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Indian Dances |
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Indian Dances illuminate &
express India's culture in a direct manner, playing on the sensibilities
of the onlooker.
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
There are many types of dance in India, from those which are
deeply religious in content to those which are danced on more
trivial happy occasions.
Classical Indian Dances are usually always spiritual in content,
although this is often true also of Folk dances.. The most popular
classical styles seen on the Indian dance stage 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
Indian mythology, legends and classical literature provide the
themes of the Indian dance, both of the classical and folk variety.
The classical dance is based on rigid rules and dance discipline.
Its forms include Bharat Natyam, Kuchipudi, Oddissi and Kathak
as also a tradition of dance-dramas - Kathakali, Kutiyattam,
Mohiniattam, etc.
Indian dance is divided into nritta - the rhythmic elements,
nritya - the combination of rhythm with expression and natya
- the dramatic element.
Nritya is usually expressed through the eyes, hands and facial
movements. Nritya combined with nritta makes up the usual dance
programmes.
NATARAJA
One of the most enduring symbols of India is the figure of NATARAJA
- Shiva (The King of Dancers). Shiva's cosmic dance is believed
to encompass creation, preservation, and destruction and this
idea has been embedded in Hindu thought and ritual since the
dawn of civilization.
He holds a small drum (DAMARU) in his upper right hand. His
lower right hand shows the fear-negating gesture (ABHAYA), his
upper left hand is in half-moon pose (ARDHACHANDRAMUDRA) which
holds a tongue of flame which is the fire (AGNI) that finally
destroys the world and is then quenched in cosmic waters. Thus
the hand holding the drum and the one holding fire balance the
forces of creation and destruction. The second left arm is held
gracefully across the chest (GAJAHASTAMUDRA) with the hand pointing
to the uplifted foot, denoting favor or grace for the devotee.
One foot rests on APASMARA or MAUYALKA, the embodiment of human
cruelty and ignorance. Surrounding Shiva's figure and emanating
from him is an immense aureole of flames (PRABHAMANDALA) representing
the vital processes of nature, sustained by the tremendous energy
of the dancing God within.
The flames represent the transcendental power of wisdom and
truth, as well as the mantra 'OM' which signifies the totality
of creation. Also known as the ANANDA TANDAVA, this dance is
a metaphor for the belief that life is essentially a dynamic
balancing of good and bad, where opposites are interdependent.
The dance of Shiva is the dance of life.
FOLK DANCES
BARDO CHHAM (ARUNACHAL PRADESH)
A fascinating folk dance of Sherdukpens - a small community
of West Kameng District of Arunachal Pradesh, Bardo Chham depicts
the victory of good over evil. The dance has an interesting
background. According to the local beliefs, forces - both good
and evil, rule mankind. The folks believe that in one year,
twelve different types of animals, representing evil forces,
appear each month and get together. The sherdukpens mask themselves
representing the different animals and dance to the accompaniment
of drums and cymbals as an act of fighting the evil forces.
BHANGRA (PUNJAB)
The most popular instinctive dance of men in Punjab, Bhangra,
if not the most robust, is one of India's popular folk dances.
This dance is performed during the Baisakhi festival to the
accompaniments and songs of Dholak. The dancers snap their fingers,
do balancing tricks and indulge in acrobatic feats. They recite
witty couplets known as bolis and out of sheer exuberance mouth
meaningless sounds such as hoay, hoay. The dancers are dressed
in lungis and turbans. The drummer usually takes his place in
the center of the circle. The counterpart of the Bhangra is
the Gidha, danced by womenfolk. The dance is a group number,
but often individual dancers or pairs detach themselves from
the group and perform while the rest keep clapping in rhythm.
In this as in the Hikat of Kashmir, pairs of dancers go round
and round with the feet planted at one place. The festival of
Teeyan, to welcome the rains is the principal time for the Gidha.
BIHU (ASSAM)
The Bihu is the most widespread folk dance of Assam and is enjoyed
by all, young and old, rich and poor. The dance is part of the
Bihu festival that comes in mid-April, when harvesting is done,
and continues for about a month. The whole village participates
in the dance as the dancers go from house to house. The dance
is performed to the songs of love and romance and has a lively
beat and graceful movements. The dance begins in a slow tempo,
which gradually quickens as the dance proceeds. Bihu dance,
in its varied forms, is also performed during various stages
of cultivation and at the advent of new season. The participants
are young men and girls, who gather in the open, in daytime.
They dance together, but there is no mixing of the sexes. The
dance is supported by drums and pipes. In between, the performers
sometimes sing, usually of love. The most common formation is
the circle or parallel rows. The Bihu demonstrates, through
song and dance, the soul of the Assamese at its richest.
CLASSICAL DANCES
Indian classical dance is the embodiment of a whole range of
expressions, which include fantasy and yogic discipline. The
different forms represent the meeting point of three arts: music,
drama and dance. Though highly defined and codified, they are
perceived primarily as a form of worship, as homage to the almighty.
Their classicism lies in the continuity of an unbroken history
of over five thousand millennia, one which overwhelms yet inspires.
Using the body as a medium of communication, the expression
of dance is perhaps the most intricate and developed, yet easily
understood art form.
Indian dance is a blend of
NRITTA - the rhythmic elements
NRITYA - the combination of rhythm with expression and
NATYA - the dramatic element
NRITTA is the rhythmic movement of the body in dance, pure dance.
It does not express any emotion. NRITYA is usually expressed
through the eyes, hands and facial movements. NRITYA combined
with NRITTA makes up the usual dance programmes. Nritya comprises
abhinaya, depicting rasa (sentiment) and bhava (mood). To appreciate
natya or dance drama, one has to understand and appreciate Indian
legends. Most Indian dances take their themes from India's rich
mythology and folk legends. Hindu gods and goddesses like Vishnu
and Lakshmi, Rama and Sita, Krishna and Radha are all depicted
in classical Indian dances. Each dance form also draws inspiration
from stories depicting the life, ethics and beliefs of the Indian
people.
It is said that Brahma - the Creator, created NATYA, taking
literature from the RIG VEDA, song from the SAMA VEDA, abhinaya
or expression from the YAJUR VEDA and rasa or aesthetic experience
from the ATHARVANA VEDA. It also contains deliberations on the
different kind of postures, the mudras or hand formations and
their meanings, the kind of emotions and their categorization,
the kind of attire, the stage, the ornaments and even the audience.
All dance forms are thus structured around the nine RASAS or
emotions, HASYA (happiness), KRODHA (anger), BHIBASTA (disgust),
BHAYA (fear), SHOKA (sorrow), VIRAM (courage), KARUNA (compassion),
ADBHUTA (wonder) and SHANTA (serenity). All dance forms follow
the same hand gestures or HASTA MUDRAS for each of these rasas.
The dances differ where the local genius has adapted it to local
demands and needs.
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