Old and Ancient Dances of India
Excavations, chronicles, genealogies of kings and artists, literary sources, sculpture, and portrayals of exceptional durations supply tremendous proof on dance in India.
Contemporaneous old dance classes have improved external of the musical play or sangeet-nataka brought out from the twelfth (12th) century to the nineteenth (19th) century. The Indian classical dances have two primary elements - Tandava and Lasya.
The three principal factors are-
Natya (the dramatic aspect of the dance i.e. the imitation of characters)
Nritta (the dance moves in their primary form)
Nritya (expressional factor i.e. mudras or gestures).
The different rasas are stated like this - Love, Heroism, Pathos, Humour, Anger, Fear, Disgust, Wonder, and Peace. The Natya Shastra written via Bharat Muni is the most distinguished supply for the Indian aestheticians for setting up the traits of the dances.
Indian dances
Bharatnatyam (Tamil Nadu)
Kathak (North India)
Kathakali (Kerala)
Kuchipudi (Andhra Pradesh)
Mohiniyattam (Kerala)
Odissi (Odisha)
Sattriya (Assam)
Manipuri (Manipur)
Bharatnatyam (Tamil Nadu):
Abandinaya Darpana of Nandikesvara is one of the main sources of literature, process research, and grammar in Bharatnatyam Dance. Bharatnatyam dance is recognized as Nakahara, wherever one dancer holds various roles in a particular performance. The dance involves the temporary movements of the leg, waist, and arm. Descriptive eye movements and hand gestures are used to convey emotions.
The accompanying orchestra consists of a vocalist, mridangam player, violinist or veena, flutist, and instrumentalist. The person who conducts the repetition of the dance is Nattuvanar. While general form, the dance is classified into seven principal sections- ""Alarippu, Jatiswaran, Shabda, Varna, Pada, Thillana, and Sloka"".
The appearance of Bharatnatyam is on display in the gopuram temple of Chidambaram (Tamil Nadu). UE. Krishna Iyer and Rukmini Devi Arundale performed an important function in supporting the dance recover its lost reputation and state.
Kathak (North India):
The name Kathak is derived from the word Katha which means story.
It was in a temple or town center where dancers related stories from ancient writings. Radha-Krishna legends are based on traditional rasa Lila, which is a combination of traditional dance and the basic actions of Kathak narrators. Under Mughal rulers and their nobles, Kathak was court-martialed, where he acquired its current characteristics and grew into a dance genre with a distinct style. Under the rule of Wajid Ali Shah, the last Nawab of Awadh, it grew into a great form of art.
Often played alone, the dancer often pauses to read the verses followed by their performance. The focus is mainly on footwork; the movement is skillfully controlled and performed with straight legs by dancers wearing ankle straps.
Kathak is the only ancient form of dance associated with Hindustani or North Indian music. Lady Leela Sokhey (Menaka) has revived the old style. Other famous dancers include Birju Maharaj, Sitara Devi.
Kathakali (Kerala)
""Chakiarkoothu, Koodiyattam, Krishnattam, and Ramanattam"" are just several of the merchandise made in Kerala that has had a direct have an impact on Kathakali. Kathakali is an aggregate of dance, track, and performing and imitates stories, based totally often on Indian epics. Strong and wonderful costumes are used (intricate masks, giant skirts, and a massive head). Dancers operate roles (kings, gods, demons, etc.) in innovative media and costumes, artists inform tales and artists play musical instruments.
Different facial colorations point out distinctive tiers of thought and personality, e.g. inexperienced - princes, black - ugly, pink spots - combining greatness and evil. Hand gestures, facial expressions, and eye actions are important. Bodyweight is shut to the outer legs barely bent and bent. Ramankutty Nair and Kalamandalam Gopi have been distinguished artists.
Kuchipudi (Andhra Pradesh)
Clothing, jewelry, and jewelry are nonetheless important. Individual works are Manduka Shabdam, Balgopala Taranga (dance on the brass band and a gap full of water in the head), and Tala Chitra Nritya (artist with dance toes). Yamini Krishnamurthy and Raja Reddy are extremely good dancers.
Mohiniyattam (Kerala)
Mohiniyattam or Mohini dance (the beginning of Lord Vishnu) is a historical shape of Kerala dance alone. Recommendations to Mohiniyattam can be found in the Vyavaharamala books inscribed in 1709 by way of ""Mazhamagalam Narayanan Namputiri and in Ghoshayatra"", later written via the poet Kunjan Nambiar.
Built on the present-day machine of Travancore Kings, Maharaja Kartika Tirunal and his successor Maharaja Swati Tirunal (18th and nineteenth centuries) Extremely solo work for females with round movements, gentle steps, and delicate expressions.
The motion is on the mortgage to Nangiar Koothu and the Kaikottikali and Tiruvatirakali women's dances. It has the attributes of Bartholomew (kindness and goodness) and Kathakali (power) however has a wish to arouse, hear and be sensitive. Realistic diagrams and easy put-on (Kasavu saree of Kerala) are used. The songs are from Manipravala (a historical Indian language that combines Tamil-Malayalam and Sanskrit). Sunanda Nair and Pallavi Krishnan are well-known artists.
Odissi (Odisha)
The predominant subject matters of the work are the many objects of the discovery of Lord Vishnu and verses of Gay Govinda of Jayadeva. The tender dance is supported through clean phrases and is comparable to Bharatanatyam in phrases of mudras and speeches.
The so-called ‘cell carving’ aspects two proper shapes - Tribhanga (body deformed neck, chest, and knees) and Chowk (square imitation). Solon Mansingh and Kelucharan Mohapatra are well-known artists.
Sattriya (Assam)
The Satattya dance structure used to be brought in the fifteenth century A.D. through the sacred Vaishnava and an alternate in Assam, Sankaradeva as a supply for the unfold of the Vaishnava religion. The dance shape emerged and improved as an extraordinary dance fashion later.
Because of its non-secular nature and its affiliation with the Satattras (Vaishnava maths or monasteries), this fashion of dancing has been referred to as Satattriya. The lifestyle of Satellite dance is ruled through strict policies in relation to hasta mudras, footwork, acharyas, tune, etc.
This tradition has two wonderful streams - a Baona-related repertoire from Gayan-Bhayanar Nach to Kharmanar Nach, secondly impartial dance numbers, such as Chali, Rajagharia Chali, Jhumura, Nadu Bhangi, etc. Among them, the Chali is characterized with the aid of kindness and elegance, whilst Jhumura is stated for its majesty and splendor.
Manipuri (Manipur)
The origins of Manipuri dance can be traced lower back to historical instances past recorded history. This dance is related to standard customs and traditions, with specific references to Shiva and Parvati and different gods and goddesses that created the universe.
Lai Haraoba is the first dance shape that types the groundwork of all fashion dances in Manipur. That is to say - eye-catching the gods, it is completed as a sacrifice for the pageant of track and dance. The essential gamers are the maibas and Mai bis (priests and priests) who additionally make up the theme of earth creation.
Rasleela's famous dances of Manipur date lower back to the 18th-century reign of King Bhagyachandra. Manipur dance has a gorgeous history, however, the most famous types are Ras, Sankirtana, and Thang-Ta. The Kirtan fashion of church singing is accompanied by a dance regarded as the Sankirtana in Manipur.
Male dancers play Pung and Kartal whilst dancing. Dancers do no longer put on ankle straps to entire the rhythm in the theater, as this interferes with the subtle physique movements.
Thank you
0 Comments