Costumes of Indian Dances

 

Indian traditional costumes play a vital role in the world of performing arts, especially in the realm of traditional and classical dance forms. These costumes not only add to the aesthetic appeal of the performances but also hold deep cultural significance. The diversity of India is reflected not only in its languages and traditions but also in the splendid variety of costumes. In this article, we will explore how Indian traditional costumes have impacted the styles and looks of costumes in traditional and classical dance forms. Additionally, we will delve into how tribal dresses have influenced the costumes of tribal dance forms in India.

 

Costumes in Odissi Dance

Odissi, a classical dance form from the state of Odisha, is known for its graceful and intricate movements. The costume in Odissi dance is a perfect blend of tradition and artistry. Female dancers wear beautiful silk sarees with traditional motifs. These sarees are draped in a unique style called the "Nivi style," which enhances the elegance of the dance. The jewelry, including the distinctive Odissi silver filigree jewelry, completes the look. Male dancers wear dhotis and bare torsos. The costumes in Odissi not only add to the visual appeal but also enhance the storytelling aspect of the dance. 

Costumes of Manipuri Dance

The enchanting Manipuri dance, from the northeastern state of Manipur, is known for its delicate and lyrical movements. The costumes in Manipuri dance are equally captivating. Female dancers typically wear a cylindrical skirt known as a "phanek" with a vibrant shawl called a "innaphi." Elaborate headgear and jewelry adorn their attire, reflecting the rich cultural heritage of Manipur. Male dancers don dhotis and kurta, which enable them to perform with ease and grace. The Manipuri costumes contribute to the ethereal quality of the dance. 

Costumes in Bharatnatyam Dance

Bharatnatyam, one of the most popular classical dance forms in India, originated in Tamil Nadu. The costumes in Bharatnatyam are a splendid blend of tradition and style. Female dancers wear colorful silk sarees with intricately designed blouses, adorned with jewelry and bells on their ankles. The attire enhances the grace and precision of the dance. Male dancers, in contrast, wear dhotis and angavastrams, allowing them to perform intricate footwork. The costumes in Bharatnatyam accentuate the portrayal of stories and emotions through movements. 

Traditional Dress of Karbi Tribe

The Karbi tribe, residing in Assam, has a distinctive traditional dressing style that has influenced the costumes of their tribal dance forms. The women of the Karbi tribe wear wrap-around skirts called "Ri:ai" and colorful blouses with intricate embroidery. Their traditional attire reflects the harmony with nature and is often adorned with beadwork and tribal jewelry. This traditional dressing style has found its way into the costumes of Karbi tribal dance forms, creating a visual connection between their culture and their performances. 

Traditional Dresses of Garo Tribe

The Garo tribe, primarily located in Meghalaya, showcases a unique dressing style that has left an imprint on the costumes of their tribal dance forms. Garo women typically wear "Daksari," a two-piece dress with vibrant patterns, and accessorize it with traditional jewelry made of beads and silver. The traditional costumes of the Garo tribe resonate with their connection to nature and their vibrant culture. These costumes have become an integral part of their tribal dance forms, preserving their heritage and traditions. 

Indian traditional costumes have a profound impact on the style and aesthetics of traditional and classical dance forms. The costumes in Odissi, Manipuri, and Bharatnatyam dance reflect the rich cultural diversity of India and enhance the storytelling aspect of these dances. Additionally, the traditional dressing styles of tribal communities, such as the Karbi and Garo tribes, have left an indelible mark on the costumes of their respective tribal dance forms, bridging the gap between tradition and art. These costumes not only add to the visual charm but also preserve and showcase the rich tapestry of Indian culture and heritage in every graceful movement and vibrant performance.

Types of Indian Dances

  

Types of Indian Dances reflect the rich ethos of the subcontinent. With their sheer intricacies, the different types of Indian dances bring out the innermost feelings and emotion, whilst depicting the cultural aspects of the age-old civilization of India. Like all other aspects of life, the dance forms of India are also varied and different. There are many types of dance forms in India, from those which are deeply religious in content to those which are performed on small occasions.

Classification of Types of Indian Dances
Based on the style, dash, intricacies and elan, Indian dance can be broadly classified into four types like, Classical Indian dance, Indian Folk dance, Tribal dance and the Fusion dance.

Indian Classical Dances: Indian Classical dance is also known as the traditional Indian dance which has abundant forms and takes human figure as its basic medium of expressions. Dance performed inside the temple chamber, imperial courts along with music are classified as classical dance. The foundation of the conventions and methodical movements and types of this dance lies in an ancient book of dance, music and drama called ‘Natyashastra’. The Indian classical dance style is unique in terms of movement, grace, style and elan. The major Indian classical dances are as follows:

• Bharatnatyam: Bharatnatyam is one of the oldest forms of classical dance which has its origin in Tamil Nadu. It is inspired from the sculptures of the ancient temple of Chidambaram. Bharatnatyam is considered to be a mystic manifestation of the metaphysical element of fire in the human body. It is a solo dance with two aspects, the graceful feminine movements and also the masculine motion.

• Kathakali: Kathakali originated in Kerala. It is a classical Indian dance-drama known for its attractive make-up of characters, detailed costumes, gestures and well-defined body movements. It is considered to be a combination of dance, music, playing of instruments and drama.

• Kathak: Kathak is a dance form which has its origin in Northern India. It has the influences of Bhakti movement, Persian dance and Central Asian Dance. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers.

• Kuchipudi: Kuchipudi is a dance form of Andhra Pradesh. It has derived its name from a village in Krishna District where the Brahmins used to practice this art. It has bright and quick movements. One of the major attractions is where the dancer has to dance on the brass plate with two diyas in her hand while balancing a small vessel containing water on her head.

• Mohiniyattam: Mohiniyattam, also known as dance of enchantress, is a major art form in Kerala performed only by women. It has its influences from Bharatnatyam and Kathakali. It is basically a drama in dance and poetry.
• Manipuri: Manipuri dance as the name suggests is the foremost dance form of Manipur. Its main theme is Raslila. The conventional Manipuri dance style symbolises delicate, poetic and poised movements. Its facial and bodily movements are restrained.

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Technique of Indian Classical Dance

  

The technique of Indian Classical dance as mentioned in numerous treatises begins with Natyashastra and progress through the medieval works of 16th and 17th Centuries. Indian dance synthesizes the techniques of other arts to evolve an art which was considered the most significant of all. The principles that govern the technique of Indian classical dance are identical to those that govern the technique of Indian classical drama. Three broad principles preside over Indian drama's structure and stage presentation. The first is the mode of presentation, namely, dharmis, Natya, loka. The second consists of the different types of styles namely Kaiseki, Sathavati, arbhati and bharati. The third is the four types of acting namely the angika, vachika, costume, make-up, stage props, and so on.

There are other principles related to these such as bahya, abhyantara, Pravrittis, samanyabhinaya and chitrabhinaya. It is the combination of all these principles which appear in their original form in the contemporary stage presentation of some of the Indian Classical Dances. Three broad principles govern the structure of Indian drama and stage presentation. The first is the mode of presentation, namely, dharmis, Natya and loka. The second consists of the different types of vrittis, namely Kaiseki, Sathavati, the arbhati and bharati. The third is full play of the four types of abhinaya, namely the angika, vachika, costume, make-up, stage props, aharya, satvika. However in Natyashastra, these principles have been discussed in the chapters on drama. The texts belonging to later period deals with dance as an independent art as well as consider these principles in relation to dance. In Abhinaya Darpana Prakasha the independent treatment of dance from the view of the principles that govern it has been enumerated. Sarangadeva and the writers of the Vishnudharmottara Purana and the Natyashastra Sangraha follow this.

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Andhra Natyam, Indian Classical Dance

  

Andhra Natyam is a form of classical dance that originated in the southern part of India, in the Indian state of Andhra Pradesh. This dance form has a long and rich history of 2000 years, but it got lost during the rule of Mughals and British Empire. But fortunately the dance form came to be revived in the 20th century. However, as a result of strong grammatical and structural resemblance to Kuchipudi and Bharatanatyam, this dance form is often considered as a mixture of both.

Origin of Andhra Natyam
The Andhra Natyam dance form has been derived from numerous classical dance forms and has close similarities with Kuchipudi and Bharatanatyam, including the older dance styles like Dasiattam, Kacherittam, Chinnamelam. It can be said that this dance form actually originated from temples, but it is also performed by courtesans known as Kalavantulu in Telugu, and also in open-air public performances well-known as Kalopam are a part of Andhra Natyam.

About Andhra Natyam
The classical dance of southern India is mainly divided into two major categories. They are Natya Melamu and Nattuva Melamu. While the former is performed by men, the latter is performed solo by women. Dance forms like Mohiniattam, Odissiand Bharatnatyam follow the tradition of Nattuva Melamu tradition. The Kuchipudidance style follows the Natya Melamu tradition.

Nattuva Melamu is a dance style which is greatly performed by the women flocks and is mainly adapted in a classical dance form which is called Andhra Natyam. Though the name sounds to be new, but the history of this dance goes back a long way, and is as old as the Telugu culture itself.

Prior to being called Andhra Natyam, this dance form was referred to as Kelika Darbaru, Kaccheri, Mejuvani etc. Abhinaya and dance were both an integral part of the dance in the ancient times. The main reason for calling it as Andhra Natyam is because it is performed in many temples, king's courts and in local gatherings.

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Technique of Bharatnatyam

  

Technique of Bharatnatyam includes Abhinaya, Nritta and Nritya. The human body in Indian dance has been conceived as a mass which can be equally divided along a central median. When the weight is equally divided the completely balanced position that emerges is known as samabhanga. The slightly imbalanced position is called abhanga. The distinctive feature of Bharatnatyam is that it conceives movement in space along straight lines or in triangles.

The dancer begins with samapada position which is the basic position with the feet facing front. The dancer's body is neither relaxed nor rigid. Thereafter the foot is turned sideways which is known as the kalai tiruppudal in Tamil. Then is the ardhamandali position in which the feet are sideways and the knees are also bending sideways. The line joining the two shoulders is considered as base of one triangle and the waist as the imaginary apex of an inverted triangle. A second triangle is conceived with the thighs as the two sides and the line joining the two knees as the base of this triangle. The space covered by the two calves and the line joining the two knees forms the third triangle.

The head forms the first unit and its lateral movements are common. The torso is seen as a whole unit. The lower limbs are seen either as straight lines or two sides of an imaginary triangle in space. The upper limbs follow the lower limbs or weave a circular pattern which is covered by the lower limbs. It is the latter aspect with the use of torso as a single unit which gives Bharatnatyam its uniqueness.

As far as foot is concerned in the first position, the entire foot touches the bound and weight is equally distributed. This is known as tattu. In the same position the second type of foot contact occurs and third type of foot contact result when the heel touches the ground and the toe is raised. Then follows the permutation and combination of these positions by the use of one foot or both the feet. The unit which emerges as a coordinated pattern of the feet, knees, torso, arms and hands is known as the adavu. These adavus can be set in a composition and can be executed in the ardhamandali position. Symmetrical pattern is achieved by executing a movement first by the right foot and then by the left foot. The first adavu is known as the tattu adavu suggesting flat foot contacts in the basic ardhamandali position.

The dancer begins her practice by stamping in single units. The dancer can execute other patterns by stamping the right foot twice and then the left foot twice. The next is a stamping sequence of right, right, left and left, left, right. These are executed in relation to different categories of talas to which these adavus are choreographed in the repertoire. The second variety of the adavu is known as nattu adavu where the foot is placed in such a way that the heel is down and the toes are up. There are many varieties of this adavu. The basic movement is that of a straight extension of one leg while keeping the other bent with the foot sideways. Leg extension is practiced by first extending one leg either to the right or to the left. The hands and arms follow the movement of the legs. As in the case of ail adavus they are practiced usually in three tempos and also with the dancer's feet for the first time covering space.

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Melattur Style of Bharatnatyam

  

Melattur style of Bharatnatyam dance was innovated, developed and improvised greatly out of devadasi traditions and Melattur Bhagavata Mela by Mangudi Dorairaja Iyer, a sanyasi following Srividya Upasana. Mangudi Dorairaja Iyer was born in the year 1900 and died in 1980.

Bharatnatyam Dancer of Melattur Style
Mangudi Dorairaja Iyer re-established the Suddha Nrittam (complicated and stylized tapping footwork that searches various time measures in various tempos), Bhattasa Natyam and Perani Natyam (dance on the clay pot). He became associated in Shuddha Nrittam after watching a brilliant performance by devadasi of Cheyyur Sengalvarayar temple, who performed it along with other 71 types of items (e.g. Kavita, Nritta, Vadya, Sangeeta and others).

Themes
Mangudi went against the traditional Bharatnatyam gurus and avoided all the items that glorified the poets human patrons, as performing such items would not go with his devotion to spiritual practices of Srividya Upasana. It is only the holy rishis or the deities who are considered of such glorification. Thus, the elements or repertoire of a Melattur style dancer consists mostly of the ancient items performed in the temples.

Footwork
In the Melattur style of dancing, instead of stumping the foot hard against the floor the dancer is expected to use salangai (ankle bells) in a better manner that helps in producing rich variety of sounds and also glorifies the rhythm.

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Forms of Indian Classical Dances

  

Forms of Indian classical dances are numerous, and were classified by the Hindu masters as of two kinds, 'Margi' and 'Desi'. The artistic composition of movement and its classification into various types of action is carefully described in the 'Natyashastra' of Bharata Muni. There are three main components elucidated in this ancient treatise. The first one is 'Natya' or actions that belong to the drama. Expressive movements of the body which are accompanied by facial expression and governed by rules of rhythm are called 'Nritya' or dancing. Nritta refers simply to movements of the limbs, and does not involve facial expression. Dancing is again divided into two kinds known as 'Tandava' and 'Lasya'. The Tandava dance is characterized by intense excitement, the heroic mood (Vir) and the touch of wrath. It also expresses cosmic activity, the divine conquest of evil or the attainment of bliss. It is performed by both sexes. Tandava dancing joined to vocal music often forms a prelude to a certain type of dramatic presentation. Lasya dancing includes amorous expression and graceful movement of the limbs. It is danced by women and their consorts. The 'Ras Leela' of Lord Krishna with the 'Gopis' of Vrindavan is of the Lasya kind. 'Laghu' dancing is performed by raising the heels slightly and alternately beating them on the floor.

The most popular forms of classical dances practised in India involve Manipuri Dance, Bharata Natyam Dance, Odissi and several others, being widely prevalent in their patron states.

Bharata Natyam Classical Dance
Bharata Natyam is a well acclaimed classical dance which is the 19th and 20th century modifications of the dance-form called 'Sadir' practised by 'Devadasis' or temple dancers. It is quite popular and widely patronised in Tamil Nadu, particularly appreciated for its tender elegance, sculptural 'mudras' and poses, and also its natural grace. Lord Shiva is believed to be the God of Bharata Natyam.

Chhau Classical Dance
The Indian tribal dance-form of Chhau is performed mainly in West Bengal, Jharkhand and Odisha and resembles martial arts to some extent. 'Purulia Chhau', 'Seraikella Chhau' and 'Mayurbhanj Chhau' are the various dances, classified according to its area of origin. Modern dance scholars are of the view that the term Chhau is a derivation of the Sanskrit term 'Chaya' implying mask or shadow.

Kathak Classical Dance
Kathak is one the most famous classical dances which is influenced by temple dances, the 'Bhakti Movement', central Asian dance and Persian dances which were often displayed in the Mughal courts. The nomadic storytellers who were known as 'Kathakars' are the ancestors of this dance form while Kathak is obtained from Sanskrit term 'katha' implying 'story'. It belongs to the 'gharana' of Varanasi, Jaipur and Lucknow, which can be traced to the courts of Nawab of Awadh, Kachwaha Rajput rulers, etc.

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Bharatnatyam, Indian Classical Dance

  

Bharatnatyam originated in Tamil Nadu which is also referred to as artistic yoga and Natya yoga. The name Bharatnatyam is derived from the word "Bharata" and, thus, associated with Natyashastra. Though the style of Bharatnatyam is over two thousand years old, the freshness and richness of its essence persists even today. The technique of human movement which Bharatnatyam follows can be traced back to the 5th century A.D. from sculptural evidence. This classical dance has a mesmerizing effect as it uplifts the dancer and the beholder to a higher level of spiritual consciousness. It is a dancing style that comprises of Bhava, Raga, Tala, and Natya which reflect the real meaning of the Bharatnatyam.

Origin of Bharatnatyam
Bharatnatyam has developed in the South and gradually was restricted to what is now known as Tamil Nadu. It is evident from chronicles that the Chola and the Pallava kings were great patrons of the arts. Rajaraja Chola maintained dancers in the temples in his kingdom. The tradition of the Natyashastra is widespread. The origin and tradition of Bharatnatyam is appealing and enlightening. This dance form was nurtured in the temple by the Devadasis, servants of the God. It was taken to the princely courts and the Chola and the Pallava kings were believed to be the great patrons of this art. The contributions of the South Indian saint-poets and musicians cannot be ignored. Bhakti or devotional cult was infused into the tradition by these poets. The literary content of Bharatnatyam was provided by them and their musical compositions determined the repertoire of this dance form. The solo or the sadir nritya is the direct descendant of this tradition. Besides the rich history of Bharatnatyam, another mythological tale is also attached to the origin of this dance. It is believed that Goddess Parvati taught this dance form to Usha, daughter of Banasura, a demon. Usha taught the same to the Gopikas of the city of Dwaraka, birth place of Lord Krishna. This is how the spiritual dance form Bharatnatyam was introduced to the mankind.

Development of Bharatnatyam
The advent of a new era and the continuous experiment in the performing art form acted as a foundation for the recent development in Bharatnatyam. The dance form went through various assessments to gain the present shape. Bharatnatyam Dance has a rich legend to share that acted as a sustaining cause for its prominence. The dance form was codified and documented as a performing art in the 19th century by four brothers who were called the Tanjore Quartet. Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during King Sarabojis rule between 1798 AD-1824AD introduced Bharatnatyam with its various forms such as the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana. The four brothers revised Bharatnatyam into its present shape by introducing various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana. The dance form was carried from one generation to another and the direct descendants of these four brothers formed the original group of Nattuvanars or dance teachers of Bharatnatyam in Tanjore.

Theme of Bharatnatyam
Bharatnatyam is a solo, feminine type of a dance, which is tender and erotic. The basic theme is love, where the female dancers usually perform as a devotion to the Supreme Being; or love of a mother for child. It epitomizes the adoration of lovers separated and reunited. This dance is considered to be a fire dance, where there is a mysterious display of the abstract element of fire in the human body.

Technique of Bharatnatyam
Among the various styles of Bharatnatyam the Pandanallur and the Vazhuvoor are more significant. Pandanallur style is characterized by its deep sitting positions; its slow Lasya padams, and difficult standing positions. Vazhuvoor is characterized by a static posture to break the monotony with rhythmical variety.

The technique of Bharatnatyam consists of Natya, Nritta and Nritya. Natya is the dramatic art which is the language of gestures, poses and mimes. Nritta includes the rhythmic and repetitive elements. The Nritya is a combination of Nritta and Natya. Abhinaya also is another technique. It is subtle with more spontaneous expressions.

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Classical Dances of India

  

Classical dances of India are one of the most comprehensive and oldest dance forms in the world. India offers a number of classical dance forms, each of which can be traced to different parts of the country. Each of these dance form represents the culture of a particular region or group of people. India is a land of multiple languages, culture and traditions. These classical dances of India have definite rules that have been followed traditionally over the years. Dance is a physical as well as virtual form of art. Natya Shastra, which is regarded as the fifth Veda, is considered to be the source of all classical dance forms in India. It is believed to have been written between 2nd century BC and 2nd century A.D.

The classical dances of India mainly focus on the Navarasas or emotions - Hasya Rasa, Raudra Rasa, Bibhatsa Rasa, Bhayanaka Rasa, Vira Rasa, Sringara Rasa, Karuna Rasa, Adbhuta Rasa and Shanta Rasa. Almost all the classical dance forms follow the same hand gestures. There are various names by which the dance forms are known. There are 8 classical dances of India that has got recognition from the Sangeet Natak Academy of India. And these classical dances of India are: Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi and Sattriya. There are shlokas in Natya Shastra that describe how to perform all the movements in Indian classical dances.

Types of Classical Dances of India
Traditionally performed as an expressive dance-drama form of religious performance art, the classical dances of India relates to Vaishnavism, Shaivism, Shaktism along with pan-Hindu epics. It also relates to Vedic literature, or a folksy entertainment that includes story-telling from Sanskrit or regional language plays. The Natya Shastra, which is the foundational treatise for classical dances of India mentions 4 genres of ancient dance-drama in vogue when it was composed – Avanti, Dakshinatya, Panchali and Odra-Magadhi. Discussed elaborately below are the 8 classical dances of India.

Bharatnatyam: Considered to be a ‘fire dance’, the classical dance form of Bharatnatyam includes the element of air, water, earth and sky. The movements of a Bharatnatyam dancer reflect the mysterious display of the abstract element of fire. It is a solo, feminine type of a dance, which is tender and erotic. The basic theme is love, where the female dancers usually perform as a devotion to the Supreme Being; or love of a mother for child. It epitomizes the adoration of lovers separated and reunited. Bharatnatyam is one of the popular classical dances of India that originated in the southern state of Tamil Nadu. It is unique to the Dravidian culture of South India. In the ancient days, devdasis or temple dancers who were dedicated in service to the presiding deities used to perform Bharatanatyam in temples. It was E. Krishna Iyer was the one who raised the status of Bhartanatyam and popularized it. Rukmini Devi Arundale was influential in bringing it to the attention of the West. There are several religious mythologies associated with the origin of this dance form. It got its name from sage Bharata who was entrusted with the work of writing Natya Shastra following the instructions of Lord Brahma.

Kathak: A dance of northern India, Kathak is often a dance of love. From 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which were imported by the Mughal era. There are 3 major gharanas of Kathak from which performers today draw their lineage: the gharanas of Jaipur, Lucknow and Varanasi along with the less prominent Raigarh gharana. It is performed by both men and women. The movements include intricate footwork accented by bells worn around the ankles and stylized gestures adapted from normal body language. It was originated by Kathakas, professional storytellers who used a mixture of dance, song and drama. Like other Indian dances it began as a temple dance, but soon moved into the courts of ruling houses.

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