Dances Of India

Bharata Natyam :

Bharata Natyam is poetry in motion. Tracing its hoary origins in the Natya Shastra, written by the great sage, Bharata, it is a highly traditional and stylized dance form. Crystalized in the cast iron mould of Bharata’s technique, this aret form grossily disallows newfangled innovations or gimmicks except in repertoire and forms of presentation. Emerging far back in the labyrnthine twists of an ancient history n( as information for the date consious,4000 B.C. is the ascribed date to the Natya Shastra),Bhara-tanatyam has been immortalized in successive generations, as much by the sinuous grace of great dancers as by the nimble fingers of renowned sculptors who has demonstrated the perfection of Bhrata’s technique in the flowing lines of temple sculptors. Its present form was evolved by the Tanjore quartet namely Poniah Pillai and brothers. Earlier variedly known as Dasi Attam and Sadir, it was practiced by Devadasis of the southn Indian temples. It went into disrepute due to economic and social conditions and it was Rukmini Devi who gave it new life and respectability. Its format consists of Alarippu(invocation), Jathi Swaram (note combinations), Shabdam(notes and lyrics), Varnam(a combination of pure dance and abhinaya), lighter items like Padams and Javalis(all erotic) and finally the thillana (again pure dance). On par with Rukmani Devi, there was Bala Saraswathi, the queen of Bharata Natyam.

Chakiarkoothu :

This form is believed to have been introduced to Kerala by the early Aryan immigrants and is performed only by the members of Chakiar caste. A highly orthodox type of entertainment. It can be staged inside temples only and witnessed by the Hindus of the higher castes. The theatre is known as koothambalam. The story is recited in quasi-dramatic style with emphasis on eloquent decorations with appropriately suggestive facial expressions and hand gestures. The only accompaniments are the cymbals in the drum known as the mizhavu, made of copper with a narrow mouth on which is stretched a piece of parchment.

Folk Dances :

Folk Dances of India vary according to the region and have no specific grammer. They fit in with the scheme of festivals in each region.

Kathak :

It has its root in katha-story. A band of story tellers who are attached to temples in North India, narrated stories from epics. Later, they added mime and gesture of their recitation. The next stage in evolution came in the 15th and 16^th centuries A.D. with the popularization of the Radha-Krishna legend . With the advent of the muslim rule, It was taken out from the temples of to the courts Jaipur, Lucknow and Benaras became the centers. While Jaipur gave predominance took pure dance with emphasis on rhythm, The Lucknow drifted into erotics. Benaras is also stuck to pure dance but it provided for the sensuous aspect by delineating episodes from Radha-Krishna legend. The parton kinf of the Lucknow style was Wajid Ali Shah who spent extravagantly on art. The place of women in Kathak was of a different order. They were known as nach-walis who adorned the courts of Mughals. Apart from this, they were used for entertainment of the pleasure seeking rulers and their fawning toadies. Eventually they came to be categorised as women of easy virtue. The Kathak dance goes through a regular format mostly concentrating on rhythm variously called Tatkar, Paltas, Thoras, Amad and Parans.Binda Din Maharaj, Kalkadin, Dachan Maharaj, Gopi Krishna and Birju Maharaj are but a few maestros in the line.

Kathakali :

It is the most refined, the most scientific and elaborately defined dance from of Kerla. As it is obtained today it is not more than 300 years old, but its roots can be traced back farther past. It is a very exciting art form demanding not only complete control of practically every fibre of artiste’s body, but also intense sensitivity of emotion. The Stories for attakathas are selected from epics and mythologies and are written in highly sankritised verse form in Malayalam. The actor does not speak, but expresses himself through highly mudras and steps, closely following the text being sung from the background of the stage.

The domain of kathakali is peopled by superhumans, gods and demons, and animals who are presented in a larger than life format. What strikes the spectator of costumes, ornaments, and facial make-up which transform the actor dancer into a type rather than a particular character. A character can be identified by the color he sports. A green painted face stands for nobility, honor, valor and such higher such higher qualities.

Mythological heroes like the Pandavas, King Nala and divine personages like Krishna and Indra wear the Katti makeup. In charatcters who wear the Katti makeup, the green on the face if broken by a red patch resembling an upward twirling moustache. This makeup is symbolic of high born anti heroes, who are demonic, but worthy foes to the heroes. Examples are characters like Duryodhana, Ravana and so on.

Another character clssification called tadi(beard) includes weares of red, white and black beards-red worn by vicious and savage villains like Dussasana, Bakasura and so on, white by the pious giant monkey Hanuman, and black worn by aboriginal hunters and forest dwellers. The category called kari(black) has characters whose faces are painted in lamp black, mostly ogresses like Shurpanaka and Hidimba. In complete contrast is minukulu, in which the face is painted in delicate flesh tones with yellow and red powder. They are the noble women, queens, princesses, mostly heroines like Damayanti, Sita and others.

The vocabulary for performer is only hastamudrsas(stylished hand gestures), facial gestures and nritta. Together with exotic quality of the spectacle and intricate abhinaya system and rhetorical text rendered in classical style to the accompanimment of dru-ms, a kathkali performance transport a spectator to an unwordly atmosphere peopled by gods, demons and other superhumans.

It takes years for novice to graduate into an actor. Seven years of full time practice under a meticulous teacher is the minimum called for. But to make an accomplished actor able to portray versatility, it takes many more.

Kathakalli had its origins in the courts of the kings of Kerala. It is considered to be a highly synthetic art form, combining in itself the rudiments of its earlier forms like Krishnanttam and Ramanattam plus a highly scientific dance drama form. It is not folk, but highly classical, though not very bad.

Most of the attkathas were written in the last century, but new attkkathas are also appearing, though the standards are still kept undisturbed. There is plenty of innovation going on, yet all within the framework of the basic format. One of the noteworthy innovations was rendering Goethe’s German classic Faust into an attakatha. Poet Vallathol can be said to be the fountainhead of all inspiration in regard to today’s kathkali. He authorized many a script. ‘Kerala Kalamandalam’ at Cheruthuruthy on the bank of Bharata-puzha is the premier institution in this regard.

Koodiyattam :

This is always a long drawn out affair and may take anywhere from a few days to a number of weeks. It is both entertainmient and edification. The Vidhushaka rules the roost. He moralises and his armoury-satire and innuend-has some times no relevance to the theme of the play.

Krishnanattam :

It is intended for presentation on eight successive nights to unfold the entire story of lord Krishna : the style is almost akin to Kathakali.

Kuchipudi :

It is the dance drama of AndhraPradesh. It is the corresponding style of the Bhagavata Mela nataka of Tamil Nadu. Except that the emphasis is on the animation, the grammar is derived from the Natya Shastra and in all other aspects it is akin,to Bharata Natyam.Tirtha Narayana and Siddendra Yogi evolved this Style.Kuchelapuram in Andhra Pradesh was the birth place of this style. Hence the name Kuchipudi. It was a male prerogative. In recent years women have taken to it but it is mostly solo dance that they perform. To this extent the concept has been watered down. Like Kathakali it used to be a week-long affair. Vedantham Satyanarayana is the doyen this style and he has carved out a niche for him in portraying the haughty, beautiful and vain glorious Satyabhama.Vembhati China Satyam , however, is the most popular guru today.

Manipuri :

From the 15th to the 18th centuries, Vaishanavism came to be adopted in manipur and this ushered a new era in the devefopment of this style. For Manipuris, dance has been so inextricably woven into their pattern of life. The dance form is mostly ritualistic. It has still preserved the dance drama technique which draws heavily from the rich lore of legend,and mythology. Costumes are colourful and the music has a quaint old world charm. The numbers presented are Lai Haraoba and Rasa Leela. The former deals with the creation of the world and the latter is on Krishna Leela.

Drums play an important part and the Poonang Cholom item is a must in any performance. The Kartar Cholom danced with cymbals is another exciting item.

Mohiniyattam :

It is also the heir to Devadasi dance heritage like Bharatanatyam, Kuchipudi and Odissi. The word 'Mohini’ literally means a maiden who exerts desire or steals the heart of the onlooker. There is the well-known story of Lord Vishnu taking on the guise of a 'Mohini' to enthral people, both in connection with the churning of the milk-ocean and with the episode of the slaying of Bhasmasura. Thus it is thought that Vaishnava devotees gave the name of Mohiniyattam to, this dance form. In format, this is similar to Bharatanatyam. The movements are graceful like odissi and the costumes sober and attractive. It is essentially a solo dance.The first reference to Mohiniyattam is found in Vyavaharamala,composed by Mazhamangalam Marayanan Nambudiri, assigned to the, 16th century A.D.

In the 19th century Swathi Tirunal, the king of.erstwhile Travancore, did much to encourage and stabilize this art-form. It was, Poet Vallathol who again revived it and gave it a status in modern times through Kerala Kalamandalam, which he founded in 1930. Kalamandalam Kalyaniamma, the first dance teacher of Kalamandalam. was instrumental in resuscitating this, ancient art form. It is slowly trying to acquire an identity and classical status.

Odissi :

This is also based on the Natya Shastra and the earliest evidence, we have of the existence of the art of dance in Orissa is during the 2^nd century B.C. when the Jain King Karavela ruled. Himself an expert dancer and musician, he arranged a performance of Thandava and Abhinaya.

In the early 17^th century, a class of boys known as Gotipuas, came into being. They dressed as dancing girls and danced in the temples. Grace is its uniqueness and the most important elements are Bhangis and Karanas The Bhangis are the basic poses and the Karanas the basic dance units.

The format consists of Bhumi Pranam, Batu, Pallavi and lighter items like the Ashtapadi ending in moksha approximating to the Thillana of the South. It has gained popularity today it is to the Samyukta Panigrahi to have made it acquire universal appreciation. Today kelucharan Mahapatra has become a name to reckon with as a pre-eminent guru.

Ottan Thullal :

It is performed solo and because of its ready mass appeal, it is also known as the poor man's Kathakali. Kunjan Nambiar evolved it an brought out the social conditions of his time, the distinctions of class and the weaknesses and whims of the' rich and the great. The dialogue is in simple Malayalam and therefore ensures mass,appeal.

Yaksha Gana :

This belongs to Karnataka and his a.rural origin. It is an admixture of dance and drama. Its heart lies in 'Gana' meaning music. It is about 400 years old. The language is Kannada and the themes are based on Hindu epics.The costumes are almost akin to the Kathakali ones and the style seems to have drawn inspiration from Kathakali. As prescribed in the Natya Shastra, it has the Suthra Dhara (conductor) and the Vidhushaka (the Jester).

Bharata Natyam	Kathak	Krishnanattam
Chakiarkoothu	Kathakali	Kuchipudi
Folk Dances	Koodiyattam	Manipuri
Mohiniyattam	Odissi	Ottan Thullal
Yaksha Gana
Arangham - organisation promoting Indian classical dances Kalakshetra - institution for the revival of Indian arts & crafts, dance forms Art India - links to Indian music, dance, cinema, official sites of Govt. of India etc. Darpan Dance Academy - school teaching Indian classical dance Indian Classical Dance - information on elegant Indian classical dances. Indian Dance Forms - feature on the various dance forms in India Jaya Mangal School of Music and Dance - site about Indian classical music and dance Nalanda Dance Research Centre - engaged in education, research and popularisation of classical Indian arts. Om Linga Performing Arts Centre - classical Indian dance, music, Abhinaya, and Nattuvagam. Tilottama Koshy - exponent & choreographer of Indian classical dance Uma Sharma Academy Of Dance and Music - information about the Indian dancer and her workshops for Kathak Dance. Bharathi Kalalaya - fine arts institution for Indian music and dance Uma Sharma Academy Of Dance and Music - information about the Indian dancer and her workshops for students. Nalanda Dance Research Centre - engaged in education, research and popularisation of classical Indian arts. Uma Sharma Academy Of Dance and Music - information about the Indian dancer and her workshops for students. Kalakshetra - institution for the revival of Indian arts & crafts, dance forms & theatre Namita Bodaji - Indian classical dancer. Sonal Mansing - Padmabhushan winnIndian classical dancer.