effective manner.
For example, the Ghunghat Gat which is supposed to depict pulling of the ghunghat
(veil) over the face by a woman. The dancer will not do just one interpretative action
but will show different ways in which the ghunghat is pulled in different situations and
moods.
The next items for nritya interpretation are the thumri and bhajan which are danced
to full fledged songs. Here too there are practically no hastas and role of the hands is
only secondary. Even the mukhaja abhinaya is very subtle and suggestive. Other
items in this genre are the Daadraa and the Gazal which are types of songs to which
bhaav is done. Thumri and Gazal are secular erotic songs.
Since originally Kathak was a religious dance, there were religious songs like Dhrupads,
Keertans, Dhamaars, Horis, Pads which were utilised for the depiction of nritya.
In the recent times two new items have been added - the Vandanaa is a propitiatory
item done at the beginning of the recital and is in praise of a deity while the Ashtapdis
are taken from poet Jayadeva' s Geetagovind.
6.8 MUSIC IN KATHAK

The music in Kathak is usually pure Hindustani classical. This is supported by the fact
that musical compositions that are used in Hindustani musical repertoire are used in
Kathak. Pure raagas are used as well as some of the more popular folk tunes also
come into play. It must be remembered that Kathak has its remote origins in the folk
theatre of the north, specially Uttar Pradesh, Madhya Prades, Bihar etc. In the Jaipur
gharaanaa we can find echos of the exquisite music of Rajasthan. This music has
Hindustani elements which are beautifully merged with the folk music of Raj asthan.
The percussion instruments are the tabalaa and the pakhaawaj. Accompanying music
is provided by the saarangi and or the sitaar:

PERFORMERS
Sitara Devi, Pandit Birju Maharaj, Rohini Bhate, Pandit Munnalal Shukla, Kumudini
Lakhia, Uma Sharma, Shovana Narain, Shaswati Sen, Urmila Nagar, Malavika Sarkar,
Aditi Mangaldas, Kumkum Dhar, Rajendra Gangani, Uma Dogra, Geetanjali Lal.

1. Fill in the blanks spaces in the following statements using the words given below:
(tawayafs, solo dancer, wandering bards, nritya, kathaa, Mahabharata, Persion,

gat nikaas, Lucknow, gat bhaav, girls, Ramayana, episode, wandering)
a) The name Kathak is derived from the word in the older times
the went from village to village and told the stories from
46 ____________ and _
b) The influence was brought into the art by the dancing _ Kathak
who were called _

c) The touchstone of excellence in Kathak depends on the virtuosity of the
_______ and his command over layakaarior footwork.
d) In the Jaipur gharaanaa the emphasis is on while the _
gharaanaa lays stress on _
e) The nritya in Kathak has two types of gats - and
______ the latter depicting a story or an _
2. Write on madhura bhakti in five or six lines.
3. Write briefly on the royal patroudge to Kathak.
Answers:
1. a) kathaa, wandering bards, Ramayana, Mahabharata.
b) Persion, girls, tawaifs.
c) solo dancer
d) nritta, Lucknow, nritya
e) gat nikaas, gat bhaav, episode.
2. A simple, expressional dance of the ancient times evolved into a distinct style in
the 15th and 16th centuries due to the influence of the emergence of madhura
bhakti. It is derived from vaishnavism and is based on the legends of Radha and
Krishna. This madhura bhakti gave rise to an operatic form called Raasa-Ieelaa.
3. With the coming of the Muslim rulers two different streams developed in Kathak;
one backed by the Hindu patronage in the court of Jaipur and the other with the
backing of the Muslim courts of Delhi, Agra and Lucknow. The Lucknow stream
came into existence under the patronage ofWajid Ali Shah of Oudh who was an
accomplished dancer and musician and gave great patronage to Kathak. Another
noteworthy patron was Raja Chakradhar of Raighad in Madhya Pradesh.
47
UNIT 7 ODISSI
Structure
7.1 Introduction
7.2 Objective
7.3 The Antiquity of the Roots of UJissi
7.4 A Brief History of Od is si
7.5 Jayadeva's Geetagovinda and Odissi
7.6 Technique
7.7 Music in Odissi
7.8 Repertoire
7.1 INTRODUCTION
Whenever you visit the temples of India, the first thing that strikes you is the exquisitely
carved sculptures of dancing - classical poses of solo dancers or group formations
showing dancers, musicians and also the king and his retinue watching a performance.
Even figures that are not in this category but portray scenes of gods punishing or killing
demous or even the guards exhibit the clear influence of dancing. There are temples
which literally translate the dicta of the naatyashastric texts like Bharata's Natyashastra,
Sarngadeva's Sangeetaramakara, Jayaseva's Nrittaratnavali and others. You can identify
the deities represented by the symbols that you know very well as dance students - a
male figure holding a flute is Krishna, another holding bow and alTOWis Rama; a towering
figure with ten heads is Ravana. A beautiful female figure playing on a veenaa is goddess
Sarasvati and another seated in a lotus is goddess Lakshmi. But the greatest of these
beautiful manifestations is the figure of Nataraja - the most sacred and venerated by
all the Indian dancers. -
A T" century A.D. text, Vishnudharrnottara Purana say, "vinatu nrityashastrena

chitrasootram sudurvidam". The sage propounding this text says that without the
knowledge of dancing the other plastic arts cannot be comprehended. This very clearly
shows the eo-relationship of sculpture and dance. It is said that dance is a mobile
sculpture and sculpture is a frozen dance. In this context, the classical dance style
Odissi from Odisha is a shining example. Odissi is redolent with sculpturesque poses
which are reminiscent of the glorious stone sculptures of Konark and other temples
from Odisha.
These sculptures appear as if they are actually executing the steps of Od is si that you
WItness today. The serenity on the faces of the dancing figures is in keeping with the
deeply devotional fervour of the dance.
Odissi, if one has to describe its characteristics, is rather uncomplicated. Its beauty, its
sculptures que poses and the lovely tribhangi - the triple bend in the body - always
48 remind one of the beauty of Indian art in general.
Odissi Odissi
Late Smt. Sanjukta Panigrahi
49
Classical Dances 7.2 OBJECTIVE
• Appreciate the eo-relationship of classical dance and Indian sculpture;
• Understand history, form and content of Odissi; and
• Be introduced to the exquisite beauty of Jayadeva's Geetagovinda.
7.3 ANTIQUITY OF ODISSI

From the archaeological evidence available, it may be surmised that Odissi may be the
earliest classical Indian dance style. There are beautiful dance sculptures in the Rani
Gumpha Cave of 2nd century B.c. These relics include the first finished example of a
dance scene with a full orchestra. In another inscription belonging to the same period
from the Hathi Gumpha it is stated that in the third year of his reign, the J aina king
Kharavela, who was himself an accomplished dancer and musician, had arranged a
performance of taandava and abhinaya for the enjoymentof his people. After this in
8th century A.D. there is a reference at Bhubaneshvar of the king's mother building a
temple of Shiva and dedicating several dancing girls to it. This indicates that these
temple dancing girls - devadasis, known as mahaaris, in Odisha were the earliest
performers of Odissi dance and for more than a millennium were the repositories of this
art.
Later in 1194 king Angabhimadeva built a number of temples and also constructed the
nata mandir as an annexe to the temple of Lord Jagganatha at Puri. The nata mandir
was specially made for performances of the mahaaris and the musicians who were in
the service of the temple.
It is during this period that Poet Jayadeva wrote his immortal love-poem Geetagovinda
extolling the divine love of Radha and Krishna and the recital of the Geetagovinda has
become an indispensable part of the rituals of the Jagannatha temple. It also forms a
major chunk of the repertoire of Odissi today. It is during this period also that the
Abhinaya Chandrika, the foremost shaastra for Odissi, was written by Maheshvara
Mahapatra.
7.4 ABRIEFIllSTORYOFODISSI
As we come down the centuries we find an unbroken chain of the twin traditions of the
singing of the Geetgovinda as a daily ritual of the Jagannatha temple and the mahaaris
dancing at fixed times as part of the temple rituals. By the 15th century A.D., Vaishnavism
as a religious sect, became the main religion of the people of Odisha and the Bhakti cult
received a great impetus.
From the 17th century onwards the mahaaris came to be employed to dance in the
royal court as well.
Tin today the mahaaris system continues in Odisha but the ritualistic aspect of their
dance or of the singing of the Geetagovinda is for namesake only.
From the early 17th century a class of boys named gotipua came into being. These were
nubile young boys who dressed as dancing girls and danced for the temple as well as
general entertainment. This brought in a very vigorous and acrobatic element in the
dance.
50
Odissi
7.5 JAYADEVA'S GEETAGOVINDAAND ODISSI
Around 12th century A.D., rnadhura bhakti, a magnifestation of Krishna bhakti flowered
and the entire country came under the sway of the Krishna cult and the exquite love
between Him and his fovourite cowherdess of Gokul, Radha. The Radha- Krishna
legend with the poignancy of their separation, Radha's ire at Krishna dallying with other
gopis and their eventual re-union has, since then, gripped the Indian psyche very specially.
Krishana's amorous frolicking with the gopis and Radha in the Kunja-s (bowers) on
the banks of ri ver Yamuna are eternal themes for all the arts - poetry, music, dance,
painting, sculpture etc.
The most exquisite product of this trend is found in the great and eternal love-song the
Geetagovinda of poet Jayadeva who was a great devotee of Lord Jagannatha (Krishna)
at the Puri temple in Odisha. It is said that he wrote it specifically for being interpreted
in dance and music and his wife Padmavati, who was herself a mahaari (devadasi),
danced to it in the temples of Odhisa.
The action of the Geetagovinda is confined over one night only. An anguished Radha is
consumed with envy when she finds Krishna frolicking with other maidens. She is waiting
for Krishna in the bower but he does not arrive. She pleads with her sakhi to bring
Krishna, the sakhi approaches him and finds him in a dejected mood. She describes
Radha's anguish and requests him to meet her. Ultimately almost at dawn Krishna
comes to Radha but he has on his body the telltale marks of having frolicked with other
gopis. Radha is angry and orders him to go away. Eventually Krishna asks for her
pardon and both are reunited.
This theme pervades our psyche even today.
The songs are written in the form of ashtapadis (eight stanzas) and almost all styles
today have adopted ashtapadis in their repertoire. But in Odissi they are of the utmost
importance since they are, so to say, the soul of this dance style.
7.6 . TECHNIQUE
The devadaasis in Orissa are called mahaaris. There is another wing of this dance
which is danced by a nubile young boy called qotipua and these are the boys who
indulge in more acrobatic dancing. Odissi, if one has to describe its characteristic,
believes in the exposition of beauty and grace. As such the dance style is rather
uncomplicated but its beauty, its sculpturesque poses and the lovely tribhangi - that is
the triple bend in the body - always reminds us of the beauty of Indian art in general.
Technically Odissi is a highly stylized dance combining the precepts ofNatyashastra,

Abinayadarpana and Abhinayachandrika.
Both nritta as well as nritya wise Odissi has a thoroughly systematised and exhaustive
technique. The most prominent feature of the technique being the various bends -
bhang is- of the body, the tribhanga aspect - or the triple bend in the body of the
Indian sculpture and iconography is fully exploited in Odissi.

In nritya and mukhaja abhinaya (facial expressions) it is very orthodox and subdued.
The Odissi steps are based on the square, basic position of the feet called chauka and
the different movements and bends of the sides. The most predominant featureis the
51
Understanding Indian bend in the waist or hip, the kati. These bends are usually tribhanga - the triple bend or
Classical Dances
atibhanga - maximum bend.
The steps progress from the basic simple stamping of the foot accompanied by the
neck, waist and hip-bend. Sometimes the chest moves diagonically enchancing the
sculpturesque effect: Odissi being closeset to sculpture, utilizes the principles of images
making like the sutra, maana etc. Odissi movements combine in them crispness as
well as lilt. The positioning of the arms and hands is also in the square. The movements
usually follow the direction and cadence of the sides and the kati balances the entire
structuring of the dancing body.
7.7 MUSIC IN ODISSI

Music in Odissi has its own individual regional flavour. It appears to be a very happy
blend of both Karnatak and Hindustani musical modes. Yet it has some taalas which
are Unique to Odissi only. Similarly there are some very unique raagas.ln the singing
one can find the Hindustani flavour in a larger proportion but there is definitely the
Karnatak influence as well. But the overall impression is always bhakti and as such it is
very serene.
7.8 REPERTOIRE
w.e have already seen that Odissi dance is an inseparable part of the religious practices
and rituals and as such, there is hardly any item which is devoid of the bhakti concept.
As a result there is hardly anything known as a fixed repertoire. Earlier there was only
one long sequences of about 45 minutes which began with an invocation and ended
with a fast paced climax of nritta. Since about 30 years this has been broken into
smaller segments which constitute today's repertoire.
Te items are :
1. Bhumi Pranaam - Ceremonious offering of salutation to the earth. This is also

referred as Mangalaacharana.
2. Battu Nritya - In honour of Bhairava or Lord Shiva. It has both nritta as well as
nritya.
3. Pallavi -It is a nritta item which lays equal stress or nritta patterns, raaga and
taala. Pallavi literally means elaboration and here it applies to dance as well as its
mUSIC.
4. Ashtapadi - From the Geetagovinda. These are an integral part of the Odissi
repertoire.
5. Padam - Devotiona songs, many a times in the Odia language.
6. Mokhyam (Moksha) - Concluding nritta item corresponding to Tillaanaa of

Bharata N atyam and J eeva of the new repertoire of Mohini Attarn.
7.9 SOME WELL KNOWN EXPONENTS AND

PERFORMERS
Late Guru Kelucharan Mahapatra, Kumkum Mohanty, Sonal Mansingh, Kiran Sehgal,
Madhavi Mudgal, Aloka Kanungo, Jhelam Paranjpey, Guru Mayadhar Raut, Late
Sanjukta Panigrahi.
52
Odissi
(chauka, mahaaris, frozen, square, gotipua, Rani Gumpha Cave, dance, acrobatic,
bhangis, 2nd Century B.c., mobile, feet, sculpture, body, tribhangi)
a) Odissi dance has two streams - one to be danced by the in the

temple and the other which is _
b) There are beautiful dance sculptures in the of
c) It is said that dance is and sculpture is
d) The most prominent feature of the technique of Odissi are the _

which are bends in the and the which is the triple
bend.
e) The Odissi steps are based on the _~ __ basic position of the _

called _
2. Write briefly on the roots and development of Odissi.
3. Write on the main characteristics of Odissi.
Answers:
1. a) mahaaris, gotipua, acrobatic.
b) Rani Gumpha Cave, 2nd Century B.c.
c) mobile, sculpture, frozen dance.
d) bhangis, body, tribhangi.
e) sanare, feet, chauka.
2. The roots of Odissi go back in remote past when we fmd dance sculptures in the
Rani Gumpha Caves of 2nd Century B.C. In the 8th Century A.D. the king's
mother built a temple of Shiva and dedicated dancing girls to it. These girls were
called mahaaris( devadaasis). It is the 12th Century A.D. that the poet Jayadeva
wrote the immortal Geetagovinda which became an indispensible part of Odissi
and is being danced even today. '
3. The main characteristic of Odissi are the various bends - bhang is - of the body.
The tribhanga or the triple bend in the body of the Indian sculpture is fully exploited
in Odissi.It is also an inseparable part of the religious practices and rituals S{J there
is hardly any item which is devoid of bhakti.
53
UNITS KUCHIPUDI
Structure
8.1 Introduction
8.2 Objectives
8.3 Kuchipudi - the dance drama
8.4 Briefhistory ofKuchipudi
8.5 The influence ofVaishnavism and the Bhagvat Puraana.
8.6 Technique
8.6.1 Nritta
8.6.2 Nritya
8.7 Music in Kuchipudi
8.8 Repertoire
8.1 INTRODUCTION
It is a totally different experience to witness a Kuchipudi performance than any other
classical dance style. You must have noticed that in all the other six styles that you have
been introduced, the vaachika abhinaya has been rendered by the singers who
accompany the dancers. In very exceptional instances like in Kathakali certain characters
emit some specified sounds or in Kathak where the dancer recites the bols (padhant)
the dancer does not speak. Of course, you might have that some dancers are
accomplished singers and sing the song during the nritya portions but there is always
an accompanist. In any case in no dance style the dancers indulge in speaking dialogues
just as in a drama.
But in Kuchipudi you find the dancers breaking into spoken dialogues in between dance
sequences.
One can classify Kuchipudi as a "dance-drama". It is from the southern state of Andhra .
Pradesh. It is one of the oldest performing arts from this region. Earlier it was also
known as Kuchipudi Bhagavatam, Kuchipudi Yakshaganam and Kuchipudi Bharatam.
Until a few decades ago the enactment of both, the male as well as female roles, was
done solely by male dancers. In this aspect it resembles the other dance-drama style of
the south - Kathakali.
In many respects Kuchipudi is quite unique. It is very sprightly and projects a very racy
tempo for performance. It is very exhillerating to watch Kuchipudi with its vigorous and
vibrant gaps and bhramaris (circular movements). Its footwork is scintillating and the
performance exudes joyousness; yet it is very lyrical. It is very bold and sensuous with
flashing eye movements. The world of the pining of separated naayaka and naayikaa
(the lovers) is not for Kuchipudi. In its technique one can fmd the elements of its early
folk origins.
A major characteristic is its strict adherence to the precepts of the N atyashastra in the
articulation of all the four abhinayas. And like in Kathakali, Kuchipudi also uses the
54
traditional curtain- Yavanikaa - for the introduction of the characters.
Kuchipudi
Kucbipudi
8.2 OBJECTIVES
• fully appreciate the relevance of the Natyashastra to dance;
• appreciate the influence of vaishnavism on the country in general and theAndhra

land in particular; and
• be able to distinguish Kuchipudi from its neighbor Bharatanatyam though both

have similarities of the structure, music and ethos.
8.3 KUCHIPUDI-THEDANCEDRAMA
We have seen that the N atyashastra is considered to be the fifth veda. It is a tradition or
a system that was intended to regulate the majority of facets that appear in a stage
performance. In the chapter on the purvatanga vidhi (the preliminaries of a play) the
religions rituals that must be performed are given in great detail. It prescribes the
consecration of the stage by sprinkling of holy water the worship of the jarjara - (the
sacred staff of Indra) dancing gestured movements while performing these venerations,
55
Understanding Indian even the decoration of the stage with coloured powders and the lighting of the sacred
Classical Dances
. lamps. These prescribed rituals set the pace for the later performance.
Here the role of the sutradhaara (literally meaning the conductor) becomes very
s
important. It is the sutradhaara duty to lead the preliminary rituals, then introduce the
story of the play to the audience as also introduce the various characters. He also
explains the philosophical or spiritual content, if any, in the play.
The Kuchipudi presentation very closely follows the N atyashatra. After the preliminary
salutations to Lord Ganapati, the sutradhaara in Kuchipudi enters the stage with his
curved stick known as Kutilaka (jarara of the Natyashastra). After receiting a prayer
in praise of the goddess Amba and the guru vandanaa the sutradhaara narrates the
story of the dance-drama that is to follow. He also introduces the characters in the play.
Each dancer is introduced with an introduction called the pravesha daru wherein hel
she reveals hislher identity and the purpose of their participation in the dance- drama.
Many of the characters enter hidden by the curtain yavanikaa which is held by two
members of the troupe. Usually the feet of the dancer are seen and thee manner of
stepping or the rhythmic patterns executed by the feet reveal the mood and attitude of
the character being enacted.
A very distinguishing feature of the Kuchipudi dance-drama is the importance of the

braid (the plait of Satyabhama, the consort of Krishna). The braid consists of several
parts linked by a black thread and is said to represent the universe. The philosophical
meaning is that Satyabhama represents the mortal human being - the jeeva, the soul, to
which even the universe becomes an appendage. Satyabhama also engages in a
conversation with her sakhi Madhavi - the role sometimes taken by the sutradhaara
himself.
This is Kuchipudi - the total theatre.
8.4 A BRIEF HISTORY OF KUCHIPUDI

.
Kuchipudi originated and developed in a village by the same name in the Krishna district
of Andhra Pradesh. The origin and roots of Andhra' s long dance tradition can be traced
to the depictions available in the ancient temples and Buddhist excavations of
Nagarjunakonda, Amaravati etc. Proof of a strong dancing tradition in the then are
called Andhra rules by the Satavahanas which is also available in the depictions in the
world famous Ellora and Ajanta cave sanctuaries which were in the Andhra kingdom.
Down the centuries various dynasties ruled over this vast area after the fall of the
Satavahana empire. Each dynasty seems to have had kings who were lovers of the art
and who encouraged and patronised dance.
There is a direct mention of Kuchipudi dance in the Machupalli Kaifiyat of 1505 A.D.
who had helped Kuchipudi artistes.
In 1509 the great king Krishnadevaraya ascended the throne of the Vijayanagara empire
who gave a great patronage to the Kuchipudi artistes.
Traditionally the high caste vaishnava Brahmins performed this dance and they made it
their vocation. It is they who kept this art alive. The Nawab of Golkonda witnessed
their art in the 17th century and donated villages to these Brahmins for their upkeep.
There were other plays popular in this region such as Veedhinatakam, Yakshagana .
and Bhagvatam. Kuchipudi Yakshaganam which also followed this dance-drama
tradition. But the other were spontaneous street plays. It is Siddhendra Yogi, who
56
brought in the elements of the N atyashastra and laid down the method of performing Kuchipudi
Kuchipudi. He also brought in the graceful elements of the dance of the devadaasis.
He persuaded young Brahmin boys to learn this female graceful dance and take part in
the Kuchipudi dramas.
Siddhendra's guru Tirtha Narayana Yati wrote the Krishna Leela Tarangini in the
form of musical opera in which also the elements of dance predominated.
Later this tradition branched into two sub-groups - Natyamela and Nattuvamela.
The Nattuvamela is performed by women dancers. Their style is more subtle and
belongs to Shuddh Laasya (feminine grace) which is steeped in shringaara rasa.
Natyamela is performed by men who enact both male and female roles.
In the past three to four decades, the Kuchipudi base has been broadened by the
addition of solo items which strictly adhere to the prescribed tenets.
8.S THE INFLUENCE OF VAiSHNAVISM AND THE

BHAGVATPURAANA
Between the 6th and the l O'" centuries A.D. India saw the phenomenal upsurge in
personalised devotion to God in the form of bhakti. Withjnaana and karma, bhakti
formed the third maarga or path to achieve moksha, the absolute release. Bhakti
maarga extols and achieves this spiritual union with God through pure love leading to a
great yearning.
In south India too this maarga caught the imagination of the masses. There arose an
order of yogis who were of the conviction that the best way to express bhakti was
through the combined arts of music, dance and drama. Thus they initiated a tradition
whereby the bhakta began to approach his God by singing, dancing and acting.
The basic principle is extollation of the virtues and great deeps of Lord Vishnu and it
follows the Maha Bhagavatam. In Kuchipudi traditionally no woman is allowed to take
part and the female roles are enacted by nubile Brahmin boys. It is also a composite art
in the sense that different actors enact different roles but no art can be static. In the past
three or four decades also items have been created and are being performed.
The same tradition gave rise to a similar form of dance-drama called Bhagvat Mela
Natakam in the adjoining state ofTamil Nadu.
Both these arts have the sentiment of loving devotion to God permeating every facet of
their technique. These dance-dramas helped to arouse in the minds of the people a
great consciousness of God's greatness.
8.6 TECHNIQUE
The technique of Kuchipudi exhibits a fine balance between nritta, nritya and naatya
elements, the last preponderating in the vaachika abhinaya. Thus the Kuchipudi actor!
dancer not only sings his pieces and dances to them but also himself speaks the dialogues.
It must be mentioned here that though Kuchipudi is a dance-drama, there are some
items which can be and are performed as solo items.
8.6.1 Nritta
The nritta is made up, as in Bharatanatyam of adavus. Since Kuchipudi is a dance-
drama the nritta sequences or even items are used to decorate the dramatic sequences 57
Understanding Indian of the play. The nritta still retains some elements of its original rustic flavour and so has
Classical Dances
quicksilver jumps and glides in its performances. Verynaturally the rtythrnic syllables-
sollus - also must have the same qualities and there is created a bubbling confluence of
recited Sollus and vivacious dancing resulting in an audio-visual cascade. The adavus
for men and women are performed in distinctly different manner, highlighting the clear
demarcation between taandava and laasya.
8.6.2 Nritya
The nritya is made up chiefly of items like shabdam, shlokam and padam. Out of
these, traditionally, the shlokam is performed sitting down. Like Bharata Natyam the
padams are devotional love songs, the padams written by the great composer
Kshetrajan being most popular. Other compositions which are popular for solo
expressional presentation are kritis of the saint-poet Tyagaraja.
Siddhendra Yogi has composed the most famous dance-drama known as

Paarijaatapaharanam for Kuchipudi. This is more commonly known as
Bhaamaakalapam which has an elaborate treatment of the character of Satyabhama,
one of Krishna's consorts. This play is a masterpiece and is most popular for presentation.
8.7 MUSIC IN KUCHIPUDI

The traditional classical music of South India- Carnatic music- is used in Kuchipudi as
well since it is a dance style from a southern state. Thus it is set to the established
raagas and taalas of Carnatic music. Since Kuchipudi hails from Andhra Pradesh
most of the lyrics are in Telugu; at the same time Sanskrit, the language of Natyashastra,
is also extensively relied upon.
Since vaachika abhinaya forms an essential part of the style, the dancers usually are
adept at singing and reciting the taala patterns.
The taala system is the same employing the traditional sapta taalas (seven basic rhythm
cycles) and panchajaatis (five time beats) .
.The instruments are the mridangam (drum), violin, flute, ghatam. The sutradhaara
usually palys upon the taalams while accompanying the dance passages.
8.8 REPERTOIRE
Until about the 18th century A.D. the Bhaamaakalaapam was the only popular
presentation for the Kuchipudi dancers. Then one more kalaapam in the form of
Gollakalaapam is in the form of a dialogue between the golla (cowherdess) and a
Brahmin priest. It is a satire with a strong social message. The popular dance dramas of
this era are Prahlaada charitam, Ushaa Parinayam, Mohini Rukmaangada,
Harishchandra, Raama Naatakam and Rukmini Kalyaanam.
Subsequently shabdam, which were nritya items, were added. They are compositions
of rhythmic character which convey a story and can be performed as solo items.
Other very popular items are the asthapadis from the Geetagovinda of poet Jayadeva.
Tarangam (literally meaning waves) are very popular. In one of the tarangams the
dancer dances on the rim of a plate. Similar to the Bharata Natyarn repertoire, Pada
varnams, Padams, Jaavalis, Keertanas, Jatisvaram, Tillaanaa, Sholam are the
other items in the Kuchipudi repertoire.
58
Kuchipudi
PERFORMERS
Shri Vedantam Satyanarayana Sarma, Guru Vempatti Chinna Sat yam, Guru
Laxminarayana Sarma, Yamini Krishnamurthy, Shobha Naidu, Swapnasundari, Radha-
Raja Reddy, Vanashree and Rama Rao, K. Uma Rama Rao.

(racy tempo, story, female roles, vigorous, preliminary rituals, four, vaishnavism,
vibrant, abhinayas, men, strong, sutradhaara)
a) Kuchipudi is a Total Theatre because it has all the . _
b) A significant aspect of Kuchipudi is that traditionally perform the

______ as well.
c) Present day Kuchipudi is developed under the influence of
d) Technique of Kuchipudi reflects very and has _

and leaps.
e) It is duty to lead the and introduce the
2. How is Kuchipudi different from the other dance styles - answer briefly.
3: Write the salient features of the Kuchipudi repertoire.
Answers :
1. a) four, abhinayas.
b) men, female roles
c) strong, vaishnavism
d) racy tempo, vigorous, vibrant
e) sutradhara's, preliminary, rituals, story.
2. Kuchipudi has the unique quality of utilising all the four abhinayas which is not the
case with the other dance styles. It also has a special feature in the sutradhara
which character is not present in the other dance styles. Kuchipudi is basically
racy and sprightly, scintillating and joyous. It does not deal too much with the
theme of the separated lovers.
3. In the earlier period of its development, upto about the l S'" century,
Bhamakalapam was the only popular presentation. Later the Gollakalapam
was added to the repertoire. There were other popular dance dramas like Prahlada
Charitam, Usha Parinayam, Mohini Rukmangada, Rama Natakam, Rukmini
Kalyanam etc.
Subsequently shabdams were added which could be performed as solo items.
The other items are ashtapadis from the Geetagovinda, Tarangam, Pada
Vamams, Padams, Javalis, Keertanams, Jatisvaram, Tillana, Slokam.
59
NOTES
ODN-OOl
Introduction to Indian Dance Forms
Block 1: Understanding Indian Classical Dances
Unit 1 Indian Classical Dance
Unit 2 Bharatan atyam
Unit 3 Mohiniattam
Unit 4 Kathakali
Unit 5 Manipuri
Unit 6 Kathak
Unit 7 Odissi
Unit 8 Kuchipudi
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"Education is a liberating force, and in

Practical Course Experts

Block Preparation Team

1.3 Understanding and Appreciating Indian Classical Dances

1.5 The four Abhinayas

1.6 Classifications of Dance

1.7 The Two Main Components - Form and Content

1.8 Emergence of Regional Dance Styles

1.9 The Classical Dances of India

1.10 Self Assessment Question

We have already examined the importance of understanding and appreciating our

These observations apply to the art of dance also.

• understand the emergence of contemporary classical dance styles.

1.3 UNDERSTANDING AND APPRECIATING INDIAN

1.4 TECHNIQUE IN GENERAL OF INDIAN

nritta : Pure non-representative dance made up of beautiful movements oflirnbs

nritya: Representative dance which is designed to convey meanings by the

1.5 THE FOURABHINAYAS

According to N atyashastra, the performance of Indian naatya, in its totality, was

angika gestures and other bodily movements.

vachika spoken words

aharya costumes and make-up

sattvika depiction of mental or psychological states.

Let us consider these components in detail :

1 Rati (love) Shringaara (erotic)

ii Haasa (laughter) Haasya (comic)

iii Shoka (sorrow) Karuna (pathetic)

IV. Krodha (anger) Roudra (furious)

v. Utsaaha (heroism). Vira (heroic)

VI. Bhaya(fear) Bhayaanaka (terrible)

VD. Jugupsaa (disgust) Bibhatsa (odious)

c. Vyabhichaari bhaavas: These are the transient or non-permanent emotions. They

d. Vibhaavas: These are the determining situation or circumstances which form or

The sattvika bhaavas are :

2. Stambha Paralysis or getting stunned

8 4. Vaivarnya Change of colour.

7. Romaancha Horripilation or thrill

a) Angas - major limbs - six

b) Upaangas - minor limbs - eight.

ii) Rasta hands

iii) Vaksha chest

iv) Paarshva sides

v) Trika or kati waist or hips

b) Upaangas: These are situated entirely in face (inclusive of the neck)

i) Taaraa eye balls

iii)Bhru eye brows

vi) Adhara lower lip

vii) Chibuka chin

viii) Grivaa neck

To this list, later scholars have added the following:

iii) Dashana teeth

iv) Jihvaa tongue

vii) Anguli fmgers and toes.

c) Pratyangas : These are the supportive limbs of the human body:

i) Skandha shoulder blades

iii) Prishtha back