Classical Dance Forms of India

Unit 2: A Study of the Classical Dance Forms of India

Introduction to Indian Classical Dances

  • The roots of Indian classical dance are deeply embedded in the ancient text of the Natya Shastra, attributed to Bharata Muni, which serves as the foundational treatise for all forms of Indian dance and drama. The dances initially flourished in sacred temples, where they were performed as offerings to deities, and later evolved within royal courts as expressions of cultural identity.

  • Indian classical dances have undergone significant evolution influenced by Mughal and British colonial presence, leading to continuous stylization and adaptation in presentation.

  • Today, nine distinct classical forms are recognized: Kuchipudi, Bharatanatyam, Kathakali, Manipuri, Mohiniattam, Odissi, Chhau, Sattriya, and Kathak, each with unique characteristics reflecting their cultural and historical backgrounds.

KUCHIPUDI
History

  • Kuchipudi originated in the Telugu-speaking region of Andhra Pradesh, named after the village of Kuchipudi. It possesses a rich tapestry of storytelling intertwined with themes from Hindu mythology, particularly the divine exploits of Lord Krishna.

  • The tradition was significantly developed and popularized by the poet Sri Siddhendra Yogi, who infused spiritual narratives into the dance form and was said to be inspired by divine visions of Lord Krishna. His most notable contribution is the dance-drama "Bhama Kalapam."

  • Historically, Kuchipudi performances were male-dominated, showcasing the prowess of male dancers before Nawab of Golconda granted rights to Brahmin families, allowing female participation and broader acceptance.

Development

  • The dance evolved through the contributions of various Gurus, most notably Sri Vedantam Lakshminarayana Shastry, who introduced solo performances and paved the way for female artists in the 20th century.

  • Other notable Gurus include Sri Vempati Chinna Satyam, who further exemplified the dance’s intricacies, and Smt. Uma Rama Rao, who revitalized the style.

Technique

  • Kuchipudi is characterized by fast footwork, intricate body movements, mime, and expressive facial expressions that convey nuanced narratives. The basic stance known as Ardhamandali is vital to the structure of the movements.

  • Training entails adugulu, which refers to a range of dance movements, and Jathis, rhythmic footwork patterns that are integral to the repertoire.

  • Repertoire Includes: Invocatory item (Ganesha Vandana), Jathiswaram, Kalaapam, compositions by Thyagaraja, and Tarangam, where performers skillfully balance on plates.

Music and Accompaniments

  • The music of Kuchipudi is rooted in Carnatic traditions, featuring a Nattuvanar who leads the performance and is accompanied by a group of musicians, including Mridangists, Violinists, Veena players, and Flutists, each contributing to the rich texture of the music.

Costume

  • Performers typically adorn traditional sarees with elaborate designs, intricate jewelry, flowers in hair, and ankle bells that enhance the performance’s auditory appeal.

BHARATANATYAM
History

  • Bharatanatyam traces its origins to Tamil Nadu and reflects a long-standing tradition performed by Devadasis in ancient temples. While it garnished royal patronage from the Chola rulers, its rich historical depth is also evident from sculptures in temples dating back to the 10th century.

  • The art form experienced a decline in social status during British Rule, with Devadasis facing stigma, but it saw a revival in the 20th century spearheaded by prominent figures such as Sri E. Krishna Iyer and Smt. Rukmini Devi Arundale.

Modern Revival

  • The revival efforts included significant institutional support and redefining the performances to cater to contemporary audiences, thereby preserving its rich heritage.

Different Styles

  • Bharatanatyam has several regional variations, including Pandanallur, Vazhuvoor, Thanjavur, and Kanjeevaram styles, each maintaining distinct movements and interpretations while adhering to shared foundational principles.

Technique

  • The movement philosophy is structured around geometric forms, particularly emphasizing triangle formations. The dancers utilize Adavus (basic steps) in their training, combining Nritta (pure dance) and Abhinaya (expressive dance).

Repertoire

  • The performance opens with Alarippu, progressing through intricate compositions such as Varnam, Padam, Javali, and culminating with Thillana, each piece telling a part of the overall story or theme.

Music and Accompaniments

  • Accompanied by a Nattuvanar, vocalists, and instrumentalists including Mridangam, Violin, and Flute, the music enhances the narrative and rhythmic complexity of the dance.

Costume and Makeup

  • Performers don heavy jewelry, traditional attire with vibrant colors, and striking makeup to enhance their expressions and ensure visibility from afar.

KATHAKALI
History

  • Kathakali, originating from Kerala, has evolved from various pre-existing dance-drama forms. Particularly, the staging of Krishnattam plays, instituted by the Zamorin of Calicut, served to broaden its repertory and artistic expression.

Technique

  • It is a sophisticated blend of dance, music, and acting derived from themes found in Indian epics. Kathakali is distinguished by its unique facial expressions and highly stylized gestures, emphasizing Abhinaya (emotion) and netra abhinaya (expressions of the eyes).

Repertoire

  • Performances traditionally begin with Kelikottu, an invocation of deities that introduces the theme, followed by multiple acts that adhere to a prescribed sequence.

Music and Accompaniments

  • Kathakali features traditional Sopana sangeetham, a specific style of Kerala music; instrumental accompaniment includes Chenda (drum), Maddalam, and Idakka, which provide rhythmic structure to the performance.

Costume and Makeup

  • The costumes are elaborate and symbolic, with detailed makeup that signifies the character types and emotional states being portrayed.

MANIPURI
History

  • Manipuri dance originates from Manipur and is characterized by two distinct periods: the pre-Vaishnavite era, represented by the Lai Haraoba, and the Vaishnavite period, which is more recognized for its Rasleela performances.

Technique

  • This form combines both Tandava (vigorous) and Lasya (graceful) styles, characterized by fluid movements and graceful postures that convey deep emotion and spiritual themes.

Repertoire

  • Manipuri repertoire features Ashtapadis and various Raas styles celebrating divine love, often performed during religious festivals and cultural celebrations.

Costume and Makeup

  • Dancers wear breathtaking, bright costumes rich in ornamentation; specific styles are designed for characters like Gopi and Krishna, reflecting their divine attributes.

Music and Accompaniments

  • Traditional instruments, particularly the Pung (a drum), accompany the dances, contributing to the distinct musical landscape of the North-East region.

MOHINIATTAM
History

  • Mohiniattam is characterized as the Dance of the Enchantress Mohini and emerged in the courts of Kerala during the 18th century. It serves both ritualistic and entertainment purposes, often embodying feminine grace and elegance.

Technique

  • The movements in Mohiniattam feature the Ardhmandalam position which encapsulates sway and graceful movements reminiscent of Kalaripayattu martial arts, reflecting a balance of strength and poise.

Repertoire

  • Performances typically follow a structured format tailored for storytelling, employing local taal patterns that enhance the connection between the dancer and the audience.

Music and Accompaniments

  • Accompanied by instruments such as Edakka and Maddallam along with vocalists, the music serves as an integral part of the overall presentation.

Costume and Makeup

  • The attire is primarily ivory silk, adorned with gold embellishments and flower decorations for hair, alongside ankle bells which produce a melodious sound during performances.

ODISSI
History

  • Originating from Odisha, Odissi is a temple dance with its roots traceable to ancient carvings and inscriptions. It has evolved through the influence of Mahari and Gotipua traditions, showcasing the artistry of both male and female performers.

Technique

  • Highlights of Odissi include the Tribhangi and Chauka postures, which utilize intricate footwork and body movements. The style embodies grace and is renowned for its fluid transitions.

Repertoire

  • Odissi performances are structured, beginning with Mangalacharan, which serves as an invocation, and seamlessly incorporating the verses of Jayadeva, providing rich poetic narratives.

Music and Accompaniments

  • Accompanied by Mardala (drum) and traditional musicians, the music complements the dance movements and enhances emotional depth.

Costume and Makeup

  • The costumes are marked by their distinctive silver or colorful ornaments and elaborate traditional saris specific to the regional aesthetic.

CHAAU
History

  • Chhau is a martial-inspired dance from East India, marked by energetic performances during the Spring Festival, featuring three prominent regional variations: Purulia, Mayurbanj, and Seraikela Chhau.

Technique

  • Chhau incorporates elements of martial exercises, with the transmission of knowledge widely conducted through oral tradition, enriching the form’s cultural heritage.

Characteristics

  • Purulia Chhau emphasizes acrobatic feats, whereas Seraikela focuses more on lyrical expressions, and Mayurbanj showcases fluid torso movements, each encapsulating the essence of local culture.

SATTRIYA
History

  • Sattriya dance is deeply rooted in Assam, developed as part of monastic traditions and closely linked with the teachings of Srimanta Sankardev, an influential saint and cultural icon.

Technique

  • The dance showcases a unique blend of strict movements that incorporate both male and female roles, with focal points on circular and rhythmic styles that create a vibrant collective performance.

Repertoire

  • Sattriya typically begins with traditional items like Gosai and Gopi Pravesar Nritya, which are narratives celebrating the divine and cultural heritage.

Costume and Makeup

  • The dancers wear traditional Assamese attire featuring intricate floral motifs, which highlights the cultural aesthetics of the region.

Music and Accompaniments

  • Sattriya performances are accompanied by characteristic Northeastern music patterns that introduce rhythmic variations, enhancing the dance's emotive expressions.

KATHAK
History

  • Kathak, known for its narrative style, originates from storytelling traditions in Northern India, linked originally to temple performances and later royal courts, showcasing the intertwined relationship between dance and drama.

Gharanas

  • The dance has evolved into two prominent styles or gharanas: Lucknow, known for its emotional storytelling, and Jaipur, celebrated for its rhythmic virtuosity, each adopting a unique focus yet sharing underlying techniques.

Technique

  • Kathak is distinguished by its complex footwork, significantly emphasized by the sound of ankle bells. Performers incorporate free improvisation elements, enhancing the dynamism of their presentations.

Repertoire

  • The repertoire is varied, comprising dramatic invocations, complex rhythmic designs, and elaborate storytelling done through movements that appeal to both classical and popular audiences.

Costumes and Makeup

  • Costumes vary widely, often featuring Ghaghra/Lehenga, adorned with traditional jewelry, creating a visually captivating sea of color and movement, characterized by heavy ankle bells that accentuate the rhythm during performances.

Music and Accompaniments

  • The dance is complemented by percussion from tabla and a variety of string instruments, creating a rich soundscape that enhances the expressive qualities of the dance.