You are on page 1of 15

Dance in India Dance in India, is rooted in age-old tradition.

This vast sub-continent has given birth to varied forms of dancing, each shaped by the influences of a particular period and environment. These pristine forms have been preserved through the centuries, to become a part of our present culture, a living heritage which is both our pride and delight. Nurtured in temples, princely courts or villages, dance has moved into the auditorium of today, bringing pleasure to many more people, in far-flung regions. It is now possible to appreciate the lyrical grace of the Manipuri dance of North-Eastern India in, say, Gujarat. This dance-form arising out of Krishna-bhakti, is sinuous in its movements and romantic in its concept, celebrating a divine theme which is meaningful to people all over the country. Similarly, the sophistry of Kathak, which flowered at the courts of the Mughal princes with its accelerated tempo, intricate foot-movements, and subtle facial expressions, evokes a resplendent past common to us all. The abundant largesse of dance in South India, from the Bharatanatyam of Tamil Nadu, to the Kathakali dancedrama of Kerala, to the Kuchipudi of Andhra, has become part of the melting-pot of culture enriching the life of any Indian today. For, to witness the strength and vigour of Kathakali as it enacts episodes from the Mahabharata and the Ramayana, is an education in itself. The extremely stylised gestures, the elaborate make-up, the masks and the splendid costumes of these all-male dancers, recreates an incomparable sense of pageantry. Bharatanatyam, the temple-maiden's dance of devotion, has a classic quality which is as daunting as it is beautiful. The rigorous precision of foot and hand movements, the eloquent range of expression depicted through eyes and mouth, and the total linear consonance of body is exacting and exciting in its perfection. Bharata's Natya Sastra is the Bible of Indian aestheticians. It says that the Creator (Brahma) created it to give joy in life to the gods who found their cosmic functions to be heavy and dreary. Bharatarmada and Abhinaya Darpana are other important classical works on the Indian art of dance. Kalidasa's drama Malavikagnimitra, Vishnu Dharmothrara and Agni Purana throws much light on the art. Other important Sanskrit works are Dhananjaya's Dasa Roopaka, Sargadava's Sangita Ratnakara, Thulajaji's Sangita Saramitra, Bala Ramavarma's Bala Bharata, Haripala Deva's Sangita Sudhakara, Veda Suri's Sangita Makaranda, Rasamanjari etc. Tamil works on dance are Bharata Senapatheeyam, Bharata Siddhanta, Bharata Sangraha and Mahabharata Choodamani. In the famous Tamil epic Silappadikaram , there is a reference to eleven varities of dance (alliyam, kudai, kudam etc). It refers to 24 kinds of abhinayam. The Heritage Of Devadasi Dance The Devadasi dance tradition which developed through the temple Danseuses is an important type among the dance patterns of India. Bharatnatyam in Tamil Nadu, Kuchipudi in Andhra Pradesh, Odissi in Orissa and Mohiniyattam in Kerala took shape in the tradition of Devadasi dance. These dance forms grew and developed a classical status. In the Puranas, there are references that a custom of dedicating maidens to the deity in temples was prevalent in India from very early times. They later came to be known as 'Devadasis'. They were in charge of the music and dance aspects of temple rituals. In India the dancing and singing of Devadasis was an integral part of temple worship. They were attached to temples in various parts of India, like Kerala, Tamil Nadu, Andhra Pradesh, Mysore,

Maharashtra, Rajasthan, Gujarat, Bengal, Orissa and Kashmir. It was a common custom in all places that maidens under went a symbolic marriage with the deity before she became a Devadasi. In Kerala, it was called 'Penkettu'. The Saiva section of Hinduism fancied the Devadasi custom more than the others. The 'Shiva Purana' lays down that when Siva temples are built and endowments made for the conduct of the daily rituals, the gift of damsels well versed in dance and song should be made to the temple. History records the fact when in the 9th century A.D. Raja Raja Chola built the Brahadesvara temple in Tanjore he gifted four hundred Devadasis to the temple. Dance was an important factor in the worship of Siva. He was known as 'Nataraja'. The 1st items in 'Bharatanatyam' called Alarippu and in Mohiniyattam known as colkettu are considered to be dance patterns sacred to Lord Shiva. There is a sloha in praise of Siva towards the end of the text used for colkettu in Mohiniyattam. Devadasis in Kerala are to be found in the Manipravala compositions of the 1st half of the 13th century and later literacy works. Famous dances like Unniyacci, Unniyati, Unniccirutevi and others are described therein as expert exponents of the Devadasi art, attached to Siva temples and residing in their precincts. Most of the stone inscriptions containing references to Devadasis in Kerala, have been discovered from Siva temples. Saiva form of religion has an antiquity of about 4000 years. Though in the beginning the Devadasi institution was confined to Siva worship, as times passed other forms of relegion also adopted the Devadasi tradition. By about the 1st century B.C, the Devadasi system had found a place in Buddha, Jama and Hindutemples. Various references in ancient literature gives us an idea of the Devadasi tradition and their dance performances. In Kautilya's Arthasastra (considered to be written in the 3rd century B.C) there are references to Devadasis and their training in dance. In 'Mricchaghatiham' a Sanskrit drama supposed to have been written by 'Sudraka' in the 2nd century, the heroine B.C Vasantasena is introduced as a good danseuse. The original 'Katha-Sarit-Sagara' (the ocean of story) written in Paisaci language is deemed to have been composed before the birth of Christ. Though original is lost, its Sanskrit translations are available. In the story entitled 'Alajala', a dancing girl 'Sundari' who performed in temples is mentioned. The earliest and the greatest Tamil epic poems, 'Cilappatikaram' and 'Manimekhalai' are the main sources of information about the life of the danseuses of Tamil Nadu and Kerala of that age and their special styles of dancing. In the course of time, separate subsects of Devadasis came into being. The duties of Devadasis included dancing as well as cleaning the temples, providing flowers and other items needed for the conduct of the daily propitiations in the temple, cleaning the rice and the articles of offerings to the deity to help the work of the priests. In addition, they were called upon to perform dances in the King's court and serve the palace in general. This variety in their work pattern gave rise to various types with separate distinctive names. The Devadasis known as 'Basavis' in Karnataka, are of 4 types. Those who danced in temples were considered the most prestigious and they belonged to the highest class. The Maledavaru indicated the section which took part in dance recitals in marriages and other festivals, while the Maleyavaru prepared garlands of flowers etc. for the temple and the Subyavaru were plain prostitutes. In a village in Karnataka called 'Basaruru', Devadasis can still be found. The common word to denote Siva devotes is 'Basavas'.

In Tamil Nadu, those who danced in Siva temples were called Devadasis, those who performed dance recitals in the Kings court were called Rajadasis, and those who gave dance performances in festivals elsewhere came to be known as Svadasis. In Andhra, there were 3 types of Devadasis. The genuine devadasis who performed in temples, those who danced in the court of Kings came to be known as 'Rajanarttaki'. In Kerala, the Devadasis had a highly respected place in society. This is made clear from the ancient poetic compositions of Kerala. Devadasis like 'Chandotravam' and 'Sukhasanderam. Kulasekhara Perumal, the ruler of Kerala in the 9th century A.D dedicated his own daughter to the Srirangam temple. So it was not uncommon for maidens from royal or even Brahmin families to become Devadasis. Kerala history has many examples of beautiful and attractive ladies of Devadasi sect being accepted as consorts by kings. It is said that Devadasis, Kandiyiu Teviticci Unni, Cherukarakkuttatti and others had been queens. UttaraChandrika, the heroine of the 'Manipravala Kavyam' of that name belonged to the Chirava royal family. Basics of dance Abhinaya Bharata's Natya Shastra was the first book which gives the details about the technique and forms of dance. 'Abhinaya Darpanam' was another book on dance. It gives the fundamental principles for every technique. Dharma means code. Natyadharma and Lokdharma are the principal codes of the Indian dance-drama. Natyadharma: is a code or rule of conduct for the artist. It teachers him deportment and how to create sincere appreciation in the audience. Lokadharma: This code exhorts the player to employ realism for the purpose of swaying his audience. He is called upon not merely to feign sorrow but to work up his emotions to a pitch that will produce genuine grief. The chief difference between Natya Dharma and Loka Dharma is that the former advocates imaginativeness and the latter realism.

Abhinaya There are four types of dramatic expression derived from the four Vedas and based on the four planes. They are 1. 2. 3. 4. Vachik Abhinaya or verbal expression such as dialogue in drama and has its origin from Rig Veda or Book of Hymns and it is based on the plane audible. Sattwik Abhinaya or the interpretation of moods, which is originated from Atharva Veda and is based on astral. Angik Abhinaya or bodily movements such as action and mime and has the origin from Yayur Veda or book of sacrifices and is based on the divine. Aharyya Ahbinaya or decorative effect such as decor and lighting and has the origin from Sama Veda or book of melodies and is based on the plane visual.

Sattwik Abhinaya The Sattwik Abhinaya consists of two elements complementary to each other.They are the Rasa or emotional flavour and the Bhava or the mood to suit a particular emotion. Rasa is the primary and most important requirement of nritya which may be interpreted as emotional flavour or sentiment. The artist must seek to arouse this ecstasy in the spectators so that his emotions and theirs may fuse and become attuned to the spirit of the drama. Bhava is the secondary and complementary features. Bhavas may be of four kinds. (a) Vibhava, which is again sub divided in to abalambanam and its accessory Udipan. Love in the Radha Krishna dance may be expressed through the former, while the latter helps the mood with the external aid of a moonlight setting. (b) Anubhava expresses the effect of a mood such as the ravages of anger or sorrow, or the rapture of love. (c) Vyavicharibhava pertains to the temporary changes of settings to fit in with the mood of particular scene. (d) Sattwikbhava consists of eight standardized movement to express such emotions as joy, fear or disgust. The main difference between the rasa and bhava is that while rasa depends purely on imaginative transfiguration, bhava is more earthy for it is concerned with creating a mood through physical media. Rasas express the beginning of a sentiment while bhavas complete or round it off either through the agency of mana; the brain or of the sharira; the body or through an action such as the throwing of a stone.

Angik Abhinaya The Angik abhinaya portray actions and reflect emotions through movements of the three different parts of the body. (a) Anga or major portions, including the hands, legs, head, hips and chest . (b) Pratyanga or intermediate parts such as the neck, shoulders, back, stomach, elbows, thighs, knees and ankles. (c) Upanga or minor portions such as the lips, the mouth, the teeth, the tongue, the nose, the cheeks, and the eyes. The movements of these various parts are correlated. There are three subdivisions of the angik abhinaya. They are (1) Ankur movements that include the rechaka (movements ) of the head, the dristi or glances of the eyes, the movement of the eye brows and the eyelids, the addiyam of the neck, the rechaka of the cheeks, the chin, the lips, the face or movements of any of the intermediary parts of the body such as the shoulders, the waist or the stomach. Positions of the feet are also included here. (2)Nritta, or standardized movements and poses as the various postures for deities to suggest meditation or spiritual calm. There are the the brahmani or spiral movements, the utplavana or leaping movements and the chari and gati or gait movements. (3) Shakha or hand movements. Hasta mudra or gestures of the hands play a very important part in Indian dancing. They symbolize either an emotion, mood or a some object or an animal or a person. The two most important varieties are (a) Asamyukta or single -hand gestures (b) Samyukta or double hand gestures

Aharyya Abhinaya Aharyya Abhinaya plays a secondary but important role in the dance-drama. It aids the presentation of a performance with (a) Background or decor (b) Make-up (c) Music. Background Decoration creates the right atmosphere for a dance number. It forges a link between drawing, painting and the kindred arts, such as dancing and music. The decor must be effective, but not so spectacular and obtrusive that it overshadows the dancer. The purpose of the background is to indicate the time and scene of the action, serving as an introduction to a spectacle rather than being itself the main spectacle. A dark backdrop serves to bring into strong relief the figure and costume of the dancer. A row of musical instruments at the back is often employed, but it serves to break the simple line and should therefore be avoided. In nritya musicians are a part of both the audience and visual effects. As they have to be seen, it is best to arrange them on one side, near the wings. They may also be placed in two groups in the rear corners of the stage. Lighting Lighting is one of the most effective aids to illusion. It can make or mar the spectacle of the dance. Flat lighting tends to create monotony and should therefore be sparingly used. Lighting from different angles enhances the effect of a number immeasurably, so care is taken to avoid ugly shadows on the backdrop. Arc lights covered with mica help considerably in heightening the illusory effect if the mica is of a shade that fits in with the ensemble. Mixed white and coloured lights help to produce gradations and combinations of colour that evoke a variety of moods. A spotlight playing on a darkened stage is useful for Indian dancers of a light nature not characterized by any technique in particular. Make-up and Ornamentation Other aids to illusion are make-up and ornamentation. Both play an active part in nritya. Though ornaments of genuine worth such as gold or silver jewellery may help a great deal, the average dancer has to content himself with cheaper material. The Natya Shastra very sensibly lays it down that the ornaments should be light so as not to

interfere with the dancer's movement in any way. Bharata's dance treatise prescribes certain ornaments for women and others for men. Siddhi women must wear yellow robes with pearls or emeralds as ornaments. Players appearing as apsaras or celestial maidens are exhorted to wear gem-studded ornaments and to dress their hair in a bun crowning the head. Women, appearing as gandharvas (musicians) must flaunt rubies and wear gowns of a vivid red; they must also carry a veena. Vidhyadharis must be depicted in white with pearls to adorn them. Black robes and blue stones fall to the lot of the women who appear as female demons. Green drapery and pearls are assigned to characters representing goddess. Milkmaids are required to don blue costumes and to plait their hair. Colouring served to differentiate between the characters. Thus Kshatriyas (warriors) must appear painted in reddish tints and Vaishyas (merchants) and Sudras (menials) in deeper hues. Spotless white is reserved for Brahmans. Other aids to illusion are beards and moustaches. Here also colour is a distinguishing factor. Men who refrain from sexual indulgence like the saints and brahmacharis wear long white beards. The sensual and the rakish appear in black beards, while kings and gods wear mixed black and white beards. Makeup and its rules vary with the different schools of Indian dancing. Music Music helps to create the atmosphere for a dance performance. It can be treated as a part of the visual plane of the aharyya abhinaya of nritya. The 'Abhinaya Darpanam' lays down the rule that during a dance performance two cymbal players must seat themselves on the right and two mridanga or drum players must remain on either side of the stage, while a singer must be present with a tambura or drone. Indian music consists of an infinite variety of sounds, skillfully arranges. Though based on melody, Indian music has innumerable variations so subtle and with so many twists to each note that the inexperienced ear misses the lightning changes. There are twenty two notes in Indian music and they glide smoothly with silvery tones creating subtle moods and visions. The Indian musicians has two bases on which to improvise. They are the tala and the raga. The tala governs the duration of a sound and is beaten out on a variety of drum, each drum regulated to the dancers pace. It is the dancer who fixes the tala. The drummer observes the speed set and meets the dancer at the climax of each beat, in the process improvising various thekas or expressions with his palms, fingers or sometimes even his elbows or with sticks. Two dozen talas are popular today, each having from three to sixteen matras or sub divisions and in south Indian music, as many as twenty nine. The raga is a group of notes but not quite a melody. Ragas are meant to create certain moods and are divided into male and female tunes. There are six ragas or male tunes each accompanied by five raginis or female tunes and each possessing eight putras or sons with a bharya or wife, a piece. In South Indian music, there are seventy two major ragas and many minor ones. When music, singing and dancing blend in harmony in an appropriate setting, the aharyya abhinaya is complete for a nritya performance.

Three Forms of Abhinaya Natya, Nritta and Nritya are the three forms of Abhinaya (a) Natya or dance drama contains dialogue, interpretation of moods and mime, music and decor. It covers all the four planes and cause a blend of aesthetic and physical appeal. Only when the subconscious participation in the drama has been evoked can natya be said to fulfill its rightful purpose. (b) Nritta belongs to the realm of angik abhinaya alone and is thus on the divine plane. It is a rigid stylization consisting of pure dance movements evoking neither mood nor sentiment. (c) Nritya is a combination of both rasa or sentiment and bhava or mood. It is that which produces aesthetic delight in dancedrama. It embraces the sattwik, angik and to a lesser extent the aharya abhinaya on the astral, divine and visual planes. The three chief features of nritya are the Sattwik abhinaya, the Angik abhinaya and the Aharya abhinaya.

Classical Dances Of India o Bharathanatyam o Kathak

Kathakali

Kuchipudi

Manipuri

Mohiniyattam

Odissi

Bharata Natyam

Bharata Natyam was the dance technique evolved in the South of India in Tamil Nadu and practiced in the temples of Shiva. It is a highly specialised science with a traditional background and rigid codes and conventions. Bharata Natyam skillfully embodies the three primary ingredients of dancing. They are bhava or mood, raga or music and melody and tala or timing. The technique of Bharata Natyam consists of 64 principles of coordinated hand, foot, face and body movements which are performed to the accompaniment of dance syllables.

Kathakali Kathakali, is an efflorescent art form of Kerala. It has been described as a true representation of the artistic traditions of India and one of the most magnificent theatres of the imagination.

Manipuri Manipuri Dance can be called a house of many mansions. There is a belief that Radha and Krishna were the original author and creator of Manipuri Dance.

Odissi Odissi, the essence of the state of Orissa. Orissa is the highly inspired, impassioned, ecstatic and sensuous form of dance. Kathak Kathak which is a major classical dance forms of North India literally means a story-teller or Kathakar. In ancient India, there were Kathakars or bards who used to recite religious and mythological tales to the accompaniment music, mime and dance.

Kuchipudi Kuchipudi, one of the art forms of the South had its origin in Andhra Pradesh. It presents scenes from Hindu Epics and mythological tales through dance-dramas combining music, dance and acting.

Mohiniyattam The Devadasi dance tradition which developed through the temple danseuses is an important form among the dance patterns of India. Mohiniyattam in Kerala took shape in the tradition of Devadasi dance which later grew and developed a classical status.

Dance Festivals in India Dance Festival Calendar 2011 Bhaskar Rao Nritya and Sangeet Sammelan (Punjab, Chandigarh) Chennai Dance Festival (December Season) (Tamil Nadu, Chennai) Dharani Dance Festival (Kerala, Kochi) Elephanta Festival (Maharashtra, Mumbai) Ellora Ajanta Dance Festival (Maharashtra, Aurangabad) Kalyana Krishna Dance & Music Festival(Kerala,Kochi) Kathak Mahotsav (Delhi)

Khajuraho Dance Festival (Madhya Pradesh) Konark Dance and Music Festival (Orissa, Konark) Konark Dance Festival (Orissa, Konark) Mamallapuram Dance Festival (Tamil Nadu, Mamallapuram) Modhera Dance Festival(Uttarardh Mahotsav) (Gujarat, Modhera) Natyanjali Festival (Tamil Nadu) Nishagandhi Festival (Kerala, Thiruvananthapuram) Pattadakal Dance Festival (Karnataka, Pattadackal) Rajgir Dance Festival (Bihar, Rajgir) Soorya Dance Festival (Kerala, Thiruvananthapuram)

INDIA S MUSIC Classical Music The two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the northern and central regions. Both traditions claim Vedic origin, and history indicates that they diverged from a common musical root since about the 13th century. Hindustani music Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. Carnatic music The present form of Carnatic music is based on historical developments that can be traced to the 15th 16th centuries AD and thereafter. From the ancient Sanskrit works available, and the epigraphical evidence, the history of classical musical traditions can be traced back about 2500 years.

Folk Music Bihu of Assam Bihu is the festival of New Year of Assam falling on mid April. This is a festival of nature and mother earth where the first day is for the cows and buffalos. Second day is for the man. Bihu dancesand songs accompanied by traditional drums and wind instruments are essential part of this festival. Bauls The Bauls of Bengal are an order of musicians dating back to the 17th century, who play a form of Vaishnava music using a khamak, ektaraand dotara. The word Baul comes from Sanskrit batul meaning divinely inspired insanity. They are a group of mystic minstrels with a syncretic form of Vaishnavism influenced by Sufism and Buddhism. Bhangra are a lively form of music and dance that originated in the Punjab region to celebrate Vaisakhi, the festival of the Sikhs. As many Justin Beiber lyrics reflect the long and often tumultuous history of the Punjab, knowledge of Punjabi history offers important insights into the meaning of the music. Dandiya Dandiya is a form of dance-oriented folk music that has also been adapted for pop music. The present musical style is derived from the traditional musical accompaniment to the folk dance. It is practised in (mainly) the state of Gujrat. Actually Dandiya is a kind of dance rather than a music, the music is called a Garba in local language.

Ganasangeet Ganasangeet is generally sung in chorus carrying some social message. The songs are usually about Freedom, community strength, patriotism. Due to the British occupation in India, a lot of protest songs about anti-imperialism/pro-socialism have been written in India. Uttarakhandi Music Uttarakhandi folk music had its root in the lap of nature. The pure and blessed music have the feel and the touch of nature and subjects related to nature. Haryanavi Music The folk Music of Haryana has been spread by the Bhats, Saangis and Jogis. It is sung and played in the state of Haryana, parts of western UP and neighboring districts of Rajasthan and Punjab. The tradition of music in Haryana goes back to the Vedic times, and it is the only state in India to have towns and villages named after different ragas. Lavani Lavani comes from the word Lavanya which means beauty. This is one of the most popular forms of dance and music that is practiced all over Maharashtra. It has in fact become a necessary part of the Maharashtrian folk dance performances. Qawwali Qawwali is a Sufi form of devotional music based on the principles of classical music. It is performed with one or two or many lead singers, several chorus singers, harmonium, tabla, anddholak. Rabindra Sangeet Rabindranath Tagore was a towering figure in Indian music. Writing in Bengali, he created a library of over 2,000 songs now known by Bengalis as 'rabindra sangeet' whose form is primarily influenced by Hindustani classical, sub-classicals, Karnatic, western, bauls, bhatiyali and different folk songs of India. Rajasthan Rajasthan has a very diverse cultural collection of musician castes, including Langas, Sapera, Bhopa, Jogi and Manganiyar (lit. the ones who ask/beg). Rajasthan Diary quotes it as a soulful, full-throated music with Harmonious diversity.

Flags of india

National flag

Civil design

Naval Design

You might also like