Indian culture today has a distinct identity enlivened through Temple traditions. Indian dance forms associated with the evolution and development of Temple arts speak volumes of the great cultural endeavour. Indian dance forms as practiced today have captured global attention sensitising the Indianness in all the cultural vistas of the world.
India offers a number of classical dance forms, each of which can be traced to different parts of the country. Each form represents the culture and ethos of a particular region or a group of people. The most famous classical forms are BHARATANATYAM of Tamil nadu, KATHAKALI and MOHINIYATTAM of Kerala, ODISSI of Orissa, KATHAK of Uttar pradesh, KUCHIPUDI of Andhra pradesh and MANIPURI of Manipur.
Sunday, August 10, 2008
BHARATANATYAM
This dance which originated in the Tempels of Tamilnadu, specially from Tanjore and Chidambaram, was performed by devadasi’s in the olden days. Graceful movements , mime and musical contribute in equal measure to this beautiful dance from the south. The distinguishing features of ‘BHARAT NATYAM’ are the noble, almost geometrical angularity of movements and forceful foot-work.
This dance has now come to stay as the classical dance that originated in Tamilnad. But this again has no relevance today, for it has become deeply rooted in various states of India. Dance teachers have enormously contributed to national harmony by starting institutions all over the country.
This dance has now come to stay as the classical dance that originated in Tamilnad. But this again has no relevance today, for it has become deeply rooted in various states of India. Dance teachers have enormously contributed to national harmony by starting institutions all over the country.
MANIPURI
Manipur is located in the north eastern part of Indian, surrounded by mountain ranges, is famous for Manipuri dances, which is mainly devotional, lyrical grace,
Lightness of trade and delicacy of hand gestures, set Manipuri dance apart from the geometric structure of Bharatanatyam and the linear quality of Kathak.
There are also some vigorous thadava or masculine items called cholam, in which the dancer leaps whirls and spins on the floor, while keeping rhythm on the drums slung from his neck.
Manipur is a beautiful valley, located in the North East of India. The important items in the repertoire of Manipuri are Ras dances, of which there are four main types which pertain to Krishna and are performed only by women and girls. Lyrical grace, lightness or delicacy of hand gestures set Manipuri apart from the geometric structure of Bharatanatyam and the linear quality of Kathak. The costumes and ornaments in Ras are colourful and glittering.
Apart from the graceful Ras dances, Manipuri has another form called Choloms. These are vigorous Tandava items in which the dance jumps, leaps and while on floor while marking the rhythm on the drum slung from his neck. Important in this category are the Poong Cholom, danced by men holding drums and the Kartal cholom, performed by men or women with cymbals in their hands. The choloms are all part of the Sankeertana of Manipuri, a tradition of singing and dancing directed towards achieving union with Lord Krishna.
Lightness of trade and delicacy of hand gestures, set Manipuri dance apart from the geometric structure of Bharatanatyam and the linear quality of Kathak.
There are also some vigorous thadava or masculine items called cholam, in which the dancer leaps whirls and spins on the floor, while keeping rhythm on the drums slung from his neck.
Manipur is a beautiful valley, located in the North East of India. The important items in the repertoire of Manipuri are Ras dances, of which there are four main types which pertain to Krishna and are performed only by women and girls. Lyrical grace, lightness or delicacy of hand gestures set Manipuri apart from the geometric structure of Bharatanatyam and the linear quality of Kathak. The costumes and ornaments in Ras are colourful and glittering.
Apart from the graceful Ras dances, Manipuri has another form called Choloms. These are vigorous Tandava items in which the dance jumps, leaps and while on floor while marking the rhythm on the drum slung from his neck. Important in this category are the Poong Cholom, danced by men holding drums and the Kartal cholom, performed by men or women with cymbals in their hands. The choloms are all part of the Sankeertana of Manipuri, a tradition of singing and dancing directed towards achieving union with Lord Krishna.
KUCHIPUDI
Similar in many ways to Bharaanatyam this dance style which originated as a
Ballet form of dance, from the village named Kuchipudi in Andhra Pradesh,
Has its own distinctive music and a more plastic or fluid line. It is only in recent times that Kuchipudi has begin to be performed solo and by women.
This major classical form takes its name from the village Kuchelapuri now known as kuchipudi in Andhra Pradesh where it originated as a form of dance drama with religious themes. It is a dance that is also drama, for the performers act and speak as well. Originally these dance dramas were performed only by men, but in recent years women too have taken to it. It is erotic, but glazed with touch of the sublime.
According to tradition, Kuchipudi dance was originally performed by men of the Brahmin community. These Brahmin families were known popularly as Bhagavathulu of Kuchipudi.
Ballet form of dance, from the village named Kuchipudi in Andhra Pradesh,
Has its own distinctive music and a more plastic or fluid line. It is only in recent times that Kuchipudi has begin to be performed solo and by women.
This major classical form takes its name from the village Kuchelapuri now known as kuchipudi in Andhra Pradesh where it originated as a form of dance drama with religious themes. It is a dance that is also drama, for the performers act and speak as well. Originally these dance dramas were performed only by men, but in recent years women too have taken to it. It is erotic, but glazed with touch of the sublime.
According to tradition, Kuchipudi dance was originally performed by men of the Brahmin community. These Brahmin families were known popularly as Bhagavathulu of Kuchipudi.
KATHAK
A major solo style of Northern India, Kadhak has traditionally been danced by
Both men and women. This dance originated from the braj regian in Uttar Pradesh
By ‘Kadhakars’ or story tellers. With the advent of Moghals in the North, Kadhak moved from the temples to the courts or darbars of the kings. Thas this is the only dance where there is fution of Hindu and Muslim calture. The distinctive feature of Kadhak is its brilliant foot-work, and an even motion with a rapid tempo, the beauty and grace of movement is retained.
Kathak, as its name indicates was a kind of ballad singing form of art that used to aesthetically tell a story couched in music and dance. At its initial phase Kathak was basically a form of expressions art dominated by abhinaya and had deep religious association. During the medieval period it received enthusiastic patronage from the royal courts of both Mughal and Hindu rulers.
A major style of the North, Kathak unlike Bharatanatyam has traditionally being danced both by men and women. The Kathak we know today is a synthesis of two streams, the sacred and the secular.
Coming to the royal courts, kathak became gradually secular and its Nritta repertoire was much expanded. At that time different individual talents innovated intra-forms like tukdaa, gat-nikaas and gat-bhaav which found place in the traditional repertoire because by that time the art of Kathak had been transformed into a taal-pradhan classical dance form. Kathak has for centuries been a solo form like Odissi.
Both men and women. This dance originated from the braj regian in Uttar Pradesh
By ‘Kadhakars’ or story tellers. With the advent of Moghals in the North, Kadhak moved from the temples to the courts or darbars of the kings. Thas this is the only dance where there is fution of Hindu and Muslim calture. The distinctive feature of Kadhak is its brilliant foot-work, and an even motion with a rapid tempo, the beauty and grace of movement is retained.
Kathak, as its name indicates was a kind of ballad singing form of art that used to aesthetically tell a story couched in music and dance. At its initial phase Kathak was basically a form of expressions art dominated by abhinaya and had deep religious association. During the medieval period it received enthusiastic patronage from the royal courts of both Mughal and Hindu rulers.
A major style of the North, Kathak unlike Bharatanatyam has traditionally being danced both by men and women. The Kathak we know today is a synthesis of two streams, the sacred and the secular.
Coming to the royal courts, kathak became gradually secular and its Nritta repertoire was much expanded. At that time different individual talents innovated intra-forms like tukdaa, gat-nikaas and gat-bhaav which found place in the traditional repertoire because by that time the art of Kathak had been transformed into a taal-pradhan classical dance form. Kathak has for centuries been a solo form like Odissi.
ODISSI
Orissa, on the eastern sea-coast of India, is the home of the highly sensuous and lyrical form of dance called Odissi. This state is famous for its temple, the Konark, dedicated to the sun god, the Jagannadh temple of Puri and many more. The main features of the dance are its postures and sculpturous positions, closely relating to the sculptures of the famous temples of Orissa. The Odissi dancer bends the hips And sways the torso in curves and flexion known as ‘Tribhangi’ (TempleBend)And ‘Atibhangi’ ( Semi-circular bend) from the Torco dowmwords.
Orissa, on the Eastern sea coast, is the home of the highly sensuous and lyrical form known as Odissi. Like Bharatanatyam, it was intended to be performed in temples as a religious offering by Maharis or devadasis. It has an intensely emotional and lyrical structure and consists of literary compositions on the Krishna theme, the staple being the 12th century poem Geet Govinda by Jayadev. Nritta and Nritya or evenly balanced in a recital.
Odissi throbs with motifs reflecting sculptural design. Odissi is a dance of love and passion, tender and intense. Inspired by temple carvings, its poses are statuesque at vibrant.
Costume of Odissi is simple and colourful. Ornaments will be in silver colour unlike Bharatanatyam which will be in gold colour.
Several treatises on Odissi written between the 16th and 19th centuries and countless other references point to the fact, that three classes of dancers were performing the style of dance. The dances of Maharis in the temples were basically ritualistic. The Nartikis performed in the royal court and for the general public at the traditional festivals like Vasantotsav. From around the 16th, another class of dancers called Gotipua began to dance for the general masses.
Owing to extreme change in social values and gradual withdrawal of royal patronage, the Nartikis were the first to disappear from the scene around the later part of the 19th century. The Maharis continued to dance in the temple of Lord Jaganath at Puri till the 4th decade of this century, but this dance has so much decayed that it was more a ritual than dance. It was the Gotipua class of dancers who continued the tradition but their dance had become so full of popular appeal that the classicism of dance had been diluted.
Odissi for centuries had been a solo dance. Now under the name of innovation group
performances are being presented.
Orissa, on the Eastern sea coast, is the home of the highly sensuous and lyrical form known as Odissi. Like Bharatanatyam, it was intended to be performed in temples as a religious offering by Maharis or devadasis. It has an intensely emotional and lyrical structure and consists of literary compositions on the Krishna theme, the staple being the 12th century poem Geet Govinda by Jayadev. Nritta and Nritya or evenly balanced in a recital.
Odissi throbs with motifs reflecting sculptural design. Odissi is a dance of love and passion, tender and intense. Inspired by temple carvings, its poses are statuesque at vibrant.
Costume of Odissi is simple and colourful. Ornaments will be in silver colour unlike Bharatanatyam which will be in gold colour.
Several treatises on Odissi written between the 16th and 19th centuries and countless other references point to the fact, that three classes of dancers were performing the style of dance. The dances of Maharis in the temples were basically ritualistic. The Nartikis performed in the royal court and for the general public at the traditional festivals like Vasantotsav. From around the 16th, another class of dancers called Gotipua began to dance for the general masses.
Owing to extreme change in social values and gradual withdrawal of royal patronage, the Nartikis were the first to disappear from the scene around the later part of the 19th century. The Maharis continued to dance in the temple of Lord Jaganath at Puri till the 4th decade of this century, but this dance has so much decayed that it was more a ritual than dance. It was the Gotipua class of dancers who continued the tradition but their dance had become so full of popular appeal that the classicism of dance had been diluted.
Odissi for centuries had been a solo dance. Now under the name of innovation group
performances are being presented.
MOHINIYATTAM
Mohiniyattam or the dance of the enchantress, originated in the southern most state of Kerala. This dance, unlike the other 2 South Indian styles, has wide and swaying
Movements of the body and 15 more sensuous in style.
The dance of the enchantress, Mohiniyattam is a female classical dance form of Kerala. It was mainly performed in the Temple precincts of Kerala. It is also the heir to devadasi dance heritage like Bharatanatyam, Kuchipudi and Odissi. The word Mohini means a maiden who enacts desire or steals the heart of the onlookers. There is a well known story of Lord Vishnu taking on the guise of a mohini to enthrall people, both in connection
with the churning of the milk ocean and with the episode of slaying of Bhasmasura
Mohiniyattam is based on the themes of love and devotion and more often the hero is Vishnu or Krishna. The audience can feel his invisible presence when the heroine or her maid details dreams and ambitions through the circular movements, delicate footsteps and subtle expressions. The movements are graceful like Odissi and the costumes sober and attractive.
The repertoire of Mohiniyattam follows closely that of Bharatanatyam. Beginning with Chollikettu, the dancer performs Jathiswaram, Varnam, Padam and Thillana in a concert. Mohiniyattam like many other forms follows the Hasthalakshana Deepika as a text book of hand gestures. The style of vocal music for Mohiniyattam is classical Karnatic.
Movements of the body and 15 more sensuous in style.
The dance of the enchantress, Mohiniyattam is a female classical dance form of Kerala. It was mainly performed in the Temple precincts of Kerala. It is also the heir to devadasi dance heritage like Bharatanatyam, Kuchipudi and Odissi. The word Mohini means a maiden who enacts desire or steals the heart of the onlookers. There is a well known story of Lord Vishnu taking on the guise of a mohini to enthrall people, both in connection
with the churning of the milk ocean and with the episode of slaying of Bhasmasura
Mohiniyattam is based on the themes of love and devotion and more often the hero is Vishnu or Krishna. The audience can feel his invisible presence when the heroine or her maid details dreams and ambitions through the circular movements, delicate footsteps and subtle expressions. The movements are graceful like Odissi and the costumes sober and attractive.
The repertoire of Mohiniyattam follows closely that of Bharatanatyam. Beginning with Chollikettu, the dancer performs Jathiswaram, Varnam, Padam and Thillana in a concert. Mohiniyattam like many other forms follows the Hasthalakshana Deepika as a text book of hand gestures. The style of vocal music for Mohiniyattam is classical Karnatic.
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