Elements of Indian classical dance

Indian classical dance

Indian classical dance are essentially Bharatanayam, Kathak, Kathakali, Odissi, Mohinyattam, Manipuri and Kuchipudi. Each of these dance forms have evolved their own techniques, tradition, music and performance standards. Added to this is the style which the exponents of each of this art form follows while rendering their performance on stage.

What is common to all is the abinaya or expression.



Abhinaya

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 have 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 or the nine moods

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.
1. Hasya (happiness)
2. Krodha (anger)
3. Bhibasta (disgust)
4. Bhayanaka (fear)
5. Shoka (sorrow)
6. Veera (courage)
7. Karuna (compassion)
8. Adbhuta (wonder) and
9. Shanta (serenity).

Kuchipudi Dance-Dramas

Kuchipudi dance-dramas, each present a particular episode or a series of episodes. A solo recital, on the other hand, typically consists of such items as the 'Sabdam', 'Bhama kalapam' which is the main item, 'Padams' and 'Tarangams'. In 'Bhama kalapam', the dancer has enormous scope for the dramatisation of characters. The main character is Satyabhama, a beautiful but arrogant queen who goes through the process of discovering the path of true love and devotion. In the 'Tarangam', the dancer frequently perform a balancing feat, her feet poised on the edge of a brass plate as she moves around.

Kuchipudi, a representation of a fine combination of Natya, Nritta and Nritya was earlier never a solo affair and required a number of actors. It was presented in the open air on an improvised stage by men and boys who were given a vigorous training in abhinaya, music, dancing and singing. Earlier the female roles were played by boys and young men of comely appearance. The Sutradhar or the director of the stage played the key role. He was the conductor, dancer, singer, musician, comedian, all rolled into one.

The play began with the orchestral music which included Mridanga, Madala and a pair of cymbals, followed by an invocation to a deity and appearance of Ganesha, the elephant headed god to bless the performance. Then came the dancers offering worship to the Flagstaff or Flag of Indra. The Sutradhara then announced the theme of the play, introduced the characters in his sing-song voice and appealed the audience to witness the show with attention. This marked the end of the prelude and the beginning of the play proper.

Each character entered the stage dancing and singing the merits of the character he or she was impersonating, which is known as 'Daruvus'. The play progressed at a leisurely pace and relaxed tempo punctuated with dances both abstract and expressional. It contained some very complicated items of original footwork such as tracing out an outline of a lion or an elephant with the feet on the floor or dancing with the feet on the edges of a circular brass tray or with a water pot delicately and precariously balanced on the head.

Today Kuchipudi is considerably a different style of dance form than it originally used to be. In most of the cases it is now a solo performance done by female dancers. The Sutradhara has become a phenomenon of the past and the Vachika abhinaya, that is, expressional numbers are sung by the danseuses herself instead by the vocalists in the background on the stage as was the traditional practice. The element of devotion to gods has also been done away with and it has become purely a secular affair with predominance of 'sringar' or erotic flavour. Besides the drama component has also been totally reduced. The main expressional number is from Jaideva's Ashtapadi, the Ramayana, the Puranas, Tirtha Narayana's Krishna Lila Tarangini or Tyagaraja's compositions, but now the dancer combines into herself the roles of the singer who sings the 'daruvu', the actor who speaks the lines and the dancer who mimes and dances to interpret the text. Elements not indigenous to the dance drama such as sculpture like stances and freezes based on perfect iconographic forms motifs and shapes have also been incorporated into Kuchipudi dance recitals to make it more competitive with other dance forms.

Indian Classical Dances

Indian Classical Dances

Bharatha Natyam is a South Indian classical dance form that developed chiefly in Tamil Nadu over the past three thousand years. The name Bharatha Natyam was coined in the 1930's to represent the three major elements of dance in the three syllables of the word Bharatha - bhava (facial expression), raga (melody), and tala (rhythm).

Originally, this art was known as sadi or dasiattam, and was performed in Hindu temples by female dancers called devadasis, or servants of God. Performances were a part of daily rituals and religious or festive occasions, where dance was considered to be an offering to the deities. Eventually, this dance form made its way into the royal courts, and in the 18th and 19th century Thanjavur courts, Bharatha Natyam developed into its present form. A period of decline in popularity was followed by a revival of Bharatha Natyam in the 1920's and 30's, after which it found its place on the modern stage.

Bharatha Natyam is known for its rhythmic, vigorous footwork, crisp movements, sculpturesque poses and combining the energy of its Nritta (rhythmic movements) with the emotion of its Nritya (expressive movements).

The most widely performed dance in North India is Kathak. The name stems from the word katha, a story or fable. This tradition dates back over 2000 years to Kathakas, the wandering bards and minstrels, who traveled from village to village preaching and bringing to life the meanings and messages of the great mythologies and scriptures through song, dance and commentary. During the medieval period, the Moguls brought this dance into the court setting where it became a popular courtly entertainment, and acquired an emphasis on refined grace along with complex rhythmical development.

Modern-day Kathak is a theater art which has the vigor of dynamic footwork and pin-point spins, the subtle movement of the face and hands, blended with the miming of stories of all kinds. Never simply a silent presentation, it integrates the recitation of syllabic compositions known as bols. It is the only classical dance form that incorporates elements from both Muslim and Hindu culture.

Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali, a well-developed dance-drama, is a performance where the actors depict characters from the epics Ramayana and Mahabharata and from the Puranas (ancient scriptures). The dancers adorn themselves in huge skirts and head-dress, wearing a most intricate style of make-up.

Kathakali draws heavily from drama and is danced with elaborate masks and costumes. Kathakali recitals are generally long and while other dance forms are more emotive than narrative, Kathakali is both. It combines dance with dialogue to bring myth and legend to life in the temple courtyards of Kerala. The dancers use their stunning costumes and make-up, with the accompaniment of drums and vocalists, to create various moods and emotions.

A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.

Manipuri originated in the picturesque valleys of north India. Performed still in temples and religious occasions, inextricably woven into the lives of the people of Manipur, this dance form is very much a living tradition.

This style is multifaceted, ranging from the softest feminine to the obviously vigorous masculine. Dignified grace is to be found in every aspect and the range it offers in technique, rhythmics and tempo makes a Manipuri recital an absorbing and exhilarating experience.

According to legend, Lord Shiva and his consort Parvati danced in the valleys of Manipuri to the accompaniment of the Ghandharvas to the celestial light of Mani (jewel) from the head of the Atishesha, a serpant and that is how it has come to be called Manipuri.

Manipuri dance is a generic name and covers all the dance forms of this land. Manipuri lays emphasis in involving the entire body in the dance other than the facial expression. The principal dance item in Manipuri is Ras, which depicts bhakti rasa. The innumerable escapes of Lord Krishna are depicted in Ras. This form of dance lays emphasis on lyrical grace and delicacy of hand gestures. The Chooloms is another form of Manipuri, which includes vigorous tandava items and fast rhythms. Choolams involves singing and dancing, directed towards achieving the union of god. In Choolams, Poong Choolam is danced by men holding drums, and Kartal Choolam by both men and women using cymbals in their hands. Lai Haraoba is another form of Manipuri, which portrays the creation of universe. The costumes used in this form of dance are ornamental and rich in colors.

Mohiniyaattam is a distinctive dance form of Kerala. According to Hindu mythology Lord Vishnu took the form of Mohini, the divine enchantress. Thats how the dance form got its name. This dance-form is different from the other performing arts of Kerala mainly in two respects. Firstly, the dominantly religious atmosphere of the other classical dance-styles is absent in Mohiniyaattam. Secondly, it did not flourish in temple-precincts like Bharathanatyam Odissi, or Kuchipudi.

Wide swinging steps and the swinging movement of the torso from side to side are traits of mohiniattam. Rhythmic variations called 'choll~' based on patterns of rhythm syllables are an integral part of the vocal accompaniment. And this is gracefully rendered by the dancer with beautiful gestures and footwork.

Mohiniyaattam is a dance of sheer enchantment, its purpose being overtly sensual. This classical style was born out of a clever fusion of the highly stylized and male-monopolized Kathakali with the rigid Bharathanatyam. Though it shows deep affinities with both these styles, it has developed as a distinct dance-form with its own personality. Like Bharathanatyam, Mohiniyaattam is primarily intended as a solo dance to be performed by women, and its technical structure is quite similar to the former. At the same time, the great influence of Kathakali movements has given it a much greater dramatic, emotional impact.

The Odissi Indian classical dance form is possibly the oldest classical dance form of India, dating back to the 2nd century B.C. Odissi is a temple dance form deeply rooted in Hindu devotion. This dance style from the state of Orissa in Eastern India was traditionally performed as a devadasi, or temple dance, tradition. Dances were dedicated to Lord Krishna (known as Lord Jagannath in Orissa).

With the suppression of Odissi dance by British authorities, this dance style was repressed and virtually exterminated except in a few outlying villages where it was kept alive by gotipuas (young male dancers). The revival of Odissi began in 1949 with India's independence. The dance form was regenerated from research of the temples in Orissa where the dance form was stored in sculptures that depicted Odissi's intricate positions and meanings.

Like other forms of India, Odissi has two major facets: pure, non- representational dance (Nritta) and expressional dance (Abhinaya). Fluid movements of the torso in combination with the crisp movements of the lower body characterize Odissi. Furthermore, the bent body positions give the Odissi style the distinction of being most closely related to sculpture. The music in Odissi dance is a blend of both the Carnatic and Hindustani classical traditions of India.

Kuchipudi was originally a male dance tradition. Groups of men traveled from village to village enacting stories from the Hindu mythology. As in Elizabethan theatre men portrayed the roles of women. It is only in the last century that women have been introduced to this art form.

Kuchipudi is characterized by fast rhythms and fluid movements, creating a unique blend of control and abandon, strength and delicacy.

Hastabhinaya -Gesture of Hands

Angusta: Thumb Finger

Tarjani:Fore Finger

Madyam : Middle Finger

Anamika:Ring Finger

Kanista: Little Finger

Asamyuta hastas (Single Hand Gestures)
Names of the 28 single handed gestures or Asamyuta hastas are laid out in the verse given below :
Patakastripatakasyardhapatokartarimukhaha/
Mayurakhyordhacandrashca aralah shukatundakaha// verse 89//
Musthishca shikharakhyashca kapithah katakamukhah/
Suci candrakala padmakoshah sarpashirastatha//verse 90//
Mrigashirshah simhamukha kangulashalapadmakah/
Caturo bhramarashcaiva hamsasyo hamsapakshakah//verse91//
Sandamsho mukulascheva tamracudatrishulakah/
Ityasamyutahastanamashtavishatiriirita//verse 92//


Samyuta Hasta (Double Hand Gestures)
The following verse recites the names of different hastas.
Anjalishca kapotashca karkata svastikastatha// verse 172//
Dolahastah pushputa utsangah shivalingakah/
Katakavardhanashcaiva kartarisvastikastatah// verse 173//
Shakata shanka cakre ca samputah pashakilakau/
Matsya kurmo varahashca garudo nagabandhakah// verse 174//
Khatva bherunda ityete sankhyata samyutah karah/

Sanskrit verses taken from Abhinaya Darpana of Nandikeshvara -

Kuchpudi History

Kuchipudi derives its name from the village of Kuchelapuram, in Andhra Pradesh, India. As a classical form of dance, drama and music, Kuchipudi enjoys a unique place among the Indian classical idioms. Kuchipudi grew largely as a product of the Bhakti movement beginning in the seventh century A.D. It was in the 14th century, however, that the ascetic Siddhendra Yogi appeared on the scene and gave Kuchipudi a new definition and direction.

Kuchipudi was originally a male dance tradition. Groups of men traveled from village to village enacting stories from the Hindu mythology. As in Elizabethan theatre men portrayed the roles of women. It is only in the last century that women have been introduced to this art form. Kuchipudi in its present form is the result of the vision of stalwarts like Padmabhushan Vempati Chinna Sathyam and the late Vedantam Laxminarayana Shastry.

Kuchipudi is characterized by fast rhythms and fluid movements, creating a unique blend of control and abandon, strength and delicacy.