c
Y
Y
The temple tradition of dancing that was practiced in the ancient times has got an entirely new
dimension today. The Indian classical dance has been able to make a niche for itself at the global
level. It has not just gained popularity amongst the Indians, but has also brought about a
sensation in the western countries. The traditional dances of India have crossed all the boundaries
and today they stand above all others having an identity of their own. The varied dance forms of
India depict the rich cultural heritage of our country. The origin of these dance forms can be traced
back to 400 B.C during the times of Natya Shastra of Bharata Muni.
Y
Y
Y
Bharatanatyam is a classical dance of India, which finds its roots in the southern state of Tamil
Nadu. It is believed that Bharatanatyam is mainly a renewal of Cathir, the ancient art of temple
dancers. The dance form has been named after Bharata Muni, the author of h
t e Natya Shastra
(ancient treatise on classical Indian dance). The word Bharatanatyam is composed of three terms,
Bha meaning Bhava or abhinaya (expression), Ra meaning raga (melody) and Ta meaning tala
(rhythm). In other words, the dance form is a communion of expression, melody and rhythm.
The oldest of all the classical dance forms in India, Bharatnatyam is also known as the fifth Veda.
In the ancient times, it used to be performed by the Devadasis in the temples of Tamilnadu as
'dasiattam'. The postures of the Bharata Natyam dance of India have served as an inspiration for
the ancient sculptures in Hindu temples. The postures of the celestial dancers depicted in the
scriptures were given the name of Bharatanatyam Mudras on earth. The spirit of Bhakti has been
deeply ingrained in Bharata Natyam and it mainly features mythological stories.
The philosophy behind the dance is to search the human soul and unite with the Supreme Being.
In the dance form of Bharatnatyam, the artists make use of beautiful hand and eye movements to
convey the message. It is more of a personification of the music in a visual form. There are three
main elements of Bharata Natyam, namely
Y Y Y
Y
Y
Y Y
Y
YYY
Y Y
Y Y
Y
Y Y
Y Y
The credit of bringing Bharatnatyam to its present form goes to the famous quartet of Chinnayya,
Ponniah, Sivanandam and Vadivelu of the Tanjore Court. The various forms of the dance, like
Alarippu, Jathiswaram, Sabdham, Varnam and Tillana, were also introduced by them. Even the
first dance teachers of Bharatanatyam in Tanjore were the descendants of these four brothers
only.
p p
With time, the devadasis of the temple turned into narthakis of the royal court and prostitution
started replacing the devotion of the women. The original technique and themes of Bharatnatyam
were modified to suit the new demands. The sacred connotation of the dance form was sacrificed
to make it amenable to the entertainment needs of the kings.
The person responsible for once again raising the social status of Bharatanatyam is Krishna Iyer.
He also contributed positively to the popularity of the dance form throughout the world. Another
name that comes in mind in connection with this is that of Rukmini Devi Arundale. She modified
the Pandanallur style of Bharatanatyam and popularized it in the West. Rukmini founded the
Kalakshetra School in 1936, outside the city of Madras, in order to teach the dance form as well as
to promote it. Today, Bharatnatyam has become an integral part of a girl's upbringing in Tamil
Nadu.
The major techniques of the classical dance form of Bharatnatyam include
Y Y YY
Y
Y
Y Y Y
Y
YY
YY Y
Y
Y Y
Y
Y Y
Y Y
A typical Bharatnatyam performance includes:
Y Y
Y Y Y
Y Y!
Y Y
Y YY
Y
Y YYY Y YY Y
Y
Y "Y Y Y
YY
Y
Y #
Y$ Y
YYY
Y
Y
Y
Y
Y Y% Y
Y Y Y
YY
YY
&Y
Y
Y
'YY
YY
Y
Y
Y
Y
Y! Y
Y Y Y
Y (Y
Y Y Y
YY
&Y
(Y
Y Y
Y
Y
Y
The term 'Kathak' has been derived form the Sanskrit word 'Katha', which means a story. The
classical Indian dance form of Kathak originated in the northern regions of the country and is
narrative in nature. Fast footwork (tatkar), spins (chakkar) and innovative use of bhav in abhinaya
characterize Kathak. Kathak, as it is practiced today, was affected by the mythological narratives
by kathakas, temple dances, the bhakti movement and even Persian influence of the Mughal
courts.
a p
In the present times, Kathak art of India includes the representation of the three phases of life,
namely creation (symbolized by Lord Brahma), preservation (symbolized by Lord Vishnu) and
destruction (symbolized by Lord Shiva). The tempo of the dance moves from slow to fast, with the
end being quite dramatic. Kathak also comprises of compositions that include only footwork. Bols
(rhythmic words) form a major part of almost all the Kathak compositions. The bols can either be
taken from the sounds of the tabla or can be a dance variety also.
A shorter version of the Kathak dance is known as 'Tukra', while the longer version is known as
'Tora'. Tukras bring specific aspects of the dance into the forefront and are usually executed on the
heel. At the end of the Tukra, the dancer takes a number of spins, which are executed at a great
speed. The other compositions of Kathak can be sub divided into the following categories:
Y
Y) Y
Y Y
YYY Y
Y Y
Y
Y Y YY
Y Y Y
YY Y
Y
Y
Y YY
Y
Y
( Y Y Y
Y
Y Y Y
Y
Y #YY
Y
Y Y
Y
Y YY(Y
Y Y Y
Y
Y Y
Y *Y
Y
YY Y Y Y
YY
Y
Y YY
Y Y
Y
Y Y(+Y
Y YY
Y Y
Y
Y Y YY(( Y
Y YY
(Y
YYY
Y Y
Y
Y
Y Y
Y !
YY
(Y
YY
Y
YY Y
Y YYY
Y )Y YY
Y Y Y
Y
Kathak dance form evolved in the ancient times, from the performances of professional
storytellers, known as kathakas. They used to narrate stories, while dancing and singing at the
same time. The tradition was passed on from generation to generation. The development of
Kathak continued since and it was around the 13th century that a distinct style emerged. With
time, features like mnemonic syllables and bol started developing. The Bhakti movement of the
15th-16th century also had an impact on the dance form.
With the introduction of Kathak in the Mughal court, Persian influences also started having an
impact on it. A social class of dancers and courtiers emerged in the royal palaces and dance
became a form of entertainment, rather than worship. An exchange of ideas started taking place
between the Indian dancers and those from the Middle East. Then, began the gradual shift of
Kathak from the other traditional dances. The characteristic 'chakkars' (spins) were introduced in
the dance form around this time only.
During the British Rule in India, Kathak experienced a sharp decline in its popularity. It was
denounced by the Victorian administrators as a vulgar form of entertainment and associated solely
with the tawaifs (prostitutes).
J
The different styles of Kathak in the pre-independence period developed into the different schools
(gharans), namely
The Lucknow Gharana developed in the courts of the Nawab of Oudh of Lucknow. Nazakat
(delicacy), khubsurti (beauty) and abhinaya (acting) characterize the Lucknow School.
The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur. Strong rhythmic
elements and different talas, characterize the Jaipur School.
The Benaras Gharana developed in the courts of Janakiprasad. Natwari bols and minimal chakkars
characterize the Benaras School.
!
The Raigarh Gharana is a sort of an amalgamation of the Lucknow, Jaipur and Benaras Gharana.
The dance form of Kathak regained its popularity after the country gained independence and
today, it is recognized, throughout the world, as one of the seven classical dance forms of India.
Y
Y
Y
One of the most popular forms of classical dances of India is Kathakali dance. Kathakali dance
drama originated in Kerala and it essentially is a musical drama. The classical dance is best known
for its elaborate costumes and glaring make up. The make up and costumes form an essential part
of the art of Kathakali. Often, tourists who visit the state of Kerala take back clay figurines of the
famous Kathakali mask. Read on to know about the classical dance form of Kathakali.
The literal meaning of this word means "Story - Play". The dancers perform and act out scenes
from epics like Mahabharata, Ramayana and also the ancient Indian scriptures. The themes of
Kathakali are usually religious in nature and the text is a mixture of Sanskrit and Malayalam.
Kathakali is performed by only men and if the script requires female characters, their roles are
also performed by men dressed in the female attires. A Kathakali performance is a major social
event if organized in a community. It is attended by almost everyone in that community and goes
on till the wee hours of night.
The tradition of Kathakali dates back to the 17th century. The refined and present form we see
today was prepared by Mahakavi Vallathol Narayan Menon, founder of Kerala Kala Mandalam. The
dance form requires the performers to rely heavily on hand gestures and facial expressions to
portray their character and emote the dialogues and messages. The hand gestures are an essential
part of almost all classical dances and are known as "Mudra".
The costume of a Kathakali dancer is very elaborate and distinctive. It takes a lot of time for
dancers to get into their costumes and apply make up and it can get very tiring since they usually
apply make up by themselves. The costume itself explains the character a person is playing. The
costumes also vary according to the character and there are different types of costumes for the
hero, villain, female characters, demons, etc.
The make up of a Kathakali dancer is the most interesting part. The minutest details are given
importance and each color has its own significance. The make up looks more like a mask than the
usual touching up of features. The materials used for make up are easily available and don't
irritate the skin. The white border is made of rice flour, red is made from vermilion, black is made
of soot, etc. Each color has its own significance and symbolizes good and evil characters. The
music that accompanies the dance is basically Carnatic music. The instruments vary from
performance to performance and usually traditional instruments like Chenda, Idakka and Shuddha
Madalam.
Y
Y
Y
Kuchipudi is a classical dance that has its origin in Andhra Pradesh. The name 'Kuchipudi' is
acquired from the name of a small village of Kuchelapuram near Vijayawada in Andhra Pradesh,
India. In seventh century, Kuchipudi evolved with the outcropping of Bhakti movement. The credit
of existing dance form of Kuchipudi goes to Sidhendra Yogi. One of his eminent works of dance is
'Bhamakalapam'. Though, Sidhendra Yogi restricted the art of dance to the young Brahmin boys of
the village, yet the dance is outshined by women these days.
Generally, the dance of Kuchipudi is commenced with certain stage rituals and following them,
every participant appears on the stage introducing them with a 'daru' (a small comp of both song
and dance). Daru helps in introducing the characters and set the atmosphere of the stage show.
The dance starts with a song that is usually carnatic music. The song comes along with the
harmony of Mridangam (a classical instrument), Violin, Flute and Tambura (an instrument with
strings). The dancers wear ornaments that are fabricated out of a light wood commonly known as
'Boorugu'.
Kuchipudi Dance Drama has a perfect blend of speech, mime and pure dance. The Kuchipudi
dancer is a multifarious personality on the stage that changes form with the pace of mime.
Kuchipudi has imitated many of its features like 'Yakshagan' from the dance of Bharatnatyam. The
dance of Kuchipudi is vivacious and dazzling, yet has the magnitude of being earnestly
symphonious. It is audacious and sumptuous in the movements of the eyes and does not look
restrained to the slouchy world of hankering lovers. There are numerous dancers that are
renowned for Kuchipudi in India.
Kuchipudi is famous for its swift and delicate footsteps and elegant movements. The best part of
Kuchipudi dance is the breathtaking dance on the brass plate rim. With the change in time,
Kuchipudi has changed in a great deal. Initially, it was intended to be a conventional dance act,
crammed with religious feeling and dedication. Usually men used to perform Kuchipudi after
passing through a strict training. In the present date, Kuchipudi dance is mostly performed by
women. Kuchipudi has crossed the boundaries of India and today, even foreigners like this form of
Indian Classical Dance.
a
Y
Y
One of the major classical dance forms of India, Manipuri dance evolved in the northeastern state
of Manipur. Initially a part of temple procedures, Manipuri dance still retains the religious and
social element in the performances. All types of Manipuri dances, whether folk or classical or
modern, are devotional in nature. The people of Manipur mainly worship the Hindu deities Radha
and Krishna and even their dance portrays the mythological stories revolving around the deities.
One of the most popular dances of Manipur is the Ras Lila of Radha and Krishna.
The presentation of the Indian Manipuri dance on stage started somewhere around the 20th
century only. The major credit for spreading the popularity of Manipuri dance form goes to the
acclaimed Bengali poet and philosopher, Rabindranath Tagore. He witnessed the beautiful dance
form for the first time in the year 1920 and immediately fell in love with it. Tagore even introduced
the Manipuri dance in his university, Santiniketan. Even today, traditional Manipuri dance is taught
in Santiniketan.
J
Delicate, expressive and elegant movements are the hallmark of Manipuri dance form. The dancers
take care to ensure that the movements are rounded and there are no jerks and sharp edges.
Quite unlike the other classical Indian dance forms, Manipuri dance requires that the feet of the
dancer should never hit the ground too hard. This doesn't gel too well with the otherwise delicate
movements of the dancer.
Whenever the dancer puts his/her feet on the ground, the front part of the feet has to touch the
ground first. This is intended to break the fall, so that the ankle and the knee joints jointly absorb
the shock. In the Manipuri dance, the feet of the dancer are never ever lifted or put down at the
precise rhythmic points of the music. Infact, a few seconds are allowed to pass, in order to express
the rhythmic points most effectively. Manipuri dancers also do not wear ankle bells.
In the Manipuri dance, not only the body and feet movements, but also the facial expressions are
quite delicate and subtle. The entire performance reflects utter devotion and elegance. The music
required for the dance is drawn from a number of instruments, namely a percussion instrument
called the Pung, small cymbals, a stringed instrument called the Pena and wind instruments such
as a Flute. Male artists act as drummers and are trained to dance with the Pung while drumming.
a
Y
Y
One of the youngest Indian classical dances, Mohiniyattam dance came into being during the 16th
Century A.D. By 19th Century, it was in its full form as it was boosted and encouraged by Swathi
Tirunal, Maharaja of Trivandrum, Kerala. The Mohiniattam dance form is a very sensual and
graceful dance form that is performed both solo and in a group by women. The term Mohini means
a beautiful maiden who enchants spectators and Attam means dance; so Mohini Attam is
essentially an enchanting dance by a gorgeous maiden.
There are two famous legends that are associated with the origin of the dance form. It is said that
Lord Vishnu appeared in the form of an enchanting Mohini to lure the demons away from the holy
nectar of immortality (Amrit) that was churned out by the Gods and the Demons. In another
instance He comes as Mohini to save Lord Shiva from the demon Bhasmasura. The name of the
dance was essentially created after this legend and the hero or the main protagonist of every
dance performance is Lord Vishnu or his avatar Lord Krishna.
The theme that surrounds the dance is love and devotion to God. It is basically a form of dance
drama and was performed by maidens in temples in old days. This dance form also has elements
of Bharatanatyam, the classical dance of Tamil Nadu. The dance form has 40 basic movements
and is a very gentle dance. The performer uses her eyes to enchant the mind without exciting the
senses. The hand gestures used in Mohiniattam are very important as a communicative gesture.
The make up and costume is very realistic and simple. A white sari with golden brocade border is
the usual costume. It is teamed with gold jewelry like elaborate earrings, an elegant necklace, a
gold waistband, bangles, armlets, etc. The make up emphasizes on the eyes and they are
beautifully lined and made to look sensual. The music is classical in nature and is a mix of Sanskrit
with Malayalam. The dance is performed according to the rhythm of the song with subtle footwork
and powerful hand gestures of the performer.
Y
å
Y
Y
One of the oldest surviving dance forms of India, Odissi classical dance is the dance form of the
state of Orissa. The dance form dates back to 2200 B.C and evidences are found in the rock caves
of Khandagiri and Udayagiri that are located in Orissa. The dance form has been modified and
refined over the centuries and today we have three different styles of Odissi dance. These are:
Y ,Y
Y Y
Y Y$ Y
Y$Y
Y ,Y%Y Y
Y Y (+Y Y$Y
Y ,Y Y* Y%
Y Y
Y
Y
Y
Y Y
Y
Y" (Y
The distinct style of Odissi dance is reflected in the relaxed grace, the striking poses and the
arresting performance that are combined together at the same time.
The classical Odissi dance has two main postures which are known as Tribhanga and Chaukha. The
former is a very feminine posture with a distinct three-body-bend. The hand gestures are very
similar to Bharatanatyam. Usually, the Odissi dance is based on the legends and popular stories of
Lord Krishna. The graceful dance depicts the relaxed ambience of the famous o
l rd of Orissa, Lord
Jagannatha of Puri.
The performance is begun with a prayer chant that is known as "Mangalacharana", which is a
tribute to Earth, Lord Jagannatha, other Gods and a note of thanks to the Guru and the audience.
This is followed by Batunyra, Pallavi, Abhinaya and Moksha. The Odissi dance is an attempt to
attain a higher level of realization also called as Moksha. In Moksha the dancer tries to merge with
the divine force in a state of total ecstasy. The dance brings the dancer closer to God and provides
the ultimate bliss.
Y
