|
|
|
Indian
Classical Dances
|
|
Andhra Pradesh is associated with
the divine dance form, as it were, Kuchipudi. It is famous for its grace,
elegance and charm. It was Abdul Tana Shah, the grand nephew of Sultan Mohammed
Quli Qutb Shah of the Qutb Shahi dynasty, who bestowed the name of
"Kuchipudi" upon this renowned dance form of Andhra Pradesh.
The story dates back to the reign of Tana Shah, an ardent lover of the arts. It
was on one of his visits to Kuchipudi, a small village in Krishna district, that
the king realised that it was imperative to provide water for the villagers. He
ordered a well to be dug. Overwhelmed by his majesty's kindness, the villagers
expressed their gratitude for his generous gesture with a performance of this
native dance. Thus the name of this village was conferred upon this dance form
by Tana Shah as a token of his appreciation. Since then Kuchipudi has been known.
Kuchipudi is a perfect balance
between three aspects- Nritta, Nritya and Natya, each being
equivalent in nature. The Nritta is a rhythmic sequence that concludes a song or
a verse; the Nritya or sabdams in which the rhythmic passages are followed by
interpretations alternately; Natya is a complete dance drama with a story-line
and various characters.
Unlike Bharat Natyam (another dance form) which evolved from the Nattuva Mela
School of dance, Kuchipudi originated from the Natya Mela School of dance
and it was performed on special festive occasions. The wavy hand movements and
the rapid tempo of the Kuchipudi dance distinguish it from Bharat Natyam.
The use of laya (rhythm), thandava (foot steps and rhythm) and abhinaya
(expression) is common with the Kuchipudi artist. But Kuchipudi is
characteristic for its abhinaya or expressions. Angika, vachika, satuka and
ahaarya are the four types of abhinaya or actions.
A very charming form of abhinaya is the satvikabhinaya which includes three
steps. It begins with facial expressions and eye movements, followed by hand
gestures and eventually movements of the entire body.
Kuchipudi, the dainty dance form of Andhra Pradesh is profoundly aesthetic
and the experience of watching it live is most exhilarating and cannot be
expressed in words !!
Kuchipudi is the classical style of dance of Andhra
Pradesh. It took
its birth in the village of the same name, originally called Kuchelapuri or
Kuchelapuram. It was the result of the Bhakti Movement in the 6th Century, in
South India. From its origin, as far back in the 3rd century BC, it has
remained a continuous and living dance tradition of this region. The genesis of
Kuchipudi art as of most Indian classical dances is associated with religions.
For a long time, the art was presented only at temples and that too only for
annual festivals of certain temples in Andhra Pradesh.
According to tradition, Kuchipudi dance was originally performed only by men and
they all belonged to the Brahmin community. The very first group of Brahmain
community of Kuchipudi was formed in 1502 AD. Their performers were offerings to
the deities and they never allowed women in their groups.
In an era of the degeneration of dance due to exploitation of female dancers.
Fifteen Brahmin families belonging to Kuchipude have carried on the tradition
for more than five centuries. Renowned gurus enriched the dance form by bringing
women.
Kuchipudi art was intended as a dance drama requiring a set of character, never
as a mere dance by a soloist which is common in present times. This dance drama
is sometimes known as Ata Bhagavatham. The plays are in Telugu, and
traditionally all roles are taken by men alone.
The most popular Kuchipudi dance is the pot dance in which a dancer keeps a pot
filled with water on her head and feet kept on a brass plate. She moves on the
stage manipulating the brass plate, with the feet kept on its rim and doing some
hand movements without spilling a drop of water on the ground.
The violin and a clarinet are the common instruments employed as accompaniment.
Today Kuchipudi like Bharatanatyam has undergone many changes. The present day
dancers having advanced training in Kuchipudi style, present this art in their
own various individual ways. The bulk of the dancers are woman. In its present
day, Kuchipudi has come to be reduced from a dance drama to a dance, from an
uplifting theatre experience to a routine stage affair.
Indian classical dance was nurtured
in the peaceful environment of the temple. Dance became a mode
of communication of the soul with the absolute. Rituals were codified,
disciplined and classified. Natya Shastra of Bharata became the
science and art of Indian Classical Dance.
The seven Classical Dance styles are
:
 |
Bharatanatyam
Bharatanatyam is the classical dance, which is practised in the Southern
Indian State of Tamil Nadu, which is east of Kerala, south of Andhra Pradesh and
southeast of Karnataka. (See Map of India) The contemporary form of
Bharatanatyam evolved during the late 18th or early 19th century. Sadir, which
was till then the domain of devadasis (girls who were dedicated to gods),
reached its nadir during 1910-1930 with the degeneration of social mores. But
during 1926-35, under the championship of E. Krishna Iyer, the dance regained
its majesty and came to be known as Bharatanatyam.
Bharatnatyam is compounded from `bah' for Brava or emotional projection, `Ra'
for raga or melody and `ta' for tala or rhythm. Natyam means the art of dance.
Bharatanatyam dancers are usually women and, like the Indian sculptures they
take their positions from, always dance bent-kneed. It is an extremely precise
dance style where a huge repertoire of hand movements is used to convey moods
and expressions. A special feature of this dance form is Padams or
poems on the hero-heroine theme. The tempo of these love songs is slow and each
phase of the performance is crystallized into a specific mood of love.
The key postures of this dance form requires the upper part of the body to be
erect, the legs bent halfway down with the knees spread out, and the feet
positioned like a half-open fan. Practically every member of the body has it's
distinct movement.
Bharatnatyam is intended to be danced solo, but nowadays group work is equally
popular. The songs used are composed from the poetic literature of Tamil,
Telugu, Sanskrit and to some extent Kannada. Today, Bharatnatyam is not a dance
style, but a dance technique - a system, from which came out the other classical
dance forms of Mohini Attam and Kuchipudi. |
|
|
|
Kathakali Kerala, a State of southwest India and situated next to (west of) Tamil
Nadu,
presents to the country one of the most imposing and colourful spectacles of
dance - Kathakali. It is heroic, majestic and epic in character. Though this
form of art is not more than 300 years old, the actual roots can be traced to
1500 years earlier.
It symbolizes the blending of the Aryan and Dravidian cultures and is presumed
to be evolved out of the various ancient theatre traditions of the region like
Krishnattam, Ramanattam, Koodiyattam, Mudayyetu and Teyyam. Mahakavi Vallathol
of Cherutoorthi, which contributed greatly in the revival of this art.
The domain of Kathakali is peopled by superhuman, gods, demons and animals. So
the costume and make-up is also elaborate and colourful. Green is for heroic
characters, black for evil and bearded countenance depicts Hanuman and Bheema.
Being a very exacting art, it demands an energetic and long training for body
and facial movement along with body massage and diet control.
Mostly based on mythology and the themes of Ramayana and Mahabharata, a
Kathakali performance opens with the sound of thunder from drums which invites
the audiences. The performance lasts a night and only men perform Kathakali. As
a form of art, Kathakali is a sophisticated spectacle of the supernatural.
|
|
|
|
|
Kathak
Kathak is the classical dance,
which practiced in North India. It has been best preserved in the cities
of Lucknow in Uttar Pradesh and Jaipur in Rajasthanform. Kathak originated
in the north and at first was very similar to the Bharatanatyam. However,
the principles of Kathak are more on footwork as opposed to the emphasis of hand
formations in Bharatnatyam. Persian and Muslim influences later altered the
dance from a temple ritual to a courtly entertainment. The influence of the
Mughal tradition is evident in this dance form, and it has a distinct
Hindu-Muslim texture.
The word Kathak literally means
storyteller. In ancient times, storytellers used song and dance to enrich their
narration. This took the form of Kathakalakshepam and Harikatha in southern
India, and the form of Kathak in the north. Around the 15th century, the dance
form underwent a drastic transition due to the influence of Mughal dance and
music. By the sixteenth century, the tight churidar pyjama became the staple
attire of a Kathak dancer.
Today, the maestros of this
dance form include Birju Maharaj and Uma Sharma. Kathak has an exciting
and entertaining quality with intricate footwork. The costumes and
themes of these dances are often similar to those in Mughal miniature paintings.
Rhythm, timing and so footwork are the main planks of Kathak. The musical
accompaniment to the 200 ghungurus or bells on the dancer's feet, are the
sarangi and tabla. Kathak is a true fusion of the Hindu and Muslim genius in art
and it is the only classical dance of North India.
|
|
|
|
|
Manipuri
Manipuri is the classical dance
from the Manipur region in the northeast of India. Manipur is surrounded by
Nagaland, Mizoram and Assam. (See Map of India) The dance form evolved in the
18th century with the advent of the Vaishnava faith, from earlier ritual and
magical dance forms. Themes from the Vishnu Purana, Bhagvata Purana and
compositions from the Gitagovinda predominate the repertoire. Today, dancing
remains a key element in the art and ritual of daily life in Manipur.
According to the legends of the
Meitei tribes of Manipur, when God created Earth, it was lumpy. The seven
Lainoorahs danced on this newly-formed sphere, pressing gently with their feet
to make it firm and smooth. To this day, when Manipuri people dance, they do not
stamp vigorously but press their feet gently and delicately on the ground. The
original myths and stories are still practiced by the cultist or priestesses in
the form (Maibi) that is the root of Manipuri.
The female 'Rasa' dance is
based on the Radha-Krishna theme, feature group ballets and solos. The male 'Sankirtana'
dance is performed to the rhythm of the Manipuri dholak. The musical forms
of Manipuri dance reflect the culture of the state of Manipur. The art form
primarily depicts episodes from the life of Vishnu and is paradoxically a most
tender and vigorous form of expression. Balance and restraint of power are the
predominant features of this style. Today, dancing remains a key element
in the art and ritual of daily life in Manipur.
|
|
|
|
|
Kuchipudi Kuchipudi
is the classical style of dance of Andhra Pradesh. It took its birth
in the village of the same name, originally called Kuchelapuri or
Kuchelapuram. It was the result of the Bhakti Movement in the 6th Century,
in South India. From its origin, as far back in the 3rd century BC,
it has remained a continuous and living dance tradition of this region.
The genesis of Kuchipudi art as of most Indian classical dances is
associated with religions. For a long time, the art was presented only at
temples and that too only for annual festivals of certain temples in
Andhra Pradesh. According
to tradition, Kuchipudi dance was originally performed only by men and
they all belonged to the Brahmin community. The very first group of
Brahmain community of Kuchipudi was formed in 1502 AD. Their performers
were offerings to the deities and they never allowed women in their
groups. In an era
of the degeneration of dance due to exploitation of female dancers.
Fifteen Brahmin families belonging to Kuchipude have carried on the
tradition for more than five centuries. Renowned gurus enriched the dance
form by bringing women. Kuchipudi art was intended as a dance drama
requiring a set of character, never as a mere dance by a soloist which is
common in present times. This dance drama is sometimes known as Ata
Bhagavatham. The plays are in Telugu, and traditionally all roles are
taken by men alone. The
most popular Kuchipudi dance is the pot dance in which a dancer keeps a
pot filled with water on her head and feet kept on a brass plate. She
moves on the stage manipulating the brass plate, with the feet kept on its
rim and doing some hand movements without spilling a drop of water on the
ground. The violin and a clarinet are the common instruments employed as
accompaniment. Today
Kuchipudi like Bharatanatyam has undergone many changes. The present day
dancers having advanced training in Kuchipudi style, present this art in
their own various individual ways. The bulk of the dancers are woman. In
its present day, Kuchipudi has come to be reduced from a dance drama to a
dance, from an uplifting theatre experience to a routine stage affair. |
|
|
|
|
Odissi
Odissi is considered to be one
of the oldest surviving dance forms based on archaeological evidence. The
traditional dance form of Orissa. Orissa is a State on the
mid-north-eastern coast of India. Possibly, Odissi is the oldest classical
dance form in the country. It has been mentioned in inscriptions, depicted on
sculptures, in temples like the Brahmeswara and the dancing hall of the Sun
Temple at Konark. It is a soft, lyrical classical dance, which depicts the
ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath.
“The Odissi dance has
its roots in devotional ritual, and though it really consists of one
long theme, starting from the invocation to the deities, the Earth and
the gurus, and ending with a highly technical finale of pure dance” (Enakshi
Bhavnani).
The Odissi dancers use
their head, bust and torso in soft flowing movements to express specific
moods and emotions. At one sensuous and spiritual, Odissi has the
ability to portray erotic sentiments in a deeply reverential manner. The
accompanying music is pure and classical, with graces of both Hindustani
and the Carnatic systems. The instruments traditionally used are drums,
small cymbals and the flute. Both music and dance have become
closely connected with ritual and worship in Orissa. In addition,
many places in Orissa, the temples of Bhubaneshwar, Rajarani, Venkateswar,
Jagammath and Nat Mandapa, are not only religious centers but are also
centers of culture and the arts. |
|
|
|
Mohini
Attam Mohiniyattam
is one of the classical dance tradition forms of Kerala. It is said
to be older than Kathkali. Literally, the dance of the enchantress,
Mohiniyattam was mainly performed in the temple area of Kerala. The word 'Mohini'
means a maiden who exerts desire or steals the heart of the onlooker, her
dance is known as Mohini Attam. Mohini Attam was conceived as
a form of social diversion. The themes of the songs were both religious
and social.
The first reference to
Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan
Namboodiri, assigned to the 16th century AD. In the 19th century, Swati
Thirunalthe king of Travancore, did much to encourage and stabilize this art
form. It was Poet Vallathol who revived it and gave it a status in modern
times. The theme of Mohiniyattam is love and devotion to god. Vishnu or
Krishna is more often the hero. The spectators could feel his invisible presence
when the heroine or her maid details dreams and ambitions through the circular
movements, delicate footsteps and subtle expressions. In format, this is similar
to Bharatanatyam. The movements are graceful like Odissi and the costumes sober
and attractive.
Mohiniyattam is essentially a
solo dance, but in present times it is performed in groups also. The repertoire
of Mohiniyattam follows closely that of Bharatanatyam. Mohiniyattam maintains a
realistic makeup and simple dressing. The dancer is attired in the beautiful
white and gold bordered Kasavu saree of Kerala. Mohiniyattam follows the
Hastha Lakshanadeepika, as a text book for hand gestures. The style of vocal
music for Mohiniyattam as is generally seen, is classical Carnatic. The lyrics
composed by Maharaja Swati Tirunal and Irayimman Thampi are in Manipravala (a
mixture of Sanskrit and Malayalam). Till recently, Thoppi Maddalam and Veena
provided the background music of Mohiniyattam. These have been replaced in
recent years by Mridangam and Violin.
|
|
Send
mail to webmaster@infotech.co.id
with questions or comments about this web site.
Copyright © 2000 www.indoindians.com
Last modified: November 01, 2001
|
|
