Dances of India Classical Dance forms The principles of which are derived from Bharatamunis Natya Shastra Natya

ya comprises of music, dance and drama It is Brahma who is said to have created Natyaveda which is supposed to
be the essence of the existent Vedas! Bharatnatyam

It is believed that Bharatnatyam was revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance in a Sanskrit text called the Natya Shastra. Probably derives its name from an amalgamation of Bha from bhava Ra from raga and Ta from tala Has its origin in the sadir or the solo performance of the devdasis of Tamil Nadu Dance fell into disrepute but was brought into the meainstream by Rukmini Arundale through her school Kalakshetra(also popularized by freedom fighter E.Krishna Iyer) Famous styles of Bharatnatyam Padanallur Tanjore Format of a Bharatnatyam Dance Ganapati Vandana- prayer to Ganesha Alarippu- invocatory piece Jatiswaram- pure dance create beautiful poses to rhythmic beats

Shabdam- abhinaya to a song in praise of God Varnam- combines nritta and nritya Padam- dancer can reveal mastery over abhinaya (usually padams deal with the theme of love) Thillana- pure dance Famous dancers Mrinalini Sarabhai Rukmini Devi

Kuchipudi

Originated in AP Gets its name from the village of its birth Kuseelavapuri Kuseelavas were groups of actors going from village to village Basically can be traced to the dance dramas of Brahmins in temples

Features Traditionally a Male preserve but now open to women too Combines lasya and tandav Bhama Kalapam is an important part of its repertoire Siddhendra Yogi the one who composed the above believed that it was a dance that could lead to salvation

Exponent Raja and Radha Reddy

Yakshagana Bayalata

Originated in Karnataka Performed by male troupes maintained by temples Features Theatre form Dances are of nritta variety Enacted in open spaces Elaborate make up , head dresses Colorful clothes

Themes Epics Dashavtaras Focused on celebrating victory of good over evil

Famous exponent Dr.Kota Shivaram Karanth

Chchau

Ancient but obscure origin Derived from chchaya or shadow Term acc to odissi indicates war dance 3 stream of chchau nritya- Seraikela, Purulia and Mayurbhanj Features Performed during sun or spring festival Shiva and Parvati are presidingdeities Stance resembles combat Male preserve though women have started learning Usage of masks Very vigorous, martial style, requires lot of stamina Musical accompaniment- flutes, drums

Themes Epics Puranas Nature

Exponent Raja Bijay Pratap

Kathak

UP Probably inspired by Rasleela Influenced by Vaishnavism Revolves around Radha Krishna dance Derives name from kathika or story tellers who would recites stories from the epics with gestures Involves nritta and nritya Branched into a courtly stream in the Mughal period Fell into disrepute, later revived Influenced by different styles of diff gharanas- Lucknow, Jaipur, Varanasi and Raigarh

Features Format Ganesh Vandan Aamad (dancer enters on stage with this item) Thaat (soft and varied movements) Gat Nikaas (brief outlines of mytho stories) Padhant (recitation of complicated bols and demonstration) Tatkar (conclusion- intricate footwork and complex) Intricate footwork Usage of facial expressions and hastas No bending of knees unlike bharatanatyam Indian and Persian costumes

Exponents

Birju Maharaj Sashwati Sen

Manipuri

Features Emphasis on bhakti Not sensuous Awesome costumes, serene expressions Limited use of mudras Flourished with the advent of Vaishnavism Usage of drum or pung Cholom means dance- both tandav and lasya elements are present Inseparable from Rasleela Usage of compositions or songs composed by Jayadeva, Chandidas Brought to prominence by Rabindranath Tagore who introduced it in Shantiniketan

Exponent Charu Mathur Bipin Singh

Mohiniattam

Kerala dance of the enchantress Origin apparently in the 19th century at Travancore Songs composed by Swami Thirunal Features Elements of Bharatanatyam and Kathakali Grace of the former vigour of the latter Girls dance Erotic and lyrical Distinctive costumes Exponent Hemamalini Vijayantimala

Odissi

Probably derives its name from Odra nritya mentioned in Natya shastra Dance of the devdasis Influenced by Vaishnavism and the Bhakti cult Brought to light by Dr.Charles Fabri, dance critic who documented it

Features Called mobile sculpture cause its graceful and sensuous Great importance to tribhanga posture After the devdasis fell into disrepute it became a male preserve Jayadeva s ashtapadi is a compulsory item in its repertoire

Format Mangalacharan Batunritya Pallavi Tharijham Moksha (final dance of liberation) Exponents Madhavi Mudgal Rani Karna

Kathakali katha- story kali- drama

Features

Temples of Kerala Main sources Kudiattam and Krishnattam Ramanattam evolved into Kathakali Popularized through Kalamandalam set up by Vallathol Menon

Male preserve Suited to open air stage Elaborate make up Emphasis on gestures and expressions Great use of eye expression Color to indicate character (green- nobility; black for wickedness) Thiranottam- expressive fiery character

Themes Epics Puranas Presents the eternal conflict between good and evil

Nikita Kametkar