Indian Dances

7/30/2019 Indian Dances

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A display of visual geometry - a sensual and divine experienceBharatanatyam is the most popular of Indian dances and belongs to the South Indian state of Tamilnadu. Itsantiquity is well established. In the past it was practised ad performed in the temples by a class of dancersknown as the devadasis. It was a part of the religious rituals and has a long and hoary past. The kings andthe princely courts patronised the temples, as well as the various traditions sustaining the dance form.

The salient features of Bharatanatyam are movements conceived in space mostly either along straight linesor triangles. In terms of geometrical designs, the dancer appears to weave a series of triangles besidesseveral geometrical patterns.In nritta (pure dance) to the chosen time cycle and a raga (melody), a dancer executes patterns that revealthe architectonic beauty of the form with a series of dance units called jathis or teermanams. The torso isused as a unit, the legs are in a semi-plie form and the stance achieves the basic posture called araimandi.The nritta numbers include Alarippu, Jatiswaram and Tillana, which are abstract items not conveying andspecific meaning except that of joyous abandon with the dancer creating variegated forms of staggeringvisual beauty.In nritya, a dancer performs to a poem, creating a parallel kinetic poetry in movement, registering subtleexpressions on the face and the entire body reacts to the emotions, evoking sentiments in the spectator forrelish - the rasa. The numbers are varnam, which has expressions as well as pure dance; padams, javalisand shlokas. The accompanying music is classical Carnatic. The themes are from Indian mythology, the

epics and the Puranas.

Shadows and mystery; the stealthy huntWith origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes throughcadences of body flexions, movements and kinetic suggestions. The word Chhau is interpreted differently byscholars. Shadow, Disguise and Image are the most common interpretations due to the extensive use ofmasks in this dance form. The martial movements of Chhau have led to another interpretation of the word asmeaning to attack stealthily or to hunt.Three styles of Chhau exist born from the three different regions of Seraikella (Bihar), Purulia (West Bengal),and Mayurbhanj (Orissa). Martial movements, strong rhythmic statements and dynamic use of space arecharacteristic of Chhau.

Seraikella Chhau flourished under royal patronage. Its vigorous martial character made it suitableid="table1" only for male dancers. The princes were not only patrons but also dancers, teachers and mask-making experts. The Seraikella masks are similar to those used in the Noh dance of Japan and the WayangWong of Java.Purulia Chhau uses masks which is a highly developed craft in the region. The barren land with its tribalinhabitants and multi-layered influences of Vedic literature, Hinduism and martial folk-lore have all combinedto shape the Purulia Chhau dances which have only one message - the triumph of good over evil.Mayurbhanj Chhau has highly developed movements, no masks and a more chiselled vocabulary than theother two Chhau styles. Like Seraikella Chhau, it had also thrived under royal patronage and is considered alink between the earthy Indian dance movements and the flying, springing elevations of Western dance.Unlike other Indian Classical dance forms, vocal music in Chhau hardly exists! Instrumental music and avariety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment.Combining folk, tribal and martial traditions and yet covering the three aspects of Nritta, Nritya and Natya as

well as the Tandava and Lasya aspects of classical dance, the Chhau dances are complex combinations ofFolk and Classical motifs.

Rooted in tradition; seeking new horizonsAs Indian dance traditions continue to thrive, faithfully mirroring an age-old culture, there are severalpowerful currents that are exploring new forms and questioning established norms of performance.It is through this new and fast moving group - loosely termed as modern or creative - that themes likeenvironment, youth and womens issues have been showcased in music and dance. Some choreographershave chosen to explore the primary impulses of the human body; others have used the lexicon of classicaldance hastas to interpret lyrics in western language; some others are incorporating multi-media techniquesand elaborate stagecraft to convey their message.

In most cases these pathbreakers have moved away from the elaborate, bejewelled, coy image of atraditional dancer to visuals that appear bolder, more graphic and provocative.In all these creative excursions we are seeing a new and exciting equation of performance styles andstandards. Some of these performers have chosen to directly attack the traditional bastions of Indian dance,


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often inviting fury and criticism from shocked purists. Others have chosen a more concillatory path, seekingthe blessings of their gurus while striking out in personal voyages of creative expression through dance.All the members of this new breed have imbibed training in one or more of the classical styles and are usingtheir trained bodies along with the language of Indian dance and music to explore the inner reaches of thehuman mind, to chase the shadows of reality and illusion and to encompass themes and ideas that strikemore directly at the heart of todays audience.

Graceful twirls, breathtaking footwork, tantalising expressionsPrevalent in the North as a classical dance form, Kathak has a long history. Nurtured in the holy precincts ofthe Hindu temples, Kathak has over the centuries attained refinement and enriched itself with various huesand embellishments. Kathak means a story teller and it developed as a dance form in which a solo dancertells and interprets stories from mythology.In nritya, the expressional numbers called gats are danced by delicate glances of the eye and by using theart of mime. Themes from life are taken like enacting simple chores of carrying water from the well or

walking gracefully, covering a face with a veil and looking through it in a tantalising manner at the lover.Also, to the lyrics, expressions are shown evoking the rasa or emotion in the spectators, who, if the musicaltraditions are shared along with the songs, enjoy it by expressing their appreciation with a round ofapplause.The themes of Krishna, Radha, Shiva, Parvati and mythological characters find a prominent place in theKathak dancers repertoire. Nowadays, experiments are being carried out with group choreography exploringthe dance form. Both men and women perform Kathak which is also used to present dance dramas ofhistorical tales and contemporary events.

Dramatic! Peopled with character types; fantastic make-up and costumesKathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal

state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes,flowing scarves, ornaments and crowns. The dancers use a specific type of symbolic makeup to portrayvarious roles which are character-types rather than individual characters. Various qualities, human, godlike,demonic, etc., are all represented through fantastic make-up and costumes.The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth winning overuntruth, good over evil. The stories from the two epics, the Mahabharata and the Ramayana, as well as thePuranas constitute the themes of the Kathakali dance dramas.The macro and micro movements of the face, the movements of the eyebrows, the eyeballs, the cheeks, thenose and the chin are minutely worked out and various emotions are registered in a flash by a Kathakaliactor-dancer. Often men play the female roles, though of late women have taken to Kathakali.The pure dance element in Kathakali is limited to kalasams, decorative dance movements alternating withan expressional passage where the actor impersonates a character, miming to the liberetto sung by themusician. A cylindrical drum called chenda, a drum called maddalam held horizontally, cymbals and a gong

form the musical accompaniment, and two vocalists render the songs. Using typical music known asSopanam, Kathakali creates a world of its own.The most striking feature of Kathakali is its overwhelming dramatic quality. But its characters never speak. Itis danced to the musical compositions, involving dialogues, narration and continuity. It employs the lexiconof a highly developed hand-gesture language which enhances the facial expressions and unfolds the text ofthe drama.

Kerala Natanam

KoodiyattamPractised and preserved by the Chakyar community in Kerala, Koodiyattam is the oldest surviving link withancient Sanskrit theatre. A precursor of Kathakali drama, Koodiyattam has several conventions which reflect

the aesthetic conventions of the Natyashastra. The stylised mode of acting, the same character playingdifferent roles, the use of the spoken word akin to chanting, stories within stories, flash backs,improvisations, eye expressions (netrabhinaya), an extensive gesture vocabulary or 'hastas', bodymovements (angika abhinaya) and facial expressions (mukhajabhinaya), the use of Sanskrit by the main


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character and Malayalam by the court jester or vidushaka who comments, satirizes and ridicules theprotagonists... these are the salient features of Koodiyattam.Performances are traditionally held in the Koothambalam which are special theatres attached to temples.The Sanskrit play selected for the performance usually takes over several days. Female dancers calledNangiars deliver the invocatory songs and also participate. The use of the tirashila or curtain, differentcolours for the face to depict characters and elaborate ornaments are all similar to Kathakali. The mizhavu isa special drum used as an accompaniment for Koodiyattam performances.

The repertoire consists of Sanskrit dramas like Ascharyachudamani of Shaktibadra, Subhadradhananjeyanof Kulasekara Varman, Abhisekha Nataka and Swapnavasavadatta of Bhasa, Kalyana Saugandhikam ofMahendra Vikrama and Bhagavadajjukiyam of Bodhayana which are the popular favourites. With disciplinedand dedicated performers like Ammanur Madhava Chakyar, Kocchukuttan Chakyar and Kitangur KuttappanChakyar, this ancient classical form has a growing legion of students and afficionados in India andelsewhere.

Nangiarkoothu

Scintillating, fleet-footed; portraying fleeting emotions

Kuchipudi, like Kathakali is also a dance-drama tradition and derives its name from the vilage of Kuchipudi inthe Southern State of Andra Pradesh. In recent years, it has evolved as a solo dance for the concertplatform and is performed by women, though like Kathakali it was formerly the preserve of men. The femaleroles were enacted by men and even today, the tradition boasts of gifted male dancers enacting female roleswith such consummate artistry that hardly anyone would notice them as male dancers.The movements in Kuchipudi are quicksilver and scintillating, rounded and fleet-footed. Performed toclassical Carnatic music, it shares many common elements with Bharatanatyam. In its solo exxpositionKuchipudi nritta numbers include jatiswaram and tillana whereas in nritya it has several lyrical compositionsreflecting the desire of a devotee to merge with God - symbolically the union of the soul with the super soul.The songs are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. A specialnumber in the Kuchipudi repertoire is called tarangam, in which a dancer balances herself on the rim of abrass plate and executes steps to the beat of a drum. At times she places a pot full of water on her head anddances on the brass plate. The song accompanying this number is from the well known Krishna Leela

Tarangini, a text which recounts the life and events of Lord Krishna.In expressional numbers a dancer sometimes chooses to enact the role of Satyabhama, the proud and self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam. She goes through various stagesof love. When in separation from Lord Krishna, she recalls the happy days of union and pines for him. At lastthey are reunited when she sends him a letter. One more number from the Kuchipudi repertoire thatdeserves mention is Krishna Shabdam, in which a milkmaid invites Krishna for a rendezvous in myriads ofways giving full scope for the dancer to display the charms of a woman.

Andhra NatyamOriginally called Lasya Nartana and practised only by temple dancers, this vibrant style of the Telugu peopleis today popularly called Andhra Natyam. Besides temple dancing, court dances by courtesans known askalavantulu and open air performances for the general public known as kalapam are also included under thecategory of Andhra Natyam.

The most vigorous proponent of this dance form has been the renowned guru Dr. Nataraja Ramakrishnawho has worked tirelessly to give Andhra Pradesh a style distinct from Kuchipudi. It was only in 1982 thatthe form was offcially recognised and a formal syllabus created by experts.Andhra Natyam in its reconstructed form contains items in the following order. First is the Kumbha Haritiwhich contains recitations of churnika or hymns, followed by Pushpanjali, a pure dance nritta item andexpressional nritya. Then the programme continues with abhinaya dances from the court repertoire calledkelika and concludes with the performances of daruvus from Parijatam. The last mentioned item containsnavajanardana parijatam relating to the temple dance performed in the Sri Vaishnava temples in the Eastand West Godavari districts of Andhra Pradesh. After studying it from Pendala Satyabhama, Dr. NatarajaRamakrishna taught his male student Kala Krishna who successfully impersonates the female role ofSatyabhama.

Vilasini Natyam

Perrini


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Sculpted poses, arresting visualsOdissi has been revived in the past fifty years and can be considered as the oldest classical Indian dance onthe basis of archival evidence. The form belongs to the East Indian state of Orissa. Odissi has a closeassociation with the temples and its striking feature is its intimate relationship with temple sculpture.Tribhanga, the three-body bend characterises this dance form. It has a vast range of sculptural bodymovements which gives one the illusion of the sculptures coming to life.In nritta the numbers consist of batu nritya, pallavi and mokhya. In batu nritya the dancer strikes posesholding various instruments like veena, flute, cymbals and drums and the choreography of this numberreveals the imagination of the choreographer-gurus. Pallavi means to elaborate, and a dancer performs puredance to a chosen time cycle and a musical raga (melody). Various body postures similar to templesculptures are woven in this number. In mokhya, before the dance concludes, a dancer employs variousdance units creating arresting visuals. In nritya, the songs from the celebrated Gita Govinda of poetJayadeva written in the 12th century A.D., are used by dancers for expressional numbers.The exquisite Sanskrit poetry and the sculptural movements to the typical Odissi music almost cast a spellon the spectators. Songs of other Oriya poets are also danced with subtle expressions, replete withemotions. In its revival period Odissi has received enthusiastic support from the young exponents and oftenone finds Bharatanatyam dancers also mastering the Odissi technique and performing both the dance formsthough while doing so, they maintain the clearcut differences in the execution of the movements. In recent

years, group choreographic presentations and dance dramas are also attempted in order to bring out the fullglory and sculptural wealth of Odissi which is truly a visually fascinating performance style.

Gentle and hypnotic; a dream-like effectManipuri dances originate from the North Eastern state of Manipur and derives its name from its native state.Intensely devotional in mood, the Manipuri dances are a part of the daily life of the Manipuri people.Essentially presented as a group dance with gorgeous, colourful costumes and gentle, swaying petal-softmovements, Manipuri dances create a hypnotic impact. The dances are influenced by the religiousmovement of Vaishnavism, the worship of Lord Vishnu, and have flowered in exquisite Rasalilaperformances, the favourite dance in a circle by Krishna with his milkmaids. Various types of Rasalilas areperformed on special occasions and festivals.

Besides Rasalilas, there are other dances called Natasankirtana, in which a group of men play cymbals anddance in a circle or in two rows singing praises of God. In Pung Cholom, the dancers play upon pung, thedrum, and dance while playing the intricate time cycles, executing somersaults and breathtaking acrobaticfeats. In group dances like Lai Haraoba, the merry-making for the gods, the dancers perform various stepsand weave patterns, involving various choreographic compositions. From the corpus of Manipuri dances,one sees on the contemporary stage solo, duet and group performances. The music is typical of the regionand is influenced by the kirtan school of Bengal due to the influence of Vaishnavism.Rasalila, Lai Haraoba, Choloms, Pung Cholom, Natasankirtana, Khubak Ishai and other Manipuri dancesshare both nritta and nritya aspects and are edited judiciously for the concert platform to suit the urbanaudience. However, to enjoy Manipuri, one should see the dances in their natural setting. Gossamer veils,cylindrical mirrored skirts and ornaments dazzle the audiences with their colourful costumes which create adream-like effect.

Sattriya DanceSattriya is a word derived from Sattra which means monastery. In the mid 15th century, Shankardev, a poetand religious leader united the various sects of Assam through his teachings and established a universalsocial brotherhood of Neo Vaishnavism through congregational prayer. This included music, dance anddrama based on the life of Lord Krishna. The monks who lived in these Sattras performed these dancedramas as a votive offering to their Lord. Shankardev composed Bargeet, Ojha Pali songs and numerousdances which were incorporated into the dance drama called Ankiya Nat.The framework and content of these Sattriya dances were well preserved in the monasteries which werespread all across Assam. With texts like Sri Hastamuktavali which describes detailed used of hand gestures,the style has all the elements of Indian classical dance including a margam of eight sequences whichencompasses the tandava and lasya elements. This eloquent ritual tradition has now been passed on tointerested artistes who are vigorously engaged in performing and popularizing Sattriya dance in India andelsewhere in the world.

Enchanting and graceful, with gentle, bobbing movements


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Mohini Attam as a dance form has developed in Kerala. Performed by women it has graceful, gentle bobbingmovements. Mohini means an enchantress and a dancer with enchanting movements, dressed in a typicalwhite saree with gold border, hair gathered in a bun on one side and with golden jewellery epitomises theimage of a beautiful maiden. Apparently it resembles the Bharatanatyam dance form but is quite distinct inits execution of movements, usage of hand gestures and its stark, simple costume.Mohini Attam has enjoyed a revival in recent times and is the most popular dance form among the youngaspirants in Kerala. It has a format which follows the Bharatanatyam form and the repertoire has common

names. In nritta a number called Cholukattu consists of pure dance movements at the end of which istagged a poem that is in praise of a deity and also narrates the story of the Ramayana in a nutshell. Themnemonic syllables are sung instead of being uttered by the musician. Another item of pure dance is Tillanawhich follows the musical mode of Bharatanatyam with classical Carnatic music. However, of late, kerala'sSopana music is being employed for Mohini Attam and the repertoire has also been enlarged with thechoreography maintaining the typical movements of this graceful style.In nritya, the padams are mimed with facial expressions and hand gestures and the themes are drawn frommythology. The nayika or heroine longs for union with her beloved. A confidante goes and conveys themessage to the lover and the nayika describes the pangs of separation. A varnam follows the structure of aBharatanatyam varnam dwelling upon the narration, impersonation and alternating with pure dance. Thoughthe dance units in Mohini Attam are limited, the quintessential grace and the measured movements are itsdistinct features.

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Indian Dances