Indian Classic Dance Forms – IAS Culture Notes 2015

• Dance is of Divine Origin it was a ritual form of Worship at the temples . • The principles of indian classical dance is Derived from Natya Shashtra By Bharat Muni. • Natya Shashtra includes Dance , Music and Drama • Bharat Muni Traces its origin from Brahma . • Brahama Created a 5th Veda known As Natya Veda representing the Essence of existing 4 vedas.

1. Intellectual Content of the Rigveda 2. Abhinaya (Gestures) from the yajurveda 3. Geet ( Music from the Samveda 4. Rasa (n Emotions ) from the Athavaveda

• Dance was performed as a pass time for the Gods • Nataraja the Dancing Shiva Represents the – Destruction, creation , Preservation , release from Bondage and the

cycle of life and death • Dance is considered as the complete art because it enfolds in its range other art form too – Music ,sculpture

,Drama , Poetry.

There are two aspects of Dance

1. Tandava 2. Lasya

Tandava – Tandava Denotes movement on Rhythm

• It Emphasis on Male characteristics • Strength and Firm Aspects

Lasya – On the other Hand Lasya denotes Grace , Bhawa , Rasa and Abhinaya

• these features are More Feminine in Nature

In every dance the Presence of Mudra and Rasa is a must .There are 108 Fundamental Poses or we can say Mudras . whereas There are 9 Rasa ( Emotional Responses ) – sorrow , Happiness , Anger , fear , disgust , Wonder ,Peace ,courage and Compassion.

Nritta – Nritta consists of dance Movements in their Basic form

• Nritta is Expressional ,enacting the sentiments of Particular Theme.

Natya – Includes facial Expressions , Expressions through Eye ,hand And Facial Movements

The Combination of both Nritta and Natya Become Nritya .

Earliest Evidence – Bronze Dancing girl , Bhimbetaka Caves , Ajanta Elora caves.

Indian Classic Dance –

• The Classic dance Are Governed By the Rules of Natya Shashtra .

• These Rules are Based on the Guru Shishya Parampara

Sangeet Natak Academy Has given the status of Classical dance to the Following 8 Dance Forms

1 -BharatNatyam –

• Bharata Natyam also spelled Bharatanatyam, is a classical Indian dance form that originated in the temples of Tamil Nadu.

• A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra. • The word Bharatnatyam combines “Bhavam” meaning expression, “ragam” meaning music, “thalam” meaning

rhythm and natyam meaning dance. • This dance form is the product of various 19th- and 20th-century reconstructions of Sadir, the art of temple

dancers called Devadasis. • It was described in the treatise Natya Shastra by Bharata around the beginning of the common era. • Bharata Natyam is known for its grace, purity, tenderness, expression and sculpturesque poses. • Lord Shiva is considered the God of this dance form. • It is practiced by male and female dancers all over the world. • it evolved from Devdasis System from Temples • It was previously referred to as Sadir ,Dasiattam and Tanjore natyam in the native of the Tamilnadu • It is a high style Solo Dance Performed by female , male and Even group . • but this Dance is Dominated by Female Dancers in India And World

Main Features Of Bharatnatyam –

1. Considered to be a Fire Dance 2. The movements of Bharatnatyam also resembles movements of Dancing flame 3. Both Aspects of Dance – Tandava and Lasya are Equally important here 4. Major Emphasis is given on Hand Movements to convey different kind of emotions or Rasa 5. The artists visualises his or her body as made up of triangles

Elements of Bhartnatyam-

Alaripu

• A presentation of the Tala punctuated by simple syllables spoken by the dancer. • This really is sort of an invocation to the gods to bless the performance. • Alaripu is performed in different jatis. • Tishra, Mishra, Chatushra, Sankirna are the different types of jatis.

Araimundi , Basic Standing position

Kautuvam

• Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis.

Ganapati Vandana

• A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali

Adavu Basic Dance unit

Todayamangalam

• a starting dance in which we show respect towards the god. • This item was adopted from the karnatic music margam. • A beautiful example of a todayamangalam is “jayajankaki Ramana”

Jatiswaram or Jathiswaram

• An abstract dance where the drums set the beat.

Adavu Basic dance unit

• Here the dancer displays her versatility in elaborate footwork and graceful movements of the body. • Here the Dancer displays the Korvai in a rhythmic form. • Jatiswaram or Jathiswaram brings out three aspects of dance: unity of music, rhythm and movements.

Shabdam

• The dancing is accompanied by a poem or song with a devotional or amorous theme. Shabdam is usually depicting graceful movements in a story or a poem

Angika Abhinaya

Varnam

• The center piece of the performance. • It is the longest section of the dance punctuated with the most complex and difficult movements. • Positions of the hands and body tell a story, usually of love and the longing for the lover.

Padam

• Probably the most lyrical section where the dancer “speaks” of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.

Shringar Rasa

Stuti

• Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra

Koothu

• Item containing a lot of dramatic elements.

Javali

• Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.

Tillana

• The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.

Apart from these items, there are items such as Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).

Angikam

• This is a devotional song on Lord Shiva and an item dance in Bharata Natyam. • It can also be performed in byapti slow motion. • The words for the shloka are ” Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra

Taradhi, Tvam Numah Satvikam Shivam”

1. Sanskrit ,Tamil , kanada Are Traditional Languages of Bharat Natyam

Tanjore Quartets –

1. Tanjore Quartets Were four brother Chinnaiah, Ponniah, Sivanandam and Vadivel, 2. who lived during the early 19th century and contributed to the development of Bharatanatyam and Carnatic

music. 3. The brothers were employed in the courts of the Maratha King Serfoji II at Thanjavur.

Exponents –

1. Rukmini Arundale 2. Padma Subarmaniyam 3. Yamini Krishanmurthy 4. Sonal Mansingh ( Odissi , Bharat Natyam , And Mohiniattam)

2-Kuchipudi- Andhra Pradesh

• Named after village of Birth • Initially performed by the male Artists moving from village to village • The male Artists were called Bhagavathalu • But in present time this dance is mainly performed by the female Artists and that too in Groups • Theme Based on Bhagawat purana But now a secular theme with Predominance on sringar rasa . • in this dance each principle character introduce itself with the help of Daaru on Stage ( Daaru is a small

composition of dance and song specially designed for each character to help him or her to reveal her identity or skill)

• Besides Dance drama There Are solo Dance In kuchipudi • Manduka Sabdam – Story of the Frog maiden • Balagopala Taranga – Involving dancing with the feet on the edges of a brass plate • Tala chitra Nritya – in This dance form Dancers draw pictures on the floor with their dancing toes • Both Tandava and Lasya Form of dance are involved in Kuchipudi Dance • A prescribed costume and Ornaments to be strictly followed by the Artists • Music – Carnatic Music • Instruments – Mrindagam and violin

Some Famous kuchipudi Dancers are Following

1. Vampati chinna Satyam

2. Yamini Krishana murthy 3. Swapnsundari 4. Chinta Krishanamurthy 5. Vijaya Parasad

3 – Dance – Odissi from Odissa

• State – odissa • Origin – Religious Dance patronized by Jain king Kharavela • Theme – Radha and krishna love , Dhasavatar ,Jagannath philosophy personified

Over the Time three School of odissi dance Developed

1. Maharis 2. Gotipua 3. Nartaki

1- Maharis –

• Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri.

• Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based onMantras and Slokas.

• Later, Maharis especially performed dance sequences based on the lyrics of Jayadev’s Gita Govinda. • Bhitari Gauni Maharis were allowed in the inner temple while Bahari Gauni Maharis, though in the temples,

were excluded from the sanctum sanctorum

2-Goptiua –

• Young boy dressed in Female Costume and performed Female role • By the 6th century, the Gotipua tradition was emerging. • One of the reasons given for the emergence of Gotipuas is that Vaishnavas did not approve of dancing by women. • Gotipuas were boys dressed up as girls and taught the dance by the Maharis. • During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna. • Gotipuas danced to these compositions and gradually stepped out of the precincts of the temples. • The Main theme in this dance is Radha Krishna • Women were not allowed to dance at that time so boys dressed in female costume and performed dance . • Maharis taught Boys dance

3-Nartaki –

• Dance in Royal courts • Nartaki dance took place in the royal courts, where it was much cultivated before the British period. • At that time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and

became unfashionable at court. • Only the remnants of the Gotipua school remained, and the reconstruction of the style required an archaeological

and anthropological effort that has tended to foster a conservative purism.

Main point about Odissi dance is it is similar to Bharatnatyam in terms of Mudras and Facial Expressions.

Odissi Dance During Mugal and British Period

• During Mughal Period Maharis the Temple Dancers were shifted to the royal courts to entertain royal families and royal courts.

• This was the time period when odissi dance started decline.

• A decline and degradation occurred in all the Indian Classical dance styles during the British period, especially when a bill was passed prohibiting temple dancing.

• British government passed a bill that bill prohibit temple dancing style. • this was another worse time for Maharis . • Most of these dancers, losing their well-deserved place in society, were forced to prostitution to survive in the

changing climate of political and cultural oppression of the British.

The major elements include in the Odissi Dance are

1. Mangalacharana 2. Battu Nratya 3. Pallavi 4. Abhinaya 5. Dance Drama 6. Moksha

1-Mangalacharna –

• An invocation piece. • After paying homage to Lord Jagannath a shloka (hymn) in praise of some God or Goddess is sung, the meaning

of which is brought out through dance. • Mangalacharan also includes the Bhumi Pranam (salutation to Mother Earth) which is offered to Mother Earth as

a way of begging forgiveness for stamping on her • and the Trikhandi Pranam or the three-fold salutation –In this form salutation is performed in front of above the

head to the Gods, in front of the face to the gurus and in front of the chest to the audience. • it is a begning of odissi Dance

2-Battu Nratya –

• Also known as Sthayee Nrutya or Batuka Bhairava (Furious Dance) • it is performed in the honor of Lord Shiva- the cosmic Lord of Dance. • It is one of the 64 furious-aspects of Lord Shiva known. • The origin of dance is believed to be from Tantrism that had flourished in Odisha. • Linga Purana and Mahanirvanatantra give an elaborate description of Batuka Bhairava in three aspects, and the

results of their worship have also been explained elaborately in the texts. • Battu Nrutya is an item of pure Nrutya (Dance) • It is the most difficult item of Odissi dance. • The dance begins with a series of sculpturesque poses depicting such actions as the playing of a Veena(Lute),

Mardala or Pakhawaj (Drum), Karatala (Cymbals) and Venu (Flute), that brings out the interrelationships between this dance and the dance sculptures adorning the temples of Odisha.

3-Pallavi

• A pure dance item in which a raga is elaborated through eye movements, body postures & intricate footwork. • Pallavi literally means “blossoming”. • This is applicable not only to the dance, but also to the music, which accompanies it. • Pallavi starts with slow, graceful & lyrical movements of the eyes, neck, torso & feet & slowly builds in a

crescendo to climax in a fast tempo at the end. • song eloborated through graceful movements and facial expressions

4-Abhinaya –

• An expressional dance • which is an enactment of a song or poetry, where a story conveyed to the audience through mudras (hand

gestures), bhavas (facial expression), eye movement and body movement.

• The dance is fluid, very graceful, and sensual. • Abhinaya can be performed on verses in Sanskrit or Oriya language. • Most of the Abhinaya compositions are based on the Radha-Krishna theme. • The Astapadis of the kãvya Gita Govinda written by the Saint Jayadev are an integral part of its repertoire. • The beginning pieces are dedicated to Lord Jagannath – an incarnation of Lord Vishnu

5-Dance Drama

• It is longer than abhinaya • Usually performed by the Group of Dancers or more than one dancers • hindu Mythologies are chose as the theme • In recent years some new themes are now part of this

6-Moksha

• The concluding item of a recital. • Moksha means “spiritual liberation” • it is dance of liberation

some Exponents of the Odissi Dance are

1. Kali charan Patanayak 2. sonal mansingh 3. sharon lowen from USA

4 – Kathakali – from Kerala state

• popular belief that Kathakali dance form was originated from Krishanattam • Main theme is – Conflict between god and Evil • Katha means – Story • Kali – Drama • Story narrated in form of Drama • Main Sources of Kathakali Dance – Ramayana and Mahabharata • Kathakali called as the Ballot of the East • origin – temple dance • Movements – Eye and Eye Brows movements to reflect Rasas • No use of the Props in dance / minimum use of props • control of body and emotions are required • Generally performed in open air stage covered with coarse mats. • lighting is done through brass lamp • the Dance start and end with arrival of dawn • at the start of dance there is a continuous sound of drums ,chendda and Maddala

Make up and Meaning of make up in kathakali dance

• Green Facial Makeup indicates Nobility ,Divinity • Red patches – besides the Nose indicate Royalty • Black Facial Make up – Evil and Witched females are represented through this black facial Makeup

Styles of Kathakali are –

1. Vettathu Sampradayam 2. Kalladikkodan Sampradyam 3. Kaplingadu Sampradayam

Exponents Of Kathakali dance –

1. Kalamandalam gori 2. Kalamandalam Murli

5 – Dance – Mohiniyattam (Kerala)

• Mohini Means a Beautiful Womn • yattam means – Dance • Mohiniyattam Believed to have originated in 16th century CE, • mohiniyattam is one of the eight Indian classical dance forms recognised by the Sangeet Natak Akademi. • It is considered a very graceful form of dance meant to be performed as solo recitals by women. • Essentially it is a solo dance And performed By Female Artists . • But Now Even performed in group also • There are two stories of the Lord Vishnu disguised as a Mohini.

• In one, he appears as Mohini to lure the asuras away from the amrita (nectar of immortality) obtained during the churning of the palazhi (ocean of milk and salt water).

• In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. • The name Mohiniyattam may have been coined after Lord Vishnu; the main theme of the dance is love and

devotion to God, with usually Vishnu or Krishna being the hero. • Devadasis used to perform this in temples. • It also has elements of Koothu and Kottiyattom. • Mohiniyattam is a drama in dance and verse. • The dance involves the swaying of broad hips and the gentle movements of erect posture from side to side. • This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the

land of Mohiniyattam. • There are approximately 40 basic movements, known as atavukal. • here Lasya Aspects Dominates , the main focus is on Feminism Moods and Expressions. • The dance follows the classical text of Hastha Lakshana deepika, which has elaborate description of mudras

(gestural expressions by the hand palm and fingers).

Theme of Mohiniyattam Dance

• Love and Devotion towards Lord Krishna And Lord vishnu

Music Of MohiniYattam –

• Carnatic Music

What color Costume Are used By Dancers In Mohiniyattam?

• White color Or Off white color dress Used by dancers • The costume includes white sari embroidered with bright golden brocade (known as kasavu) at the edges.

Mohiniyattam Borrows Some Features from Other classic dance also-

1. Grace And Elegance from Bharatnatyam 2. Vigour From Kathakali

Major Exponents –

1. Madhair amma 2. chinnami amma 3. Sunanda nair

6 – Manipuri Dance From Manipur

• Manipuri, one of the main styles of Indian Art or Classical Dances originated in the picturesque and secluded state of Manipur in the north-eastern corner of India.

• Because of its geographical location, the people of Manipur have been protected from outside influences, and this region has been able to retain its unique traditional culture.

• The origin of Manipuri dance can be traced back to ancient times that go beyond recorded history. • The dance in Manipur is associated with rituals and traditional festivals, there are legendary references to the

dances of Shiva and Parvati and other gods and goddesses who created the universe. • Lord Shiva Danced with parvati in the valley of Manipur accompanied by local peoples “Gandharavas” to the

Celestial Light of the Money on the Head of a Serpent Atishesha. • The Manipuri dance Emphasis On Shakti • But Both Dance form lasya And Tandava Aspects Are Involved but Lasya predominates Limited use of Mudras. • Raasleela is inseparable from this dance • Manipuri Dance Involves slow and Gracious movements .

• The main Focus In Manipuri Dance is on hand And Knee Position, Not on facial Expressions • The musical accompaniment for Manipuri dance comes from a percussion instrument called the Pung, a singer,

small cymbals, a stringed instrument called the pena and wind instrument such as a flute. • The drummers are always male artistes and, after learning to play the pung, students are trained to dance with it

while drumming. • This dance is known as Pung cholom. • The lyrics used in Manipuri are usually from the classical poetry of Jayadeva, Vidyapati, Chandidas, Govindadas

or Gyandas and may be in Sanskrit, Maithili, Brij Bhasha or others.

Special Features Of Manipuri Dance –

1. In manipuri Dance it attempts to connect body through curves with a pose in the shape of Figure ” 8• . 2. this Mudra is called Nagabhanda Mudra

• Theme of Dance – On Life Of Vishnu • In Manipuri dance Spreading feet is no longer possible which can be found in other classic dance forms. • Rabindranath tagore promoted it in shantiniketan • father Of Manipuri Dance – karta Maharaj

Major Exponents Of Manipuri dance –

1. Jhaveri sisters ( Nayana, Swarna , Ranjana, darshana).Mainly perform Group Dance

7 – Kathak Indian Classics dance from uttar pradesh

• Kathak is one of the eight forms of Indian classical dance. • This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathakars or

storytellers. • Kathak was primarily associated with an institution known as the tawaif. • Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement. • From the 16th century onwards it absorbed certain features of Persian dance and central Asian dance which were

imported by the royal courts of the Mughal era. • The name Kathak is derived from the Sanskrit word katha meaning story. • The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast,

ending with a dramatic climax. • A short dance composition is known as a tukra, a longer one as a toda. • With the coming of the Mughals, this dance form received a new impetus. A transition from the temple courtyard

to the palace durbar took place which necessitated changes in presentation. • In both Hindu and Muslim courts, Kathak became highly stylised and came to be regarded as a sophisticated form

of entertainment. • Under the Muslims there was a greater stress on nritya and bhava giving the dance graceful, expressive and

sensuous dimensions.

Music In kathak Dance –

1. Hindustani style

Special Features –

1. Sponatanity 2. Freedom from Uniformity 3. Room For improvisation and Innovation in Kathak Dance 4. There Enjoy Fair amount Of Individuality and autonomy . 5. Hence Various Gharanas originated ( Jaipur Gharana, Lucknow Gharana, Banaras Gharana )

• Kathak Dance Mainly Based on Bhava , Raga , Jaal • Main Focus is on Intricate Footwork • Dancers usually do the Singing Themselves • Theme – Radha Krishana • Initially Kathak Dance Was Formed As a Solo Dance , but Now it Is performed in Group Also

Main Events In Kathak dance –

Vandana,-

• the dancer begins with an invocation to the divinity. Vandana means prayer, a dance item which is performed as prayer.

• Before Mughal influence kathak was mostly performed in temple and the form was totally devoted to God. • So in those times vandana was too important and it reserved a large part of dance. • These days performances generally have Vishnu or Ganesh Vandana, invocation of Ganesha, the Hindu god of

beginnings and good fortune.

Thaat –

• the first composition of a traditional performance; It is the style of standing. • The dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose.

Aamad–

• Anand word from the Persian word meaning ‘entry’; the first introduction of spoken rhythmic pattern or bol into the performance

Salaami,

• related to Ar. ‘salaam’ – a salutation to the audience in the Muslim style.

Kavitt

• Kavitt a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem.

Paran

• Paran a composition using bols from the pakhawaj instead of only dance or tabla bols.

Gat-

• Gat from the word for ‘gait’ (walk) showing abstract visually beautiful gaits or scenes from daily life.

Lari–

• Lari a footwork composition consisting of variations on a theme, and ending in a Tihai.

Tihai –

• Thai usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on ‘sam’.

Toda –

• Toda a dancer performs to the composition of time beats in a rhythmic cycle, ending with Tehai and arriving on the ‘sam’, a concluding beat.

Exponents Of Kathak Dance –

1. Sitara Devi 2. Birju Maharaj 3. Lachhu Maharaj

8 -Sattriya – Indian Classic Dance

• Sattriya or Sattriya Nritya is one among the eight principal classical Indian dance traditions. • In the year 2000, the Sattriya dances of Assam received recognition as one of the eight classical dance forms of

India • The core of Sattriya Nritya has usually been mythological stories. • Theme – Mythological theme , Now Diverse Theme • This was an artistic way of presenting mythological teachings to the people in an accessible, immediate, and

enjoyable manner. • Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals

or to mark special festivals. • Today, in addition to this practice, Sattriya is also performed on stage by men and women who are not members

of the satras, on themes not merely mythological. • It Is devotional In Nature and involves Bhakti Rasa ( Spiritual Aspects ) • This dance is Accompanied by a Musical Musical Composition Called Bargeets . • This Geet Was composed By Shankar dev • Main Musical Instruments Are -Khol ( Drum ) And Flute • costumes Are Made Up Of Assamese Silk “Pat Silk” • This Dance Involves both Tandava and Lasya Form Of dance • Initially it was performed by the Men But Now women also Perform This dance , • Now Sattriya Dance also performed in Group also • Sattriya Nritya is divided into many aspects: Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya,

Manchok Nritya, Natua Nritya,Rasa Nritya, Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura, Nadu Bhangi, and Sutradhara, to name but a few – these being the counterpart to items in Bharata Natyam

Exponents –

1. Bapuram Baibayan Atai 2. Pradip chaliha