Dances of India

 

India is a land of diverse cultures, religions, and traditions, and its dance forms are a reflection of this rich heritage. Indian dance can be traced back to ancient times and is believed to have originated from the religious rituals and ceremonies of the various communities that inhabited the country. Today, Indian dance has evolved into a highly stylized art form that is appreciated and admired across the world.

 

Classical Indian Dance

Classical Indian dance forms have their roots in the ancient Hindu scriptures, which describe various forms of dance as a means of worshiping the gods and goddesses. There are eight classical dance forms in India, and each of them has a unique style, history, and significance. 

Bharatanatyam is one of the most popular classical dance forms in India, and it originated in the southern state of Tamil Nadu. It is a highly stylized dance form that is characterized by intricate footwork, graceful hand gestures, and complex facial expressions. 

Kathak is a classical dance form that originated in northern India, and it is known for its intricate footwork, swift spins, and graceful movements. It was originally performed in the royal courts of the Mughal emperors, and it has evolved into a highly stylized art form that is enjoyed by audiences across the world. 

Kathakali is a classical dance form that originated in the southern state of Kerala, and it is known for its elaborate costumes, intricate makeup, and highly stylized movements. It is characterized by its use of facial expressions, which are used to convey a range of emotions. 

Kuchipudi is a classical dance form that originated in the southern state of Andhra Pradesh, and it is known for its fast footwork, intricate hand gestures, and graceful movements. It is performed by both men and women and is often accompanied by live music. 

Manipuri is a classical dance form that originated in the northeastern state of Manipur, and it is known for its graceful movements, gentle footwork, and delicate hand gestures. It is often accompanied by live music and is performed in a circular pattern, with the dancers moving in a synchronized manner. 

Mohiniyattam is a classical dance form that originated in the southern state of Kerala, and it is known for its graceful movements, gentle footwork, and delicate hand gestures. It is often performed by women and is characterized by its use of facial expressions to convey emotions. 

Odissi is a classical dance form that originated in the eastern state of Odisha, and it is known for its fluid movements, intricate footwork, and graceful hand gestures. It is often accompanied by live music and is characterized by its use of facial expressions to convey emotions. 

Sattriya is a classical dance form that originated in the northeastern state of Assam, and it is known for its graceful movements, intricate footwork, and delicate hand gestures. It was originally performed in the monasteries of Assam and is characterized by its use of religious themes. 

Regional Indian Dance

India is a land of diverse cultures, and each region has its unique dance forms that reflect its traditions and customs. There are numerous regional dance forms in India, and each of them has a unique style, history, and significance. 

Bhangra is a traditional dance form that originated in the northern state of Punjab, and it is known for its energetic movements, fast footwork, and vibrant costumes. It is often performed during weddings and other festive occasions and is accompanied by live music. 

Garba is a traditional dance form that originated in the western state of Gujarat, and it is known for its graceful movements, intricate footwork, and colorful costumes. It is often performed during the Navratri festival and is accompanied by live music. 

Bihu is a traditional dance form that originated in the northeastern state of Assam, and it is known for its energetic movements, fast footwork, and colorful costumes. It is often performed during the Bihu festival and is accompanied by live music. 

Giddha is a traditional dance form that originated in the northern state of Punjab, and it is performed exclusively by women. It is known for its graceful movements, intricate footwork, and colorful costumes. It is often performed during weddings and other festive occasions and is accompanied by live music. 

Indian dance is a reflection of the country's rich cultural heritage, and it has evolved into a highly stylized art form that is appreciated and admired across the world. From the classical dance forms that have their roots in ancient Hindu scriptures to the regional dance forms that reflect the traditions and customs of each region, Indian dance is a celebration of diversity and creativity.

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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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Dance Patterns in Kathak

  

Dance patterns in Kathak are successive in nature and are named according to the varying degree of the complexity of the rhythmic pattern or on account of the mnemonics used. The tukra is a pure dance pattern which is the simplest variety where the mnemonics are of the Tabla. Tora is a formalized pattern that takes only a few types of mnemonics into consideration. Parana is a dance pattern which is performed to the mnemonics of pakhavaj.

Thereafter the performance of tora is that of the tukra which is often presented as the chakkardar tukra. These are built in the same manner as the tirmanams of the varnam in Bharatnatyam. The dancer begins with a slow rhythmic pattern in vilambit laya. This is finally presented in a double or a triple laya. Here there is a successive progression and the relationship of the third laya to the first laya varies significantly. The entire sequence is repeated in multiples of three. The structure is built on an accurate mathematical sense. The dancer's skill lies in building up this structure from the first beat of the rhythmic pattern or from any of the subsequent beats. The rule is that the dancer must end on the last beat of the metrical cycle or the first beat of the new cycle. The Parana is a dance pattern which is executed to the mnemonics with heavy and echoing aspirant sounds.

Kathak's Nritta technique can be covered under these divisions. The tukras, the toras and the paranas have their subdivisions. One such classification is the composition which comprises sounds of various musical instruments known to north Indian music, such as, the nagara, pakhavaj and so on. It has also been defined as a category which has a combination of the Tandava and the Lasya styles. There are tukras which are known as the Sangeet ka tukras. These are compositions of one syllable or two syllables each, but with some musical quality about them. The common Sangeet ka tukra from the Jaipur School is 'drig jagira drig jagira.' The Nritta portions are presented to a repetitive melodic line known as the nagma. Both the drummer and the dancer make endless variety of rhythmic combinations on this melodic line. The synchronization is all in the sphere of the metrical cycle.

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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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Gharanas of Kathak

  

The word "Gharana" literally means "House" and it implies the house of the teacher. It is linked to the very ancient concept of the Guru-Shishya-Parampara (linage of teacher or disciple) but with some interesting modern twists.

The Gharanas of Kathak are as follows:

Lucknow Gharana
This gharana of Kathak actually developed in the courts of the Nawab of Oudh in Lucknow, Uttar Pradesh. It particularly gives importance to grace, elegance and natural expressions in the dance. Abhinaya or expressional acting, especially improvised, plays a very strong role in this style, and Birju Maharaj, Shambhu Maharaj and Lachhu Maharaj were all famed for the naturalness of and innovativeness of their abhinaya.

Jaipur Gharana
Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan. The significance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also a greater incorporation of compositions from the Pakhawaj, such as, Parans.

Banaras Gharana
The Banaras Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the Natwari or Dance bols, which are different from the tabla and the Pakhawaj bols. There are differences in the Thaat and Tatkaar, and Chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence. There is also a greater use of the floor. Though the style developed in Varanasi, today it flourishes in Bikaner.

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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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Indian Classical Dancers

  

Indian Classical Dancers are the torch bearers' of Classicism who have had forayed into self chosen ways of traditional upswings to become the dancers they have become. Some of the well know2n Classical Dancers are Alokananda Roy, Swami Haridas, Amita Dutt, Chitra Vishweswaran, Padma Subramanyam, Madhavi Mudgal, Mahua Mukherjee and many other exponents.

Sonal Mansingh
Sonal Mansingh is one of the finest classical dancers of the country, who has made her mark in the field of Odissi Dance. She was born on 1st May 1943 to a devout mother Poornima Pakvasa who had a love for creative art. Sonal Mansingh took up dance as profession at a time when it still had not gained respectability as a profession. Prejudices still exist in order that a dancer was called names like 'nautch girl', she did not pay heed to such snide remarks. She grew up in a family, which emphasized through their living, the values of the free Indian spirit. Her grand father Mangaldas Pakvasa, a freedom fighter was a man who believed in equality of gender. He instilled in her, timeless values that she still cherishes today and encouraged her artistic talents, which she wanted to use to serve the cause of culture with dignity through dance. So the support from grandfather and mother to learn dance raised the great dancer. To her dance is a part of the environment and dance forms should reflect issues of the society and she firmly believes that art forms have the power to bring even countries closer. Some of her choreographic works reflects issues concerning women and environment.

Yamini Krishnamurthy
Yamini Krishnamurthy is an exponent of Bharatnatyam and Kuchipudi and has dedicated her life to Indian classical dance for decades. This eminent dancer of Bharatnatyam and Kuchipudi, Yamini Krishnamurthy was born into a Telugu family on a full moon night in 1940 at Madanapalli, Andhra Pradesh. Yamini's father, M. Krishnamurthy, was a Sanskrit scholar and grandfather was an expert in Urdu poetry. Her grandfather named her 'Yamini Poornatilaka', that means "a beautiful mark on the brow of light". Her charisma and stage presence were recognized when she gave her debut in 1957 in Chennai. She became one of the most admired dancers in the country by 1960. Her performances brought about national and international recognition to the classical styles of Bharat Natyam and Kuchipudi. Yamini's played significant role in popularizing Kuchipudi that was then emerging as a solo dance form of Andhra Pradesh in southern India.

Mallika Sarabhai
Mallika Sarabhai is one of the most renowned Kuchipudi and Bharatanatyam dancers in India today. This performer and creator of many talents developed from being a young, internationally acclaimed classical dancer and film personality, to being an activist and commentator on social issues. Positive reassertion of images of womanhood has been reflected through her dance, theatre and writing. She exercises the vocabularies of Indian traditions as biting tools to carve new reactions in a culture, which favors conservatism. As dancer, actress, choreographer, writer, or instigator of community projects she challenges audiences to sit up and think, realign themselves to questions of ecology, women's place in society, gender awareness, cultural atrophy, the very place of the arts in our society. Dynamic, charming and dry-witted, she is a rare creature in the arts. It is her expertise and deep knowledge of two forms of Indian classical dance, Bharatanatyam and Kuchipudi from Tamil Nadu and Andhra Pradesh respectively at the root of Mallika's performance. Mallika received her first award in 1977. Along with many salutations she was the recipient of the "French Palme D'or", the highest civilian award by the French Government and in Paris she was honored as the 'Best Soloist Artist' among 400 dancers from 25 countries among other awards.

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Birju Maharaj, Indian Classical Dancer

  

According to renowned musician Ravi Shankar, Birju Maharaj inherited from his father, uncles and few more 'greats' of his earlier generations, a loving approach towards the great art form of Kathak. He will remain a historical person in the world of Kathak as Mrs. Sumtra Charat Ram asserts. Pandit Birju Mahara, anj internationally renowned Kathak dancer and a great guru has imparted his immense knowledge and produced several renowned artists. Apart from dancing, he has shown his talents as a superb musician, percussionist, composer, teacher, director, choreographer and a poet. He has a special flair for playing percussion instruments like Tabla, Pakhawaj, Dholak, Naal and string instruments like Israj, Violin, Swar-Mandal, Sitar etc. He has performed in thousands of concerts in India and abroad. He has extensively toured all over the world, i.e. USSR, USA, Japan, UAE, UK, France, Germany, Italy, Aaustria, Czechoslovakia, Burma, Ceylon etc. for performances as well as lecture-demonstrations.

Early life of Pandit Birju Maharaj
The leading exponent of the Lucknow Kalka Bindadin gharana of Kathak dance in India, Pandit Birju Maharaj was born on 4th February 1938. He was a descendant of the legendary Maharaj family of Kathak dancers and was named as Brijmohan Nath Mishra. Renowned Acchan Maharaj was his father as well as guru and Shambhu Maharaj and Lachhu Maharaj were his uncles. He has five children three daughter and two sons.

At the very tender age of seven he performed his first recital and since then there was no looking back. He taught at the Bharatiya Kala Kendra in Delhi, and at the Kathak Kendra a unit of the Sangeet Natak Akademi where he was Head of Faculty, and Director, retiring in 1998.

Besides being a superb dancer, he was also gifted with a number of other qualities, which add to his artistic career. He is a wonderful singer having command over, Thumri, Dadra, Bhajan and Ghazals. He is also superb drummer, with ease and precision playing nearly all drums. With the experimentation of this superb quality in the dance dramas, he has given a new dimension to Kathak. It became successful medium for mass dispersion. His bold and intellectual compositions in traditional themes are brilliant, whereas his contemporary works are also refreshing in concept, crisp and entertaining.

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