Dance

There are many types of dance in India, from those which are religious in content to those which are danced on happy occasions. Classical dances of India are usually always spiritual in content. Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. A Striking feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings from another world, and their make-up is easily recognisable to the trained eye as satvik or godlike, rajasik or heroic, and tamasik or demonic. Mohini Attam The theme of Mohini attam is love and devotion to god. Vishnu or Krishna is most often the hero. The spectators can feel His invisible presence when the heroine or her maid details dreams and ambitions through circular movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or emotions. The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These names are derived from the nomenclature called vaittari. The Mohini attam dancer maintains realistic make-up and adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a beautiful white with gold border Kasavu saree of Kerala, with the distinctive white jasmin flowers around a French bun at the side of her head. Bharata Natyam from Tamil Nadu. Bharata Natyam dance has been handed down through the centuries by dance teachers (or gurus) called nattuwanars and the temple dancers, called devadasis. In the sacred environment of the temple these familes developed and propagated their heritage. The training traditionally took around seven years under the direction of the nattuwanar who were scholars and persons of great learning. The four great nattuwanars of Tanjore were known as the Tanjore Quartet and were brothers named Chinnaiah, Ponnaiah, Vadivelu and Shivanandam. The Bharata Natyam repertiore as we know it today was constructed by this talented Tanjore Quartet. Kuchipudi from Andhra Pradesh Kuchipudi dance The dance drama that stil exists today and can most closely be associated with the Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavata Mela Natakam. The actors sing and dance, and the style is a blend of folk and classical. Arguably this is why this technique has greater freedom and fluidity than other dance styles. Bhagavata mela natakam was always performed as an offering to the temples of either Merratur, Soolamangalam, Oothkadu, Nallur or Theperumanallur. Odissi from Orissa Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing movements to express specific moods and emotions. The form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath, whose temple is in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly visible. Kathak from Uttar Pradesh Kathak This north Indian dance form is inextricably bound with classical Hindustani music, and the rhythmic nimbleness of the feet is accompanied by the table or pakhawaj. Traditionally the stories were of Radha and Krishna, in the Natwari style. Manipuri from Manipur. Manipuri This dance style was originally called jogai which means circular movement. In ancient texts it has been compared to the movement of the planets around the sun. It is said that when Krishna, Radha and the gopis danced the Ras Leela, Shiva made sure that no one disturbed the beauty of the dancing. Parvati, the consort of Lord Shiva also wished to see this dance, so to please her he chose the beautiful area of manipur and re-enacted the Ras Leela. Hundreds of centuries later, in the 11th century, during the reign of Raja Loyamba, prince Khamba of the Khomal dynasty and Princess Thaibi of the Mairang dynasty re-enacted the dance and it became known as Lai-Haraoba, the most ancient dance of Manipur. Some Folk Dances of India: Dumhal of Kashmir is a dance performed by the menfolk of the Wattal tribe of Kashmir on specific occasions. The performers wear long colourful robes, tall conical caps which are studded with beads and shells. The party moves in a procession carrying a banner in a very ceremonial fashion. It is dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises a drum and the vocal singing of the participants. Dumhal is performed on set occasions and at set locations. Folk dance of Kashmir: Rouff Rouff is also a folk dance of Kashmir. It is danced solely by women on festive occasions. Rouff displays simple footwork. Hikat of Himachal Pradesh. This is danced by women, and is a modification of a game played by children. Forming pairs, the participants extend their arms to the front gripping each other's wrists and with the body inclined back, go round and round at the same spot. With wide range and variety of the ethnic groups, Himachal Pradesh is blessed with natural beauty and artistic history. People living in this natural beauty, adorn themselves for the dance at all times of the year, in all regions, and continue to express themselves through music and dance. In the Kulu valley, the festival of Dussehra is celebrated with great pomp and show. Images of Raghunathji are brought from the different shrines to a central place, and then there is singing and dancing. Dances of the region are collectively known as Natio, though each may be meant for a different purpose. No festive occasion, including wedding and similar social ceremonies, is complete without dancing. All regions of Himachal Pradesh have their own dances. Mostly men and women dance together, close to each other in the formation. Namagen dance is performed in September to celebrate the autumnal hues. The costumes are largely woollen and richly studded ornaments of silver are worn by women. The most picturesque amongst these are dances of Gaddis. The dances of the Doms and the Bhotiyas in Uttar Pradesh range from simple performances of rejoicing to ritualistic dances. The most spectacular amongst these is the Dhurang which is connected with the death ceremonies. Its objective is to liberate the soul of the dead person from evil spirits. All the dancers hold swords and dance in a circle. The movements are virile and reminds one of the hunting dances of the Nagas on the eastern borders of India. The Jhumeila, the Chaunfla of Garhwal and the Hurkia Baolof Kumaon, Uttar Pradesh, are seasonal dances. The Hurkia Baul is performed during paddy and maize cultivation. On a fixed day, after preliminary ritual, the dance is performed in different fields by turns. The name of the dance is derived from hurkia, the drum which constitutes the only musical accompaniment, and baul, the song. The singer narrates the story of battles and heroic deeds, the players enter from two opposite sides and enact the stories in a series of crisp movements. The farmers form two rows and move backwards in unison, while responding to the tunes of the song and the rhythm of the players. A famous dance of Kumaon, Uttar Pradesh, is the Chholiya, performed during marriages. As the procession proceeds to the bride's house, men dancers, armed with swords and shields, dance spiritedly. Amongst the occupational groups, the most enthusiastic dancers are the dhobis, the chamars and the ahirs. The dhobis dance to celebrate any significant occasion. They sing and dance on the occasion of a birth or marriage, and during Holi or Dussehra. There are Rasa Dances that revolve around the early life of Krishna. The most interesting group of dances are the dances of the agricultural community which revolve round the annual seasons and which have a ritualistic and a functional dimension. Dalkhai of Orissa is performed by women of the Sambalpur tribes at the time of seasonal festivals. The dance is quite vigorous, and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance. A dummy horse version is the Chaiti Ghorha, danced by a community of fisherfolk. The performers are all men. Apart from dancing, the performers sing, deliver homilies of sorts, and offer brief dramatic enactments peppered with wit and humour. Gendi or stilt dancing is fairly common among Gond children of Madhya Pradesh. The dance is popular in the Vindhyas and the Satpura ranges. This is danced in the rainy season; from June to August. The dancer, who has the balance on the Gendi (stilts)) perform it even in water or on marshy surface. The dance is brisk, and ends with a dance in pyramid formation. This is generally confined only to children and the attraction consists in balancing and clever footwork. In the villages where the wheat seedlings festival, Bhujalia, is celebrated, children prance on their gendis, collect near the village pond or the river in which bhujalias are to be immersed. Other frolicsome children, dancing to the accompaniment of musical instrument join the group and they dance together. Sometimes, womenfolk also join them, but they do not use stilts. The Gendi season begins on the day of Bak Bandhi festival in the month of June and concludes after the Brita or Vrita of West Bengal is one of the most important traditional folk dances of Bengal. This is an invocational dance performed by the barren woman of Bengal who worship in gratitude after their wish being fulfilled. Quite often, this dance is performed after a recovery from a contagious disease like small pox etc.Kali Nach is a dance performed during Gajan, in honour of the Goddess Kali. Here, the performer wears a mask, purified by mantras, and dances with a sword, and when worked up can make prophetic answers. The Bihu of Assam is the most widespread folk dance in the state and is enjoyed by all, young and old, rich and poor. The dance is part of the Bihu festival, that comes in mid-4 April, when harvesting is done, and continues for about a month. The participants are young men and girls, who gather in the open, in daytime. They dance together, but there is no mixing of the sexes. The dance is supported by drums and pipes. In between, the performers sometimes sing, usually of love. The most common formation is the circle or parallel rows. The Bihu demonstrates, through song and dance, the soul of the Assamese at its richest. The sense of fun and frolic of the Nagas is seen in many of their dances. The Zemis, Zeliangs and other tribes of Assam have a series of dances. Harvesting season is naturally the time for celebrations. All the Naga tribes have their particular harvest dances. The characteristic feature of all Naga dancing is the use of the human figure in an erect posture with many movements of the legs and comparatively little use of the torso, and the shoulders. The origins of Indian Dance: Natya ShastraThe Natya Shastra was created in the beginning of Treta Yug by Brahma on the request of Indra and other devas as an object of diversion (Kridaniyaka). As the lower castes (Shudras) were not entitled to listen to the four Vedas (Sama, Yajur, Rig and Atharav), Brahma created the Natya Shastra as the fifth Veda which was open to all, irrespective of caste and creed. Prior to the creation of the Natya Veda, Brahma entered a yogic trance in which he recalled the four Vedas. He drew the recitative (Paathya) from the Rig, songs (Geeta) from the Sama, histronic representation (Abhinaya) from the Yajur and sentiments (Rasa) from the Atharv.These aspects are the four main constituents of the Natya Veda.When the Natya Veda was ready, the Gods expressed their inability to practise it, and Brahma passed it to Bharata Muni and his one hundred sons who were asked to practise it.The dance was first seen at the Flag Festival of Indra to celebrate the victory of the Devas against the Daahavas.Shiva learnt the Tandava (masculine) form of the dance, whereas Parvati, his consort learnt the Lasya (feminine) form.Elements of Indian DanceAbhinaya: Abhinaya is common to all Classical Indian dances. Abhinaya is the expressional aspect of dance, or nritya . In contrast to this, Nritta is composed of only pure dance and will feature striking and aesthetic poses, but will have no expressional meaning and symbolism. Abhinaya has been analysed in the Natya Shastra and has been categorised into four types: ? Angika - or physical, using movements of every part of the body to convey meaning, with hastamudras (hand gestures), mandis (postures) and even the walk of the dancer. ? Vachikabhinaya - or vocal/verbal, used formally today by members of the orchestra or supporting, non-dancing cast. ? Aharyabhinaya - or external, expression, mood and background as conveyed by costume, make-up, accessories and sets. ? Satvikabhinaya - or psychological, shown by the eyes in particular and as a whole by the entire being of the performer, who feels the mood, the character and the emotion as emanating from the self, not as an act or practical presentation. The Navrasas: In addition, the navarasas, or nine emotions, give all dance a completeness that allows the dancer and the rasikas (audience) to experience the full beauty and meaning of the lyrics and the movements they are portrayed by. These emotions are expressed in the eyes, the face, subtle muscle shifts and the body as a whole. They are: hasya (happiness), krodha (anger), bhibasta (disgust), bhayanaka (fear), shoka (sorrow), veera (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity). Slokas specific to Classical dance Slokas or verses which are full of wisdom are central and common to the traditional way of life; that is, life as per the Vedas. Thus it is only natural that we find many verses that pertain to the art of dance. Below I have presented only two, but these are very widely known throughout India and although appropriate to dance, they can fit in happily to all aspects of life. In Bharata Natyam, as in many other dance forms there is an oft-repeated sloka: Guru Brahma. Guru Vishnu. Guru Devo Maheswaraha. Guru Sakshaad Parambrahma.Tasmay Shri Guruveh Namaha. Aangikam Bhuvanam Yasya. Vachikam Sarva Vangmayam. Aharyam Chandra-Taradi Tvam Namaha. Sattvikam Shivam. The sloka can roughly be translated to mean Lord Brahma, Lord Vishnu, Lord Shiva, (My) Guru I bow to you, the ultimate Lord/Guru: * You, whose limbs are the Universe, You, the Originator of all speech, You, whose adornments are the moon and stars, You are The Truth. The Natya Krama. The following sloka is: Khantaanyat Lambayat Geetam Hastana Artha Pradakshayat Chakshubhyam Darshayat Bhavom Padabhyam Tala Acherait * Yato Hasta Stato Drushti Yato Drushti Stato Manaha Yato Manaha Stato Bhavom Yato Bhavom Stato Rasaha This means: Keep the song in your throat Let your hands bring out the meaning Your glance should be full of expression While your feet maintain the rhythm * Where the hand goes, there the eyes should follow Where the eyes are, the mind should follow Where the mind is, there the expression should be brought out Where the expression is, there the rasa or flavour will be experienced (by the audience).