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.