India can boast of an innumerable number of folk dances, each dance
forming a specialty of a particular region or tribe. Each form will
have its own specialty & grace, along with a set pattern of
costumes & make-up.
The classical dance forms which have
developed, have set rules that have been followed traditionally over
the years. On the basic model, various gurus incorporate their own
imaginative innovations, leading to various schools within a particular
dance form. Apart from the gracious hand & leg postures &
movements, the dancers have to acquire the skill of portraying various
emotions faithfully in each expression on their face & each fluid
movement of their hand, legs & in fact their whole body. Every part
conveys some meaning in their graceful motion.
The various dance forms have also
developed a particular form of make-up for the performance, which is a
skill by itself. Several dance schools today, incorporate costume
designing & make-up as special section of the curriculum. The
costumes for all forms are elaborate & rich, but each form &
style have their own traditional patterns set down. Jewels for the
dancers are also specially created to suit their purpose. Flowers adorn
their hair & in the case of portrayal of Gods, their necks as
garlands. The hall is also richly decorated with flowers. Application
of mehendi in various styles is also an essential part of the make-up
in most forms.
Bharata Natyam
Bharatanatyam is the most popular of
Indian dances and belongs to the South Indian state of Tamilnadu. Its
antiquity is well established. In the past it was
practiced ad performed in the temples by a class of dancers known as
the devadasis. It was a part of the religious rituals and has a long
and hoary past. The kings and the princely courts
patronized the temples, as well as the various traditions sustaining
the dance form. The salient features of Bharatanatyam are movements
conceived in space mostly either along straight lines or triangles. In
terms of geometrical designs, the dancer appears to weave a series of
triangles besides several geometrical patterns.
In nritta (pure dance) to the chosen
time cycle and a raga (melody), a dancer executes patterns that reveal
the architectonic beauty of the form with a series of dance units
called jathis or teermanams. The torso is used as a unit, the legs are
in a semi-plie form and the stance achieves the basic posture called
araimandi. The nritta numbers include Alarippu, Jatiswaram and Tillana,
which are abstract items not conveying and specific meaning except that
of joyous abandon with the dancer creating variegated forms of
staggering visual beauty. In nritya, a dancer performs to a poem,
creating a parallel kinetic poetry in movement, registering subtle
expressions on the face and the entire body reacts to the emotions,
evoking sentiments in the spectator for relish - the rasa. The numbers
are varnam, which has expressions as well as pure dance; padams,
javalis and shlokas. The accompanying music is classical Carnatic. The
themes are from Indian mythology, the epics and the Puranas.
Chakiarkoothu
This dance form is believed to have
been introduced to Kerala by the early Aryan immigrants & is
performed only by the members of the Chakiar caste. A highly orthodox
type of entertainment, it can be staged inside temples only &
witnessed by the Hindus of the higher castes. The theatre is known as
Koothambalam. The story is recited in a quasi-dramatic style with
emphasis on eloquent declarations with appropriately suggestive facial
expressions & hand gestures. The only accompaniments are the
cymbals & the drum known as the mizhavu, made of copper with a
narrow mouth on which is stretched a piece of parchment.
Chhau
With origins shrouded in mystery, the
Chhau dancer communicates inner emotions and themes through cadences of
body flexions, movements and kinetic suggestions. The word Chhau is
interpreted differently by scholars. ‘Shadow’, ‘Disguise’ and ‘Image’
are the most common interpretations due to the extensive use of masks
in this dance form. The martial movements of Chhau have led to another
interpretation of the word as meaning ‘to attack stealthily’ or ‘to
hunt’.
Three styles of Chhau exist born from
the three different regions of Seraikella (Bihar), Purulia (West
Bengal), and Mayurbhanj (Orissa). Martial movements, strong rhythmic
statements and dynamic use of space are characteristic of Chhau.
Seraikella Chhau flourished under royal patronage. Its vigorous martial
character made it suitable only for male dancers. The princes were not
only patrons but also dancers, teachers and mask-making experts. The
Seraikella masks are similar to those used in the Noh dance of Japan
and the Wayang Wong of Java.
Purulia Chhau uses masks which is a
highly developed craft in the region. The barren land with its tribal
inhabitants and multi-layered influences of Vedic literature, Hinduism
and martial folk-lore have all combined to shape the Purulia Chhau
dances which have only one message - the triumph of good over evil.
Mayurbhanj Chhau has highly developed movements, no masks and a more
chiselled vocabulary than the other two Chhau styles. Like Seraikella
Chhau, it had also thrived under royal patronage and is considered a
link between the earthy Indian dance movements and the flying,
springing elevations of Western dance. Unlike other Indian Classical
dance forms, vocal music in Chhau hardly exists! Instrumental music and
a variety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi
provide the accompaniment. Combining folk, tribal and martial
traditions and yet covering the three aspects of Nritta, Nritya and
Natya as well as the Tandava and Lasya aspects of classical dance, the
Chhau dances are complex combinations of Folk and Classical motifs.
Kathak
Prevalent in the North as a classical
dance form, Kathak has a long history. Nurtured in the holy precincts
of the Hindu temples, Kathak has over the centuries attained refinement
and enriched itself with various hues and embellishments. Kathak means
a story teller and it developed as a dance form in which a solo dancer
tells and interprets stories from mythology.
In nritya, the expressional numbers
called gats are danced by delicate glances of the eye and by using the
art of mime. Themes from life are taken like enacting simple chores of
carrying water from the well or walking gracefully, covering a face
with a veil and looking through it in a
tantalizing manner at the lover. Also, to the lyrics, expressions are
shown evoking the rasa or emotion in the spectators, who, if the
musical traditions are shared along with the songs, enjoy it by
expressing their appreciation with a round of applause. The themes of
Krishna, Radha, Shiva, Parvati and mythological characters find a
prominent place in the Kathak dancer’s repertoire. Nowadays,
experiments are being carried out with group choreography exploring the
dance form. Both men and women perform Kathak which is also used to
present dance dramas of historical tales and contemporary events.
Kathakali
Kathakali means a story play or a
dance drama. Katha means story. Belonging to the South-Western coastal
state of Kerala, Kathakali is primarily a dance drama form and is
extremely
colorful with billowing costumes, flowing scarves, ornaments and
crowns. The dancers use a specific type of symbolic makeup to portray
various roles which are character-types rather than individual
characters. Various qualities, human, godlike, demonic, etc., are all
represented through fantastic make-up and costumes. The world of
Kathakali is peopled by noble heroes and demons locked in battle, with
truth winning over untruth, good over evil. The stories from the two
epics, the Mahabharata and the Ramayana, as well as the Puranas
constitute the themes of the Kathakali dance dramas.
The macro and micro movements of the
face, the movements of the eyebrows, the eyeballs, the cheeks, the nose
and the chin are minutely worked out and various emotions are
registered in a flash by a Kathakali actor-dancer. Often men play the
female roles, though of late women have taken to Kathakali.
The pure dance element in Kathakali
is limited to kalasams, decorative dance movements alternating with an
expressional passage where the actor impersonates a character, miming
to the
libretto sung by the musician. A cylindrical drum called chenda, a drum
called maddalam held horizontally, cymbals and a gong form the musical
accompaniment, and two vocalists render the songs. Using typical music
known as Sopanam, Kathakali creates a world of its own.
The most striking feature of
Kathakali is its overwhelming dramatic quality. But its characters
never speak. It is danced to the musical compositions, involving
dialogues, narration and continuity. It employs the lexicon of a highly
developed hand-gesture language which enhances the facial expressions
and unfolds the text of the drama. .
Koodiyattam
Practised and preserved by the
Chakyar community in Kerala, Koodiyattam is the oldest surviving link
with ancient Sanskrit theatre. A precursor of Kathakali drama,
Koodiyattam has several conventions which reflect the aesthetic
conventions of the Natyashastra. The stylised mode of acting, the same
character playing different roles, the use of the spoken word akin to
chanting, stories within stories, flash backs, improvisations, eye
expressions (netrabhinaya), an extensive gesture vocabulary or
'hastas', body movements (angika abhinaya) and facial expressions
(mukhajabhinaya), the use of Sanskrit by the main character and
Malayalam by the court jester or vidushaka who comments, satirizes and
ridicules the protagonists... these are the salient features of
Koodiyattam.
Performances are traditionally held
in the Koothambalam which are special theatres attached to temples. The
Sanskrit play selected for the performance usually takes over several
days. Female dancers called Nangiars deliver the invocatory songs and
also participate. The use of the tirashila or curtain, different
colours for the face to depict characters and elaborate ornaments are
all similar to Kathakali. The mizhavu is a special drum used as an
accompaniment for Koodiyattam performances.
The repertoire consists of Sanskrit
dramas like Ascharyachudamani of Shaktibadra, Subhadradhananjeyan of
Kulasekara Varman, Abhisekha Nataka and Swapnavasavadatta of Bhasa,
Kalyana Saugandhikam of Mahendra Vikrama and Bhagavadajjukiyam of
Bodhayana which are the popular favourites. With disciplined and
dedicated performers like Ammanur Madhava Chakyar, Kocchukuttan Chakyar
and Kitangur Kuttappan Chakyar, this ancient classical form has a
growing legion of students and afficionados in India and elsewhere.
Krishnattam
It is intended for presentation on
eight successive nights to unfold the entire story of Lord Krishna, the
style is almost akin to Kathakali.
Kuchipudi
Kuchipudi, like Kathakali is also a
dance-drama tradition and derives its name from the vilage of Kuchipudi
in the Southern State of Andra Pradesh. In recent years, it has evolved
as a solo dance for the concert platform and is performed by women,
though like Kathakali it was formerly the preserve of men. The female
roles were enacted by men and even today, the tradition boasts of
gifted male dancers enacting female roles with such consummate artistry
that hardly anyone would notice them as male dancers.
The movements in Kuchipudi are
quicksilver and scintillating, rounded and fleet-footed. Performed to
classical Carnatic music, it shares many common elements with
Bharatanatyam. In its solo
exposition Kuchipudi nritta numbers include jatiswaram and tillana
whereas in nritya it has several lyrical compositions reflecting the
desire of a devotee to merge with God - symbolically the union of the
soul with the super soul.
The songs are mimed with alluring
expressions, swift looks and fleeting emotions evoking the rasa. A
special number in the Kuchipudi repertoire is called tarangam, in which
a dancer balances herself on the rim of a brass plate and executes
steps to the beat of a drum. At times she places a pot full of water on
her head and dances on the brass plate. The song accompanying this
number is from the well known Krishna Leela Tarangini, a text which
recounts the life and events of Lord Krishna.
In expressional numbers a dancer
sometimes chooses to enact the role of Satyabhama, the proud and
self-assured queen of Lord Krishna, from the dance-drama Bhama Kalapam.
She goes through various stages of love. When in separation from Lord
Krishna, she recalls the happy days of union and pines for him. At last
they are reunited when she sends him a letter. One more number from the
Kuchipudi repertoire that deserves mention is Krishna Shabdam, in which
a milkmaid invites Krishna for a rendezvous in myriads of ways giving
full scope for the dancer to display the charms of a woman.
Manipuri
Manipuri dances originate from the
North Eastern state of Manipur and derives its name from its native
state. Intensely devotional in mood, the Manipuri dances are a part of
the daily life of the Manipuri people. Essentially presented as a group
dance with gorgeous, colourful costumes and gentle, swaying petal-soft
movements, Manipuri dances create a hypnotic impact. The dances are
influenced by the religious movement of Vaishnavism, the worship of
Lord Vishnu, and have flowered in exquisite Rasalila performances, the
favourite dance in a circle by Krishna with his milkmaids. Various
types of Rasalilas are performed on special occasions and festivals.
Besides Rasalilas, there are other
dances called Natasankirtana, in which a group of men play cymbals and
dance in a circle or in two rows singing praises of God. In Pung
Cholom, the dancers play upon pung, the drum, and dance while playing
the intricate time cycles, executing somersaults and breathtaking
acrobatic feats. In group dances like Lai Haraoba, the merry-making for
the gods, the dancers perform various steps and weave patterns,
involving various choreographic compositions. From the corpus of
Manipuri dances, one sees on the contemporary stage solo, duet and
group performances. The music is typical of the region and is
influenced by the kirtan school of Bengal due to the influence of
Vaishnavism.
Rasalila, Lai Haraoba, Choloms, Pung
Cholom, Natasankirtana, Khubak Ishai and other Manipuri dances share
both nritta and nritya aspects and are edited judiciously for the
concert platform to suit the urban audience. However, to enjoy
Manipuri, one should see the dances in their natural setting. Gossamer
veils, cylindrical mirrored skirts and ornaments dazzle the audiences
with their colourful costumes which create a dream-like effect.
Mohiniattam
Mohini Attam as a dance form has
developed in Kerala. Performed by women it has graceful, gentle bobbing
movements. Mohini means an enchantress and a dancer with enchanting
movements, dressed in a typical white saree with gold border, hair
gathered in a bun on one side and with golden jewellery epitomises the
image of a beautiful maiden. Apparently it resembles the Bharatanatyam
dance form but is quite distinct in its execution of movements, usage
of hand gestures and its stark, simple costume.
Mohini Attam has enjoyed a revival in
recent times and is the most popular dance form among the young
aspirants in Kerala. It has a format which follows the Bharatanatyam
form and the repertoire has common names. In nritta a number called
Cholukattu consists of pure dance movements at the end of which is
tagged a poem that is in praise of a deity and also narrates the story
of the Ramayana in a nutshell. The mnemonic syllables are sung instead
of being uttered by the musician. Another item of pure dance is Tillana
which follows the musical mode of Bharatanatyam with classical Carnatic
music. However, of late, kerala's Sopana music is being employed for
Mohini Attam and the repertoire has also been enlarged with the
choreography maintaining the typical movements of this graceful style.
In nritya, the padams are mimed with facial expressions and hand
gestures and the themes are drawn from mythology. The nayika or heroine
longs for union with her beloved. A confidante goes and conveys the
message to the lover and the nayika describes the pangs of separation.
A varnam follows the structure of a Bharatanatyam varnam dwelling upon
the narration, impersonation and alternating with pure dance. Though
the dance units in Mohini Attam are limited, the quintessential grace
and the measured movements are its distinct features.
Odissi
Odissi has been revived in the past
fifty years and can be considered as the oldest classical Indian dance
on the basis of archival evidence. The form belongs to the East Indian
state of Orissa. Odissi has a close association with the temples and
its striking feature is its intimate relationship with temple
sculpture. Tribhanga, the three-body bend characterises this dance
form. It has a vast range of sculptural body movements which gives one
the illusion of the sculptures coming to life.
In nritta the numbers consist of batu
nritya, pallavi and mokhya. In batu nritya the dancer strikes poses
holding various instruments like veena, flute, cymbals and drums and
the choreography of this number reveals the imagination of the
choreographer-gurus. Pallavi means to elaborate, and a dancer performs
pure dance to a chosen time cycle and a musical raga (melody). Various
body postures similar to temple sculptures are woven in this number. In
mokhya, before the dance concludes, a dancer employs various dance
units creating arresting visuals. In nritya, the songs from the
celebrated Gita Govinda of poet Jayadeva written in the 12th century
A.D., are used by dancers for expressional numbers.
The exquisite Sanskrit poetry and the
sculptural movements to the typical Odissi music almost cast a spell on
the spectators. Songs of other Oriya poets are also danced with subtle
expressions, replete with emotions. In its revival period Odissi has
received enthusiastic support from the young exponents and often one
finds Bharatanatyam dancers also mastering the Odissi technique and
performing both the dance forms though while doing so, they maintain
the clearcut differences in the execution of the movements. In recent
years, group choreographic presentations and dance dramas are also
attempted in order to bring out the full glory and sculptural wealth of
Odissi which is truly a visually fascinating performance style.
Ottan Thullal
It is performed solo & because of
its ready mass appeal, it is also known as the poor man's Kathakali.
Kunjan Nambiar evolved it & brought out the social conditions of
his time, the distinctions of class & the weakness & whims of
the rich & the great. The dialogue is in simple Malayalam &
therefore ensures mass appeal.
Yaksha Gana
This belongs to Karnataka & has a
rural origin. It is an admixture of dance & drama. Its heart lies
in Gana meaning music. It is about 400 years old. The language is
Kannada & the themes are based on Hindu Epics. The costumes are
almost akin to the Kathakali ones & the style seems to have drawn
inspiration from Kathakali. As prescribed in the Natya Sastra, it has
the Suthra Dhara (conductor) & the vidushaka (the Jester).
