The Eight Forms of Classical Indian Dance

Kleinkopf 3

The Eight Forms of Classical Indian DanceA Brief Overview

By Emily KleinkopfDecember 5, 2014

Senior ProjectDance Major

Contents

Part IIntroduction......2 Part IIBasic description of the eight different stylesa. Bharatanatyam.7b. Odissi.....................................................................10c. Kathak.13d. Kathakali15e. Manipuri18f. Kuchipudi..21g. Mohiniyattam...24h. Sattriya27Part IIIConclusion31Part IVAppendixa. Hand gestures35b. Costumes..56c. Map of classical Indian Dance forms.64d. Links to Video Examples.65e. Works Cited.66

Part I

Introduction

Brief Introduction

According to the book, The Classical Dances and Costumes of India, Classical Indian dance has been in existence for over two millennia. Through this time period, Classical Indian dance has progressed from a private form of worship implemented only in holy temples or monasteries, to becoming a cultural dance performed for the entertainment of others. In the country of India there are eight Classical Indian dance forms that are recognized by the Sangeet Natak Akademi, which is the national academy of the arts set up by the government of India. These differential forms include Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, and Sattriya. Compared to the other forms of dance in India, according to Faubion Bowers, these eight styles relate to the Natya Shastra which deems them as a classical art form. The Natya Shastra is a very ancient Indian document originating between 200 BC and 200 AD about the performing arts. It is important for observers to understand that all modern Indian dance forms are reconstructed, for the simple reason that time has caused a deterioration of traditions so what we see today are creations from fragments (Bowers pg 67). Although the eight Classical Indian Dance forms are reconstructed, Classical Indian dance is one of the most preserved traditional folk dances because of the culture of the art being passed down from person to person. The traditional way of learning Classical Indian dance is from a guru or master. While training, a student will live with the guru. They immerse themselves completely in their culture and tradition of worship through Classical Indian Dance for about fifteen years to finally approach the level of guru themselves. Therefore, the process continues and allows Classical Indian dancing to progress in its traditional form. The reason behind any evolution of this classical dance comes from each guru that learns it. A guru has the power to have his or her own interpretation of the style, leading to new innovations and progressions.Each dance form has different styling, technique and costumes, even though all eight of these dance forms are all coined under the umbrella term of Classical Indian Dance. Each technique style and costume is dependent on what region it is from. By looking at the different styles, an observer can see the cultural differences of each region. One must also understand that this cultural art form has progressed and evolved significantly throughout the years based on the how the motivation of the people has progressed through time. As previously stated, choreographers also have had a major impact on the progression of Classical Indian Dance. Each style of Classical Indian Dance has main elements that are consistent throughout. Classical Indian Dance is very expressive throughout their hands and their face. Each form also has certain eye, hand and foot positions. Through these specific positions or mudras, they are able to express the story or theme of the dance. They also have similar costuming in the fact that it is based upon what they would wear in the temples many years ago in that certain region. Lastly, each classical dance is frequently describing a story about one of the Hindu Gods or is being done in worship of one of the Hindu Gods. Another important aspect of Classical Indian Dance, is that each style includes Nrtta, Nrtya, and Natya. These three things all fall into the category of Abhinaya which means to carry across ideas to the audience (Chattopadhyaya pg. 432). Although they are incorporated in each style of Classical Indian Dance, they are used in different ways. The Nrtta is more abstract dance that focuses on the beauty of movements with the accompanying music concentrating on the rhythmic units (Chattopadhyaya pg. 431). Nrtta has no intention of telling a story or portraying a certain theme. Nrtya, in contrast, is interpretive and puts meaning and feelings to the lyrics through the movements and expressions. Natya is a dramatic dance where the stories are told. It features different characters and their interaction and the event that happened throughout these stories (Chattopadhyaya pg. 433).This paper will give a brief insight on the diverse styling and history of the eight different forms, a look into the variances of the costumes, and an overview of the modernization of Classical Indian Dance.

Part II

A Brief Description of the Eight Classical Indian Dance Forms

Bharatanatyam Bharatanatyam, from the Tamil Nadu state of India, is one of the most popular classical dance forms. This dance form originated over 2000 years ago (Government of India). There is no known founder of the dance, but mainly Bharatanatyam has evolved over many years created by the dance masters or gurus. Two of the main textual sources of Bharatanatyam are the Natya Shastra which includes all of the arts and more importantly the Abhinayadarpana which was written later and mostly limits itself just to dance (Sainath). The origin of this ancient dance style is speculated to have been created by Brahma when the people were too wicked to read the ancient scriptures any longer. Brahma would have the priestesses in the holy temples communicate world issues and moral values through dance in place of reading the ancient text (Bharatanatyam uk). Another purpose of the dance was to worship Hindu gods. To accomplish both of these purposes, they would pantomime stories found in the Hindu Scripture and the Vedas, by using hand gestures, dance movements, and facial expressions. Over time the styling of Bharatanatyam has evolved. One reason for the modernization of this dance was that when the British invaded in the 18th century, all dancing in the temple stopped. The British banned Bharatanatyam, confusing it with nautch dance which was performed by prostitutes (Donia). Rukimini Devi is credited in bringing Bharatanatyam back in the early 1900s. This allowed the subject matter to not just be about Indian Deity. Another reason for the evolution is that the choreographer, dance master, or dance institutions develop their own style and interpretation of Bharatanatyam. For example, the Tanjore School gives greater emphasis to the precision of basic stances and qualities of grace while the Pandanullar School represents a vigorous and powerful style with sweeping movements, fast footwork and leaps and jumps (Chattopadhyaya pg.470). Men can now take part in dancing Bharatanatyam as well. The subject matter of this classical Indian Dance form has also shifted tremendously. Although the traditional style, rooted in Hinduism, does still exist, many contemporary choreographers use subject matter anywhere between the caste system, which is the levels of society based on occupation, all the way to AIDS and agriculture. Ultimately the true Bharatanatyam is not a vulgar form of entertainment but a sacred ritual that is supposed to bring [catharsis] to the dancer (Bharatanatyam uk). The traditional format of Bharatanatyam consists of three parts: the Natya, Nritta and Nritya. Each part has a certain set of movements. Natya refers to the use of expression in Bharatanatyam. This includes the mudras or positions of the body which includes hand positions, eye movements, poses, and any use of mime. Nritta is considered to be the essential part of the dance with the use of difficult rhythms and repetition. There are also quite a few cases when certain moves and phrases can have both Natya and Nritta. In this case, this section would be called Nritya (Bharatanatyam uk) Within the structure of Bharatanatyam, there is room for improvisation mostly in the more narrative pieces in the presence of live music (Sainath). Bharatanatyams costuming and the technical aspects have all been derived from ancient sculptures, the Natya Shastra, and text from the Bhagavad Gita and the Vedas. The basic stance for Bharatanatyam is to have the elbows always supported and the whole carriage of the body pitched slightly forward from heels to chin (Ambrose pg. 43). There are many different mudras that are used for the choreography and styling. Each mudra or gesture executed with the hands, face, and body have meaning to tell the overall theme or story line. For example, in the Loving Devotion Visions of Vishnu exhibit in the Museum of Art at Brigham Young University, Divya performed a Dashavatara, which is a Bharatanatyam dance depicting the ten different avatars of Vishnu. One of mudras is called the Varaha mudra, where the dancer has the fingers projecting out like the tusks of the great boar. Another is the Krishna mudra that has the beloved Krishna shown playing his enchanting flute.The costuming is very intricate and regal since it was first used to perform in temples for the Gods. In its basic form it resembles an Indian sari. The total costume is sectioned into six parts to allow for a greater range of motion (Rangashree). The bottom layer consists of the pants and the blouse. The half sari goes over the left shoulder of the blouse and tucked into the pants. The performer will then take the long fan and tie it around the waist and attach it to the legs of the pants. The seat then goes around the bottom and attaches in front. Finally, the smaller fan goes in front and ties in the back. Along with the costume, there are multiple jewelry pieces. There is the nose ring, the bangles that go on each wrist, a belt, two necklaces, the sun and moon jewelry, ankle bells, the flowers that go on the hair or doughnut, the hair jewel, the earrings, and the head jewelry that goes across the forehead. The jewelry should be placed specifically with the sun on the right and the moon on the left. Out of all of the jewelry, the ankle bells are the most important. They make the rhythmic footwork of the dance audible (Rangashree). These ankle bells are only worn on special occasions and they are treated much like a musician treats his instrument. The bells are so important the guru will personally bless them, making them sacred.The make-up is also very necessary in Bharatanatyam. The eyeliner is very dark and extends past the eyes. This make-up is also used on men because it helps bring out and accentuate the eye mudras when performing. The eyebrows are also darkened and extended for the same reason. Lastly, there is red dye that is put on the soles of the feat, the fingertips and tops of the toes, and the palm of each hand is marked with a solid red circle. These red dye configurations are used to symbolize the movement throughout the body of the hands and feet. Bharatanatyam is the most formal of the Classical Indian dances and is very prominent in Indian culture today. Through this dance, an observer can see the Indian culture of worship and reverence for their Gods in the state of Tamil Nadu and throughout most of India.OdissiOdissi originates from the state of Orissa, which is located in the middle east of India. It originated around 2nd century BC, through archaeological and textual evidence (Banjeree pg 100). It is not clear what the original purpose and dance tradition of Orissa was. It is evident that it was reconstructed in the 1960s after the living dance tradition of the boy-dancers or Gotipuas and the almost extinct tradition of the temple devadasis, which is much like Bharatanatyam (Banerjee pg 100). Most of the movements, positions and technique have been taken from sculptures in Orissa temples. The gurus throughout the decades have done much work in reconstructing this traditional form and creating individual works. When it was being constructed in the 1960s, three main styles of Odissi emerged. The Guru Pankaj Charan Das brought the traditional style of Mahari. The Guru Deba Prasad Das constructed a style of Odissi that is much more energetic and robust. Guru Kelucharan Mohapatra has had the most substantial influence out of all three of the gurus. He is very detailed in his research and demonstrates both abstract movement and great expression in Odissi through his performance. These three gurus started the progression of what Odissi is known for today. Odissi was originally a solo work. Some performances could last up to two hours or longer. Through the last couple of decades it has progressed to group performances; the reason being that the gurus want new looks in order to take Odissi in a new direction. Many of the traditionalists are not happy about this change. They are concerned with the lack of solo works being done because of the organizers demands for so-called new work (Banerjee). In Celebration of Indian Classical Dances, Madhavi Mudgal states how we need a more demanding and discerning audience so that the solo work can be preserved. She expresses her opinion quite clearly by saying how it would be a pity if the aspiration for excellence is lost in the jungle of ignorance (Mudgal).Odissi styling is much like Bharatanatyam with a few differences. The dance is much more sensual and lyrical. The Government of India describes it as a dance of love and passion touching on the divine and the human, the subline and the mundane (Government of India). It follows the outlines given in the Natya Shastra. Some styling techniques involve the two main stances that most movements are based on. These two stances are called Chowk and Tribhanga. Chowk is more masculine, has more of a square shape, and is very grounded where Tribhanga is the feminine stance which has more curves at the neck, hip, and legs. One movement that is unique to Odissi is the torso movement. Odissi gurus are able to have full stabilization in the lower half of the body and only move the upper torso (ribs and head) without any hip movement. Leg movements are also almost all circular or spiral. Although the purpose of this dance is the same as Bharatanatyam: reaching to attain moksha or spiritual liberation through dance, it is structured somewhat differently. In order to have the required rasa or relationship of real emotion, Odissi must be performed in a systematical order. The first section, which is called Mangalacharan, is made up of an offering to Mother Earth and a salutation to God, the Guru and the audience. The next section, which is called Batu, is about honoring Shiva through Odissi technique by portraying both the masculine and feminine stance. The third section, called Abhinaya, is done to an Odissi poem. The concluding section is called moksha and consists of slow movement going to fast movement to reach a climax where the final homage is made (Government of India). Costuming and make-up is also very similar to Bharatanatyam. One thing very unique to Odissi is the jewelry is made up of filigree silver pieces. This silver filigree is the basis of the head piece, necklaces, bangles, earrings and the belt of the costume. Also, the women in Odissi wear a crown or mahkoot. The mahkoot has two parts. One is the lotus flower or the gobha. It lies in the energy center of the head. The second is a stick-like ornament jutting out of the front. This represents the temple spire of Lord Jagganath or the flute of Lord Krishna. Besides these two main differences, the rest of Odissi costuming is much like Bharatanatyam.Odissi is a more formal dance form, but known more for its fluidity and grace. Through this dance form an observer can see the masculine and feminine gender types portrayed in India and the reverence Indians have for each gender.

KathakKathak comes from the Uttar Pradesh and Bihar state, situated in the northern part of India. This Classical Indian Dance form tells the stories of the Indian epics, myths and legends. It is said that Kathak goes back to the Vedic times, where storytellers went all over the countryside reciting these important stories. This eventually led to the Brahmin priests recounting stories from the Hindu myths and epics, using mime and gesture for dramatic effectwith time this story telling became more stylized and evolved into a dance form (Chattopadhyaya pg. 434). Although, it did not become a sophisticated dance form until the 1500s under the Mohgul Period. James Kippen states that while this dance is all about telling stories it has no mime involved. So when portraying a peacock, there will be no mime of a peacock, there will only be some kind of description through the mudras of the dance. This styling of Kathak, much like modern dance, leaves the audience to use their own imagination and interpretation to understand the meaning or theme, rather than the theme being blatantly apparent .Kathak consists of two main parts. One is the tandava which is the fiery technique as it is performed by [the] dancer who stands and moves about (Ambrose pg. 77). This would include all of the quick footwork and turning. The second main part of this dance is called lasya. This is the aspect in which the dancer kneels, or remains immobile the whole timeand tells stories with his expressive powers only (Ambrose pg. 77). This highlights the acting, expression and passion of the Kathak dancer. When a dancer can execute both of these main aspects, then he or she has fully embraced and mastered Kathak. Improvisation is also an important element of Kathak. It is very common to have a complex sequence of play-off between the percussionist and the dancer in a full length performance (Sainath).While telling the stories of the great epics, styling becomes integral. From observing a Classical Indian Group performing Kathak at the Beijing Dance Academy, I observed that one of the main steps is the turns or chukras. These chukras are very fast turns done to the rhythm of the music. These turns represent the central energy of life and add to the emotion and feeling of the dance. Kay Ambrose describes Kathak as the whirling dance of northern India. The footwork or tatkar is also very complex and according to the Government of India, it goes along right with the music originating from the Northern part of India. This is the only Classical Indian Dance known to use instruments specific to the north. The torso is much more rigid when compared to Odissi. It moves from axis to axis with the hips and the shoulders being the only variant from the central torso line. Hand placement usually has one hand out and another hand above the head, each displaying a certain mudra depending on what story they are depicting. The costuming for Kathak as performed today is billowy for the audience to see what is going on in the dance. The chukras or turns are also more pronounced. The usual blouse and sari is a staple. The sari is also more billowy fabric draped over each shoulder and secured with a belt. Long pants are worn under a very full skirt that goes down to the ankles. This skirt accentuates all of the turning movement done throughout the dance. Along with the Classical Indian jewelry there is also a head scarf or veil that can go from the head all the way down the full length of the skirt. Originally the male dancers would go bare chested and wear a very long full skirt like the women. Now the male costumes shirt extends all the way to the knees to also provide a more skirt like feel to accentuate the turns just like the women. Kathak is one of the more expressive dances out of the eight Classical Indian Dance forms with most of the expression in the footwork of the feet. By watching Kathak observers can learn and see the ancient stories of Classical Indian culture and hear the Northern Indian instruments all working together to preserve this ancient art form. KathakaliKathakali is from the state of Kerala and the region of Malabar which is the western coastline that runs from Calicut to Cape Comorin. Out of the eight classical dance forms, Kathakali is one of the most modern and new, coming second to Sattriya. Like Kathak, this dance form is likewise about telling stories. Through theater plays with dance, it portrays the great dramas of ancient Indian culture from the Ramayana, the Mahabharata, and the Puranas which tells of the many Gods and Goddesses. The rectangular and square like forms seen in Kathakali were derived from ancient temples in Kerala and the frescoes in the Mattancheri temple [from] approximately the 16th century (Government of India). Other choreographies and movements are based off of ancient martial arts in Kerala. One main story in Kathakali dance is the story of Krishna (one of Vishnus avatars) and Radha, Krishnas beloved.Kathakali is traditionally a masculine dance only performed by men. For the female characters, the men would dress up in female regalia and make-up. As time has progressed, some women have started to study Kathakali as well (Bowers pg.69). With being a masculine dance, themes usually portrayed in Kathakali are very stereotypical male which include heroism, aggression, anger, violence, acrobatics etc. In contrast to Bharatanatyam, the dancers will remain mute instead of singing, except for the antagonist or opponent to the hero. Also, the Kathakali dancer will portray one character and will stay that same character throughout the entire drama; therefore, multiple characters often present onstage at one time. In contrast, one Bharatanatyam performer will have multiple character roles throughout the entire performance. These Kathakali dance dramas usually take place on a sketchy stage, under the canopy of a star spangled sky, lit by a great shining brass oil lamp (Bhavnani pg. 42). Because of this setting, they tend to start after dinner and go throughout the whole night. During the year, festivals are held where they will have performances ten nights in a row. In these performances, the performers have practiced their roles and character so intensely, that they are no longer acting, but have become the character in the story. It is a full embodiment of heart, soul, and mind.Out of all eight of the Classical Indian Dance forms, Kathakali has the most overall body movement. This especially includes the eyes and hands. The hand movements will also at times be used to express certain types of speech. For example, there are hand gestures that literally mean no here or that (see Appendix). Since they are performing full plays or storylines, it is very important to use the full body just like in theater to express the personality traits of the character. This dance form is so complex it usually takes about twelve years of total study to fully master. Most pupils will start at age ten to twelve. Each performance contains certain roles that are consistently portrayed. Each role has a different look to make them easily distinguishable. The pacha or green face are the heroes of the Mahabharata and have multiple Godlike qualities like virtue and integrity. Their jaw is covered with a thick rice paste called chutti. The Demons and the kings, or the katti, are brave but have evil minds (Bowers pg. 71). They are the only ones who are allowed to make sounds on stage. They, like the pacha, also have a base of green paint, but they also have a large red flame-like blotch (Bowers pg. 71). They also have ridges of chutti and black lines that form the face. Other characters include the three bearded characters or the thadis. Red beards are said to be the most grotesque out of all Kathakali characters and represent one of the lowest order of demons. Their powers increase the effect of the defeat of the pachas or heros. They have a red face with black lines and two white wart-like dots on their forehead and their nose. Teeth are blackened out and fangs are inserted. The white beard is another character representing the monkey god. This is a good character which face is white with orange and black lines. Next are the black beards which represent outlaws. These faces are also black with red lines. More minor characters, sages and women are called minniku. These characters have less elaborate makeup and no ornamentation lines on their faces. The Rishis or Brhamins have long white beards and white painted faces. Their headdress are an inverted coconut shell tapering to a top and wrapped with braided husks, the whole resembling a head of matted hair (Bowers pg 72). Women are usually portrayed as virtuous and have yellow painted faces with extreme eye liner to make the male performer appear more feminine. Besides these main characters of Kathakali, there is also the ensemble in the stories which makeup is very plain. The makeup and costuming as previously described is very intense for Kathakali dance. The makeup on the face is so thick that it is often mistaken for a mask. A makeup artist will usually start twelve hours before the performance begins to start the process. Because of the extremely important eye movements, before the actor goes on stage, he will insert a seed in each eye which inflames the whites and makes the movement of the eyeball and the socket muscles more visible (Bowers pg. 73). Green portrays godliness, red portrays violence and ambition, white portrays spirituality, black portrays evil, and yellow portrays passivity. The costume of Kathakali is so elaborate, it covers the entire body. In general both male and female characters will wear huge hemispherical layered skirts, one or more layered jackets, and a series of ornate accessories (Meaden pg. 3). There are usually about four different things on each arm, the traditional bells on the lower legs, multiple necklaces, and usually two or more waist ornaments. Some characters have a carved breastplate. Along with all of this costuming, there are multiple layers of fabric at the neck and the side panels near the waist. These very detailed costumes complement the overly dramatization of the story being told.The Kathakali dance form is filled with a rich culture that represents the love the Kerala people have for their religious Deities. Through their dance, makeup, music, and costumes observers can see the reverence and devotion they have for their Gods. ManipuriManipuri is from the state of Manipur located in northeast India. In Manipur culture, it is difficult to distinguish between art and life, especially in the worship services in the holy temples (Bhavani pg. xvi). Because of Manipurs remote location, it has not had a lot of outside influences; therefore, the people have been able to retain much of the traditional dance. 90% of women dance in Manipur and a majority of the men dance as well (Bowers 109). Rasa Leela is the most prevalent style within Manipuri Classical Indian dance today. (Cultural India). It is said that the two Gods Siva and Parvati created Manipuri to have a dance of their own. It started out that Krishna and his Gopis had a private dance that Siva wanted to be a part of. Siva was allowed to only listen to the dance, but not watch. He became so intoxicated with the sound of the music and the jingling of the bells that Parvati became very jealous. They decided to search for a place to dance just the two of them. Once they found the place, they summoned nine nymphs which surrounded the valley. From this the instruments were created and they all danced this heavenly dance. The serpent God kept the land lit by the diamonds from his cape. The serpent became so happy that the diamonds were released from his cape. From this Manipur, which means diamond place, was created along with the dance Manipuri. A big part of Manipuri is the dance called the Lai Haraoba. The purpose of this dance is to please the Gods. It is done every year in offering to the Gods. If they do not dance Lai Haraoba annually, the Gods will become very displeased with them. The people in Manipuri do not ever want to displease their God, for fear of famine, natural disasters, disease etc. This dance is a representation of the creation of the world. It is used to continually inform and remind the community the importance and power of God. Manipuri contains four basic styles. These include the Nritta or pure dance, the lasya: the more graceful and feminine dance, the tandava: the more strong and masculine dance, and the abhinaya which is the more interpretive dance. Each choreography or story portrayed can have one or all of the four aspects included (Bhavnani pg 69). Each one of these styles has multiple set dances. For example, Lasya has a dance called The Achauba Bhangi Pareng. This dance is a basic dance composition, mainly composed on a timing of seven sub-divisions of beats (Bhavnani pg 69). It has an emphasis on the graceful and delicate movements of the style focused on the spirituality of the dance. Manipuri technique consists of a flow and grace instead of the usual statuesque precision of the other seven styles. The vertical line of the body is never broken; the body merely curves itself into a figure eight (webindia). The movements are relaxed and controlled and never create angles in the body. Therefore, the head and neck always follow where the torso is going. The arms are held away from the body in a natural curve and follow the movement of the torso and lower body to not create angles. Unlike the other seven styles, the face has a calm expression sustained throughout the entire performance. In the lasya style, the dancer does not lift her foot above knee level and the feet stay close together. This creates a quality of gliding across the floor. In the tandava style there are high leaps and agility. The feet are far apart and the torso is occasionally treated as a separate unit and side bends are frequent (webindia).The costuming in Manipuri was created so the women does not arouse the sensuality on part of the spectators (Chattopadhyaya pg.423). Therefore, there is a veil that goes over the face, the chest is covered in white billowy cloth, and the skirt is a very wide and barrel-like so as not to show the womanly curves. The costume is covered in little tiny diamonds because Manipur means diamond (mani) and place (pur) (Bower pg 110). This costuming is for the Rasa Leela style. In the more traditional Manipuri Classical dance, the costumes maintain a simple traditional style that is worn in the village from day to day. This includes a shawl, and a wrap-around skirt or a sarong. The men are usually shirtless with a drum that they play while they dance. They also have a turban and wear lose pants. Manipuri dance captures the religious aspects of their culture and the respect and reverence they have for their deity. Through this theatrical style an observer can get a true sense of their cultures history and traditions. KuchipudiKuchipudi is from the state of Andrah Pradesh which is located in central India. More specifically, it is from the city Kuchipudi, where it gets its name. The dance style originated from the sculptures in the temples and the style depicted in the Natya Shastra much like Odissi and Bharatanatyam. Around the 15th century a Brahmin poet, by the name of Siddhendra Yogi is said to have given this art form a new direction, a definite structure that polished its style (Chattopadhyaya 478). This is when it officially became Kuchipudi. Since then, this art form has been expounded upon by a vast amount of Gurus each adding a bit of their own movement technique and styles to make it what it is today. Just like Bharatanatyam, Kuchipudi used to be performed only in temples for worship. Although it is still considered religious, it is used mainly for entertainment with the occasional reenactment in the temples during the religious festivals. Traditionally, when Kuchipudi dancers were being debuted, the longer they would dance the more strength and endurance they would show (Mecham). On average new Kuchipudi dancers would dance for three hours minimum. In these three hours, every movement was specifically choreographed with no improvisation added. Like Manipuri, the majority of the residents of Kuchipudi dance. It is part of their way of life and culture. It is also a way for them to worship. When a person is beginning his or her training in Kuchipudi, they will make an offering to the Gods as a kind of initiation. It is a very special event, where the older dancers will also attend to support the new upcoming dancers (Mecham). This style of dance is similar to Manipuri because it is used to tell stories. It is more theatrical than Bharatanatyam. The styling is very similar to Bharatanatyam and Odissi with a few differences. In Kuchipudi, the hands are altogether more flexed and raised. The arms are also more bent, making a more round shape. The eyes are extremely important and coordinate with the hands. If the hands are not moving, then the eyes will follow the feet positions. There are also dips, and jumps and backward movements using the heels. The style displays a continuity of curves rather than the linear quality of Bharatanatyam (480 Chattopadhyaya). Previously explained above in Bharatanatyam, Kuchipudi also has the nritta, nritya, and natya incorporated in the dance both separately and together. Kuchipudi has a much more rapid tempo and in the Nritta, it does not revolve around one particular stance. The Nritya is used for the solo dance by using the expressive dance for the very subtle interpretations. Natya is used often because Kuchipudi is so involved in telling dramas through dance. Kuchipdui dance contains many set dances known to the classical Indian dance world. The reason why multiple dancers know these set dances or phrases, is because they are so well done and popular (Mecham). It is very similar to the ballet world, with how some ballets are classified as Balanchine ballets because he was such a famous choreographer at the time. These set dances or phrases that are so well known are put to particular lyrics. Most Classical Indian choreographers will not choreograph to songs or lyrics that are already known for their famous choreography for fear of comparison. The majority of classical Indian choreographers would rather choreograph to a new lyric than try to make a more successful choreography to the same lyric of the previously famous Guru. Men do not traditionally dance Kuchipudi, but in the last two decades it has shifted to being more prevalent to men. Even though there are masculine roles, it is still perceived as a feminine dance. If a male decides to study and become a Kuchipudi dancer or Guru, they knowingly become or are transformed into being feminine. They are seen as spiritually gay. Some believe that they used to be a woman in their previous life and they were reincarnated to be a man. So this is a way for them to connect to their previous life (Mecham). Whatever the reason, once they become a dancer and become spiritually gay there is no return. The younger generation is rebelling against this stigma and are still dancing without being gay. These are more prevalent in dancing families, where the mom is a Guru. Since these young men are a part of a dancing family, it is assumed that they will too dance. Therefore, the stereotype of only gay men dancing Kuchipudi is overlooked. The costumes and make-up are very similar to Bharatanatyam. Since Kuchipudi is a way to tell famous dramas, there is a particular costume for each theatrical character. Traditionally, the costumes used to be all one piece. Now the costumes have sections so that you can dress quicker. The main costume used in Kuchipudi is the same as Bharatanatyam. Some of the stitching on the costume is slightly different and unique only to Kuchipudi. Kuchipudi has further elaborated and enhanced the dance dramas (pg. 59 Bhavani). This Classical Indian Style especially accentuates and tells the stories of Shiva, Krishna and many other Hindu Dieties. Although Kuchipudi is one of the eight known Classical Dance Forms, according to Vanashree Rao it has not yet established an identity and is not one of the more popular of the eight classical forms. Some believe it is running itself into extinction. Despite these difficulties, Kuchipudi is still being taught in the villages and will hopefully gain more popularity as time progresses. MohiniyattamMohiniyattam, like Kathakali, is also from the region of Kerala. The word Mohini means a woman who enchants onlookers and attam means graceful and sensuous body movements. Together it means dance of the enchantress. According to Upasana Kalakendra, the movements represent swinging and swaying of the coconut trees and [the] lush green paddy fields of the land of its origin also known as Gods own Country (Kalakendra).Like most of the eight Classical Indian Dance forms, Mohiniyattam originates from the ancient dances performed in the temples for religious purposes. Temple sculptures of Mohiniyattam figures are dated back to the ninth century. The actual styling of this classical Indian art form is said to only have been 500 years old (mohiniyattam.de). Although it is said to be 500 years old, it did not gain any real significance until the 1800s when Swati Tirunal was emperor. His family was very artistic in all forms of art, especially music and dance (mohiniyattam.de). He is said to have improved and renovated Mohiniyattam so that it became more sophisticated. During this time Mohiniyattam underwent a significant improvement and refinement, without affecting the fundamental aspects of the art form (mohiniyattam.de). Mohiniyattam originates from the story of the Hindu god Mohini. There are multiple stories of this Hindu God. One of the most popular of these myths is from the Hindu scripture, the Mahabharata. This story tells of how Brahma told the Gods to make the elixir of immortality or Amrita, which makes a person live forever. In order to do this they needed the foam from the oceans. Unfortunately, too weak to accomplish this task, they summoned the demons, who at the time were just as strong. The demons were promised they would receive the Amrita if they were to help. Eventually after many difficult adventures they were able to acquire the Amrita from the Ocean. Immediately a battle began between the Gods and the Demons. Mohini, who is a form of Vishnu, came and started to dance for the Demons. Mohinis charm and allure distracted the demons from the Amrita. After the performance, Mohini stole the Amrita and gave it back to the Gods (mohiniyattam.de). This shows Mohinis very beautiful and desirous nature. This allure is integral to the technique of Mohiniyattam. Mohiniyattam has many similar elements as Bharatanatyam and Kathakali. It is extremely feminine with only women dancing it. It is also a solo dance. Like Bharatanatyam it has five sections. It first starts out with a kind of offering done to stylized rhythmic syllables incorporating pure form. The second section involves only pure or Nritta with no dramatic or theatrical aspects. Third, the dancer will transition to Nritya or the facial expressions and gestures for more of an explanatory dance. Fourth, there is then the theatrical side where the dance will use the mudras to help tell the stories of the major epics. Lastly, the dancer presents their full capability. It is extremely complex and usually done to a faster paced song (mohiniyattam.de). Through these five sections the solo dancer can depict the emotion, story, and culture of the dance and of the traditions of Kerala. Mohiniyattam is unique in the fact that the movements go exactly with the music. The music and instruments for this dance are very unique to its region. The usage of regional percussion instruments, highlights the nuances of the movements (pg.178 Banerjee). These nuances of the movement are mostly accentuated with the facial expressions. Unlike Kathak, this styling focuses more on the face rather than the footwork and rhythms of the dance. To master these body kinesthetics, continuous hard work and dedication is required to master this extremely graceful and sensuous art form (Kalakendra). The full body movement involves swaying the hips in a figure eight like manner. The costuming and make up of Mohiniyattam is very similar to Bharatanatyam. Instead of having the multiple colors of Bharatanatyam, the dancers of Mohiniyattam are only adorned in white and gold. This stems from the natives wearing white clothing because of the hot climate (mohiniyattam.de). The jewelry is very similar to Bharatanatyam. The only difference is that the bun is on the left side of the head. Jasmine flowers and blossoms surround and are tied around the bun. The makeup, like most Classical Indian styles, is very elaborate to accentuate the facial expressions and movements in the dance. Mohiniyattam like Kathakali takes the lyrics of the stories and poems and interprets each aspect. Through the feminine styling of the dance, observers see the charm, grace, and allure of the feminine Kerala culture. Sattriya Sattriya is from the state of Assam located in the northeastern part of Indian. The word Sattriya comes from the word Sattra which means monastery. Like many of the other styles, this dance is very religious. In the Assam culture, it is widely accepted that there is an inseparable relation between God and dance (Kalita). This dance received its name because of this close relationship and because it was done in the monasteries for a long period of time. Sattriya is said to have originated in the 15th century. Many of the gestures and movements have also originated from temple sculptures and engravings along with the Natya Shastra. When it first originated, it was performed in the monasteries by the monks, therefore; it was first done by males. Females were not introduced to the dance until much later (Utsavpedia). Unlike the other Classical Indian dance forms, Sattriya has been able to preserve its dance technique and styling since the dance originated. The founder is said to be Mahapurusha Sankaradeva who was a Vaishnava saint or religious leader and was also a political reformist (Government of India). He is said to have given Sattriya the recognition and popularity that is still found today (Utsvapedia). He was able to unite the various sects of Assam through his teachings and establish a universal social brotherhood through congregational prayer which included the music, the dance and the drama based on the life of Lord Krishna (Ponmelil). His overall message was one of peace and harmony. Another one of the ways that he made this dance form legitimate was by writing the dance dramas that were performed and are still performed today. Some of these dance dramas include the Bargeet and the Ojha Pali songs. Sattriya was not recognized as an official Classical Indian Dance by the Sangeet Natak Akademi until the year 2000 (Banjeree pg 204). It is believed that the reason is that Assam and its neighbors northeast have remained outside the mainstream of modern India, politically as well as socially (Kalita). Since it did not become officially recognized by India until so much later than the other styles, there is still a great amount of documenting to be done. In these past fourteen years, funds have been given to Assam for performances, training and documentation [of] works (Banjeree pg 204). With documenting, action has been taken by filming the older gurus and documenting the ancient texts that have been used to form and preserve this dance. The younger generation has helped to gain more popularity towards Sattriya which is helping the preservation and continuity of this Classical art form. Matiakhora or the grammar of Sattriya dance helps Sattriyan dancers with the clarity of their performance (Kalita). Kalita describes each Matiakhora as a letter in an alphabet. When these letters are put together, an exquisite dance phrase is created. Overall there are 64 letters to this dance style that are divided into eight categories. These categories are Ora, Sata, Jhalak, Sitika, Paak, Jhap, Lon, and Khar. Each of these 64 exercises are movements that develop correct technique and styling. In addition to the Matiakhoras there are over 2000 hand gestures in the Sattriya dance form. These are divided into three categories which are Asanjukta Hasta (single hand), Sanjukta Hasta (joined hand) and Nritya Hasta (dancing hands). Some distinctive features seen in Sattriya dance are the ulah, the wavy movements, doop, the dipping and bobbing, hali, the horizontal movements, [and] citika, the springing movements (Puranam). The costuming for Sattriya has some unique qualities compared to the other seven Classical Indian styles. The patterns of the costume of the entire ensemble are unified to properly represent Assamese grandeur and cultural legacy (Utsvpedia). Another unique aspect to their costuming is the silk sarees. Sarees are used all throughout India, but in Assam they use two special silks: Pat Silk and Muga silk. These forms of silk are special to Assam because they represent the vegetation and animals of the area. All costumes worn by both male and female represent traditional Assamese designs. Male dancers are also often found dancing with symbols or drums. Through the reverence of the Gods in Sattriya dance and its history, an observer can see the embodiment of religion in the culture. Although Sattriya performances have transitioned from the monasteries to the stage for entertainment, the dance itself reserves the worship of Shiva and many other Hindu Gods.

Part III

Conclusion

ConclusionThe eight styles of Classical Indian Dance are integral to the Indian culture and are still greatly influencing the culture of India today. Although classical dance has been a constant that can be recorded back to 200 B.C., these styles have evolved and progressed with the culture and with the westernization of India. As previously stated, Classical Indian dance is traditionally passed down from Guru to student. With western influence of commercial and business, Classical Indian dance has become an industry rather than a sacred transfer of religious dance. Now in order to learn Classical Indian dance, a student can attend a dance studio and pay a monthly fee for training purposes. One downfall of this method is the student does not receive the personal attention and culture of the Guru. Previously the student would live with the Guru, so not only was the dance style learned, but the lifestyle was also assimilated. The student would have to have great passion for the dance and be committed for at least ten years of study with the Guru. Now, like in multiple dance schools around the United States, children are taking classes for a couple of years because their parents want them to. Although it takes a long period of time to become a guru of a certain style of Classical Indian Dance, there is no certificate or test that a student has to take in order to be a master. The only certificate known to show knowledge in a style of Classical Indian Dance is a diploma for a Bachelors, Masters or P.H.D. This diploma is recognized in the academic world, but does not deem a student a guru or master. A student becomes a guru when the Guru believes that the student has learned all he or she can from the Gurus teachings. A recital is a typical culminating event for the student to demonstrate their mastery. The recitals and transition from student to Guru is different depending on the style and the certain culture of the region. A teacher shows qualification by his or her teaching skills and experience. When looking for a Classical Indian instructor students and parents will generally look into the qualifications of the teacher and will look into the teachers ancestral line referring to the line of teachers. By looking at the dance instructors line, a student can then tell what kind of style of that certain dance they will be learning and the probable excellence of the teacher. Furthermore, there is no regulation on who can or cannot choreograph a Classical Indian Dance, but it will not be recognized by the Classical Indian community, if it is not done well or appropriately. Modern technology and the westernization in India, has allowed Classical Indian Dance to become easily accessible. Anyone can now watch and learn the Classical Indian dance forms through Youtube, Vimeo etc. Although this is extremely useful, it also takes away from the integrity of the Classical Indian style, because the person learning cannot get the full movement technique by just watching a performance. It also takes away from the meaning and purpose behind the movement that a viewer cannot understand from watching. Mislabeling of styles and false information for online sources can mislead those researching Classical Indian dance.With the progression of time, the purpose of Classical Indian Dance is changing. This is a concern for the older generation. Ramani states that the main problem is that the focus in on the form and not the soul (Ramani). He goes on to further explain how audience members, particularly the younger generation, are tired of seeing the same thing every year. This causes them to change the format through creative ideas that are not necessarily supported by the understanding of the structure of the composition. The dancers now become so consumed by showing their talent and virtuosity that the nuances of movements are often lost (Ramani). Attendance to many of the Classical Indian Dance shows is decreasing and many believe that it is because the performer, although very technically precise, mechanically goes through the motions. This leaves the audience unmoved and uninterested. It is important to incorporate the body and soul into the performance to captivate the audience. For Classical Indian Dance to thrive there needs to be some kind of balance between putting their heart and soul into the dance and creating new and interesting movement within the framework of the Classical Indian dance style. The eight styles of Classical Indian dance contain rich history, religion, artistry, passion and detail. There is so much to learn about the culture of India from each stylistic nuance. As this art form continues to evolve, students must make sure when innovating to stay true to the traditional style and structure so the main purpose and themes of the dance will not be lost.

Part IV

Appendix

Hand GesturesNatya Shastra: combined hand gestures

Bharatanatyam: Used in expressing parts of speech.

Odissi

Kathak

Kathakali

Manipuri

Kuchipudi

Mohiniyattam Pathaka Mudrakhya Katakam Katakamukha Kartharimukha Shukathunda Kapitha Hamsapaksha Shikhara Hamsasya Ardhachandra Tripathaka

CostumesBharatanatyam

Instruction on how to put on the costume: https://www.youtube.com/watch?v=IdKdWK2lfToOdissi

Kathak

Kathakali: example of four different roles Pacha (Hero Character) Katti (Demon) Monkey God Minniku (Woman Character)Manipuri

Kuchipudi

Mohiniyattam

Sattriya

Classical Indian Dance Locations

Links to Classical Indian Dance Forms

Bharatanatyam https://www.youtube.com/watch?v=SgiLOzFQh14 Odissi https://www.youtube.com/watch?v=1wX5yHh6DHc https://www.youtube.com/watch?v=K-aJG4TGm-M Kathak https://www.youtube.com/watch?v=K6hslnn8b9Q https://www.youtube.com/watch?v=-KriuqLeZks Kathakali https://www.youtube.com/watch?v=7aaJ0OwV2lc https://www.youtube.com/watch?v=49lTzt1cZgI Manipuri https://www.youtube.com/watch?v=k01FTTv-4fA https://www.youtube.com/watch?v=XQI0T5Kjw9E Kuchipudi https://www.youtube.com/watch?v=ztdgtCWOka8 https://www.youtube.com/watch?v=e8MGsmco2D8 Mohiniyattam https://www.youtube.com/watch?v=pKajONFk9OU https://www.youtube.com/watch?v=CnUC7q1_l70 Sattriya https://www.youtube.com/watch?v=mcRQs7uy1U4 https://www.youtube.com/watch?v=yW8V2kszFwg Fusion https://www.youtube.com/watch?v=iuAdQyWUdyA Displays the Odissi, Bharatanatyam, and the Kathak Classical Indian style side by side

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Sattriya Dance. Centre for Cultural Resources and Training. Ministry of Culture, Government of India. Web. http://ccrtindia.gov.in/bharatnatyam.php Sattriya Dance. Utsavpedia. Utsav Fashion. Web. 2014. http://www.utsavpedia.com/cultural-connections/a-cultural-spectacle-unique-in-style- and-appeal-sattriya-dance-assam/