Classical Dance forms of India

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Bharat Muni’s book Natya Shastra is the first to mention dance

Abinaya Darpan- Acharya Nandikeshwar

Two basic aspects

1. Tandava (movement & rhythm)
2. Lasya (grace, bhava & rasa).

Three main components are-

1. Natya (Drama)
2. Nritta (Dance-Basic Form)
3. Nritya (Expression-Mudras or gestures).

Sangeet natak Academy recognised 8 Dance forms as Classical dance form.

Classical Dances of India

Classical Dance forms of India

1.Bharatnatyam (Tamil Nadu)

• Oldest dance Form
• Also  known to be ekaharya, where one dancer takes on many roles in a single performance.
• Also known as Dasiattam/ Sadir à The female Who served Gods are Called Dasi’s. Mostly this dance was performed by them so it is called Dasiattam.
• The accompanying orchestra consists of a vocalist, a mridangam player, violinist or veena player, a flautist and a cymbal player.
• Carnatic Music
• The person who conducts the dance recitation is the Nattuvanar.
• In its usual form the dance is generally broken into seven main parts – Alarippu(Flower), Jatiswaram(Pure dance), Shabda(Recitation Start), Varna, Pada, Thillana(End) and Sloka.

2.Kathakali (Kerala)

• Influenced by Chakiarkoothu, Koodiyattam, Krishnattam and Ramanattam.
• Kathakali is a blend of dance, music and acting and dramatizes stories.
• Theme: Indian epics.
• Heavy make-up and stunning costumes (elaborate masks, huge skirts and big head-dresses) are used.
• Different facial colours indicate different mental stages & character, e.g. green – nobility, black – wicked, red patches – combining royalty & evil.
• Hand gestures, facial expressions and eye movements are important.
• Two Characters

1.Hero-pacha

2.Villain-Kathi

3.Kathak (North India)

• The Word derived from the word Katha which means a story.
• It was primarily a temple or village performance wherein the dancers narrated stories from ancient scriptures.
• Under the Mughal emperors and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with a distinctive style.
• Usually a solo performance, the dancer often pauses to recite verses followed by their execution through movement.
• The focus is more on footwork; the movements are skillfully controlled and performed straight legged by dancers wearing ankle-bells.
• Kathak is the only form of classical dance wedded to Hindustani or the North Indian music.
• Jugalbandhi (Competition between dancer and table performance)

4.Kuchipudi (Andhra Pradesh)

• Name derived from village Kuchelapuram in Andhra Pradesh
• It was known under the generic name of Yakshagaana.
• In 17th century Kuchipudi style of Yakshagaana was conceived by Siddhendra Yogi.
• He was steeped in the literary Yakshagaana tradition being guided by his guru Teerthanaaraayana Yogi who composed the Krishna-Leelatarangini, a kaavya in Sanskrit.
• It is performed as dance drama i.e. performance in groups and also as solo items.
• Costumes, ornaments and jewellery occupy an important place.

The solo items are Manduka Shabdam (story of frog maiden), Balgopala Taranga (dance on the edges of brass plate with a pitcher full of water on head) and Tala Chitra Nritya (drawing pictures with dancing toes).

5.Mohiniyattam (Kerala)

• Mohiniyattam or dance of Mohini (an incarnation of Lord Vishnu) is the classical solo dance form of Kerala.
• It was structured into the present day classical format by the Travancore Kings, Maharaja Kartika Tirunal and his successor Maharaja Swati Tirunal (18th-19th century)
• Mostly a solo performance by girls with circular movements, delicate footsteps and subtle expressions.
• Movements have been borrowed from Nangiar Koothu and female folk dances Kaikottikali and the Tiruvatirakali.
• It has elements of Bharatanatyam (grace & elegance) and Kathakali (vigour) but is more erotic, lyrical and delicate
• Lasya Aspect Dominates.
• Realistic make-up and simple dressing (in Kasavu saree of Kerala) are used.

6.Odissi (Odisha)

• Name Came from Natyasastra -Odra nritya
• Water Element reprent
• Main Theme: lores of incarnations of Lord Vishnu and verses of Jayadeva’s Gita Govinda.
• A soft dance backed by soothing lyrics and is similar to Bharatanatyam in terms of the mudras and expressions.
• Termed as ‘mobile sculpture’ it incorporates two major postures – Tribhanga (the body is deflected at the neck, torso and the knees- Feminity) and Chowk (a position imitating a square-Masculine).

7.Sattriya

• The Sattriya dance form was introduced in the 15th century A.D by the Vaishnava saint and reformer of Assam, Sankaradeva as a medium for propagation of the Vaishnava faith.
• The dance form evolved and expanded as a distinctive style of dance later on.
• Because of its religious character and association with the Sattras (Vaishnava maths or monasteries), this dance style has been named Sattriya.

8.Manipuri (Manipur)

• The origin of Manipuri dance can be traced back to ancient times that go beyond recorded history.
• The dance in Manipur is associated with rituals and traditional festivals, there are legendary references to the dances of Shiva and Parvati and other gods and goddesses who created the universe.
• Lai Haraoba is the earliest form of dance which forms the basis of all stylised dances in Manipur. Literally meaning – the merrymaking of the gods, it is performed as a ceremonial offering of song and dance.
• The principal performers are the maibas and maibis (priests and priestesses) who re-enact the theme of the creation of the world.
• The Kirtan form of congregational singing accompanies the dance which is known as Sankirtana in Manipur.
• The male dancers play the Pung and Kartal while dancing.
• The dancers do not wear ankle bells to stamp out the rhythms in a theatrical display, as this interferes with the delicate body movements.
• The dancer Don’t make any eye contact with the Audience is the special feature.

Note

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