Nritya Vibhakar (5th year) Syllabus & Indian Dance Overview

Flashcards covering terms and concepts from the provided lecture notes on Indian classical dance, including Kathak, Bharatanatyam, and related topics.

Akshipta

Bending to greet or worship someone using specific movements.

Urap

The dancer leaps into the air to express excitement.

Tirap

The slanted movement in dance.

Kasak

Moving the wrist delicately in dance, particularly in 'thaats' and 'gats'.

Masak

Rhythmic movement of the chest in dance, especially in 'thaats' and 'gats'.

Urmai

Leaping in the air as if suspended before touching the ground.

Devdasi

Female temple dancer with dances of religious significance.

Rajdasi

Dancers associated with the royal court or nobility, in a non-religious context.

Puran

Hindu scriptures or narratives incorporated into dance.

Benaras Kathak Gharana

Also known as Janaki Prasad Gharana, emphasizes Natwari bols and less prominent chakkars, utilizing Tandava and Lasya styles with mythological stories.

Solo Dance

Focuses on individual expression, technique, and artistry, creating a close connection with the audience.

Group Dance

Emphasizes ensemble performance, synchronization, and unified movement, showcasing coordination and collective power.

Uday Shankar

Credited with introducing Indian dance styles to the world, known for his 'Oriental style,' and experimented with shadow dancing.

Balasaraswati

Recognized worldwide as one of the great Bharatanatyam artists of the 20th century, known for her revolutionary impact on dance.

Thakur Prasad Mishra

A well-known Kathak dancer, father of Natwari dance, and served as Kathak guru in Nawab Wajid Ali Shah's court.

Tabla

A pair of drums (dayan and bayan) used in Hindustani classical music for accompaniment and solos.

Mridangam

A double-headed barrel-shaped drum, the primary percussion instrument in Carnatic classical music.

Pakhawaj

A two-headed barrel drum, primarily used in Dhrupad music, known for its deep, mellow tone.

Kathakali

Dramatic and theatrical, based on mythological stories, with stylized movements, costumes, and makeup, traditionally performed by men.

Manipuri

Devotional and religious, often showcasing the love between Radha and Krishna, with graceful, flowing movements and hand gestures.

Anga or Body Parts

Body limbs classified into Anga, Pratyanga, and Upaanga, essential for emoting a particular rasa and achieving Angashudhi.

Anga Shudhi

Holding the body correctly to increase aesthetic sense, prevent injury, and enhance performance.

Comparative study of the Taals

The comparative study of Taals analyzes structural, rhythmic, and functional differences between various Taals.

Jhaptaal

10 beats, divisions 2/3/2/3, Taali on 1,3,8, Khali on 6, used in Khayal and instrumental accompaniment.

Ektaal

12 beats, divisions 2/2/2/2/2/2, Taali on 1,5,9,11, Khali on 3,7, used in Khayal and solo performances.

Chartaal

12 beats, divisions 2/2/2/2/2/2, Taali on 1,5,9,11, Khali on 3,7, used in Dhrupad and solo performances.

Deepchandi

14 beats, divisions 3/4/3/4, Taali on 1,4,11, Khali on 8, used in Thumri, Hori, and folk music.

Jhoomra

14 beats, divisions 3/4/3/4, Taali on 1,4,11, Khali on 8, used in Khayal.

Dhamaar

14 beats, divisions 5/2/3/4, Taali on 1,6,11, Khali on 8, used in solo and instrumental accompaniment.

Ada Chautaal

14 beats, divisions 2/2/2/2/2/2, Taali on 1,3,7,11, Khali on 5,9,13, used in Khayal and solo performances.

Nayak-Nayika Bheda

The distinction between male and female characters, an important feature of the Nritya aspect of Kathak dance.

Nayak

Generous, courteous, youthful, self-sufficient, smart, and intelligent, with eight 'Satvik' traits.

Shobha

The truthful spirit with enthusiasm, sharp-mindedness and affection, despising lowly behavior.

Vilaas

Actions like patience, walking like a lion, talking with a slight smile.

Gambhir

Remaining still in spite of fear, grief, anger, joy, etc.

Sthairya

Despite being faced with frightening situations, being unfettered.

Tez

To not tolerate disrespect and ill-behaviour.

Lalit

Being aesthetic in clothing, soft yet well-spoken.

Audarya

Treating everyone with kindness and viewing everyone as equals.

Dheerudaat

One who is free from all vices, has forgiveness.

Dharm (duty) of Nayikas

Swakiya, Parkiya, and Samanya are its three types.

Taal Dashapran

Kaala, Maarga, Kriya, Anga, Graha, Jaati, Kala, Laya, Yati, and Prastaara

Devatha Hasthas

Hand gestures representing deities, crucial in Indian classical dance for communicating stories and divine attributes.

Folk dance

A form of dance developed by a group of people that reflects the traditional life of a certain country or region.

Qualities of a Dance Artist

Technical skills, motivation, discipline, focus, creativity, collaboration, and communication

Kavit and Thumri in Kathak Dance

Kavit interprets poetic compositions through movement, while Thumri provides musical accompaniment, enhancing Abhinaya.

Popularity of Indian Dances in different countries

Indian dances have are popular worldwide with classical forms like Bharatanatyam, Kathak, and Kathakali.

Anulom Vilom

Exercise involving alternating nostril breathing to purify the body, mind, and soul.

Agratal

Kathak foot position where the dancer strikes the ground with the front part of the foot.

Aleen

A seated position or kneeling.

Uthan

Short, rhythmic composition in Kathak, that means 'to rise', often serving as a prelude.

Samput

A specific hand gesture (hasta mudra) in Kathak; a Sanyukta Hasta.

Ashtagati

A composition with eight rhythmic cycles, performable in different speeds (layas).

Bhramari

A pranayama where you produce a humming sound similar to a bee's buzz during exhalation. Calms the mind and reduces stress

Ballet Dance

Theatrical dance with formalized steps and movements, using body movements, music, and scenery to express emotions.