Paper 10: Tourism Products of Module- 11: Elements of : and Music

THE DEVELOPMENT TEAM

Principal Investigator Prof. S. P. Bansal, Vice Chancellor, Indira Gandhi University, Rewari

Co-Principal Investigator Dr. Prashant K. Gautam, Director, UIHTM, Panjab University, Chandigarh

Paper Coordinator Prof. Manoj Dixit, Vice Chancellor, RML Awadh University,

Paper Co-Coordinator Dr. Praveen Rana, Department of Tourism, Banaras Hindu University,

Content Writer Dr. Sandeep Walia, Head of Department, UITHM, Chandigarh University, Punjab

Content Reviewer Prof. S. P. Bansal, Vice Chancellor, Indira Gandhi University, Rewari

Items Description of Module Subject Name Tourism and Hospitality Paper Name Tourism Products of India

Module Title Elements of Indian Art: Dance and Music

Module Id Module No-11 Pre- Requisites Basic knowledge about Indian Culture

Objectives To understand the Element of Music and Dance in Indian Scenario

Keywords Culture, India, Dance, Music

Module 11: Elements of Indian Art: Dance and Music

1 Learning Outcome

2. Introduction

3. of India

3.1 Classical Dances

3.1.1

3.1.2

3.1.3

3.1.4 Manipuri

3.1.5 Kuchhipudi

3.1.6

3.1.7

3.6.8

4. Folk Dances of India

5. Indian Music

5.1 Classical Music

5.1.1 Hindustani Music

5.1.2

5.2 Folk Music

5.3 Modern Music

6. and Indian Dances

7. Summary

1 LEARNING OUTCOME

After completion of this module, students will be able to: • Know what is dance in Indian culture

• Difference between Classical and Folk dances of India

• Contributions of Classical, Folk and Modern Music

• Relationship between Culture, Dance and Music

2. INTRODUCTION India is a diverse land and variety can be seen in its every field including culture. This diversity adds uniqueness to the . The diversity, variety, uniqueness can also be witnessed in the Indian Culture. Culture is too wide a term and includes, dress, dance, handicraft, , music, art forms etc. The variety in is displayed on the basis of region, , and hence they are performed for religious as well as celebration purposes. Even the caves in which early man dwelt have paintings of these early man dancing and merry making. Then the also testifies that hymns were chanted in a certain manner which had notes and later were enacted like a play. The NATASUTRAS are a treatise related to the dance and even writings of the sage Panini as early as 500 BC testifies these facts. The later vedic texts of Shilalin and Krishashva were the first people who did in-depth studies of natya -, - dance and Sangeet-Music. The sangeet talks of seven suras in India and is all encompassing and very comprehensive art.

3. DANCES OF INDIA The two most vivid division that can be done of Indian dance is the classical dances and the folk dances. There are ample of differences and similarity between them. The classical dances have spiritual element in it. The folk dances have spiritual and religious element but the celebration element makes it more popular. There are many forms of classical as well as Indian folk dances.

3.1 CLASSICAL DANCES Classical dance are a rich heritage of Indian tradition. There are approximately eight main classical dances classified by Sangeet Academy. They are names as Bharatnatyam Kathakali Kathak Manipuri Odissi Mohiniyattam Sattriya Let us discuss these in details 3.1.1 BHARATANATYAM It traces its origin from the sate of , one of the metros of . It holds its roots to the Natya Shastra a very old scripture on authored by the mystical priest Bharata. Initially it was performed in the temple courtyards for the God, performed by women to narrate theology and its stories. It was not performed outside the periphery of the temple. The posture of bent legs segregate it from the other dance forms and had multiple in the form of hand gestures which helped to narrate the stories. is drat it acquires a belt like structure dividing both the legs. The navel area is also covered with a belt. The shingar (ornamentation) of the dancer is done with very special jewellery from Tamil Nadu made from gold. Flowers adorn the bun of the performers and is known as Gajra.

3.1.2 KATHAKALI It belongs to the form of in India. It is of religious origin. The as a scripture and as a God inspire the performer in many ways. It used to be a man domain as female roles were also performed by young boys. The makeup, costumes and headdresses/headgears were very ornate in this dance form. From the domains of the temple it has now moved to the public spheres and now performed at local functions too. The costume is like a frock and afull blouse along with it. Headdress or a headgear is the most prominent ornamentation of a Kathakali dancer. The makeup sometimes takes half a day and is paint like as expressions come out best through them. The jewellery is made of silver and gold both.

3.1.3 KATHAK It is a dance. It is a romantic dance form. Initially it was for the divine but slowly came to the court and then to the commoners. Man and woman both were used as performers. There are some very versatile, flexible, yet smooth movements. Mudras or hand gestures are very important and are mixed with facial expressions. The footwork is the ultimate part of this dance form. The dancer wears an array of beads or on her feet and then tries to replicate the instrument’s voice which the accompanists are playing. It originates from the Kathavachaks or the story tellers who used a mixed form of storytelling alongwith music and dance to convey their stories. The costumes can be anyone of the following saree, ghagra, choli, churidar and frock. Men wear churidars too. Makeup is light but sharplines are used. Special Kundan and peral jewellery is used.

3.1.4 MANIPURI It belongs to the state of in the north-east. Lord is the main subject or the theme. Lot of rituals and folk traditions are depicted. The rhythms, the scenes from Lord Krishna’s life and the graceful movements add different dimensions to this dance. Lot of chanting is accompanied with this dance alongwith a choir which sings with chorus. The male and female dresses are different. Dhoti, kurta is generally worn by the males. It is accompanied by shawl and a turban. Females have a skirt as a dress but it is in a barrel shape, the blouses are made from velvet. Veils are used and cover the face.

3.1.5 KUCHIPUDI Kuchipudi belongs to the state of the . The dancer is all alone on the stage making it a solo performance. The dancer has to be well versed in dancing as well as singing. It is high on spiritual element. It copies the rituals of the puja like sprinkling water, burning the incense stick, and reciting the name of the Goddesses. Initially it was a male domain but later females entered to do their parts. Saree is worn by the female artists with light makeup. Earlier saree was draped but now stitched versions are available. Men wear dhotis.

3.1.6 ODISSI One of the oldest art form in terms of classical dance it is from the state of Orissa. The woman are the main performers as they have to replicate the design of a temple. There are fifty plus madras and uses a lot of expressions. The hand gestures here are also pre dominant. Costume is made from traditional weaved material of Orissa. Sarees and dhotis are used by males and females. The crowns that females wear are from Puri. The bun of females is adorned with gajras or garlands. Silver is used as a metal for jewellery and ghungroos are a part of it.

3.1.7 MOHINIYATTAM Tracing the dance form’s origin from the state of Kerala. It is a extremely soft, calm and a very gentle dance. It is exclusively done by females as is a female dance form. It is dedicated to the female of Lord . The costume is saree or a dhoti and is generally light cream, off-white ion shades. Bun is tied known as kuduma and heavy ornaments are used.

3.6.8 SATTRIYA It is the latest entry to be classified as a classical dance of India in the year 2008 and was recognized its state. Radha and Krishna is the main theme of the dance performance. It has a masculine and a feminine form. It is performed in cultural evenings too. Men wear dhoti, a chadar and a turban. Females wears chadar, waist cloth known as Kanchi which is locally made in Assam. To represent demons masks are also used at times. Local jewellery from Assam is used.

4. FOLK DANCES These dances are a reflection of a people of a region or a whole country. Dances which are of ritualistic origin are religious dances or classical dances and are not considered folk dances. Ethnicity and traditionalism are two parameters of folk dances. These dances are the dance of the common people and reflect their day to day life. These are performed during social gatherings like marriage, birth ceremonies, etc. by local people who may have no professional trainings. It is performed on the traditional music of the local area or the region. It may be performed on stage but it is generally a public dance form. Traditions and rituals dominate the layout and there is minimal room for innovation. As people grow up they imbibe the learning as no formal initiation or training is done. Folk dances may also have their categories. One of the first categories is the Folkloric Dance which has a metaphysical root. It is performed on the rites of religion and has ritualistic behavior. It reminds of the life that is no more existential in this time. Then there can be Folky Dance which traces its origin to agrarian societies. The purpose of the dance has been lost but yet the dance form is kept intact in the modern times. Then in this categorization the next could be the popular dance which is popular in the lower rungs of the social order may be peasants. Then there may be an Elite dance

which had its origin in the courts and is a part of elite or upper classes of the society. Mass dances owe their origin to folk dances. Then there are Art Dances which have long lost their contact with folklores yet they somehow have over a period of time acquired their own traditions. They are elitist in nature. Then there are traditional folk dances. These are the ones that are still evolving.

Lists of Indian Folk dances are mentioned below: LIST OF FOLK DANCES OF INDIA S.No STATE DANCE FORM 1 Andhra Pradesh Kuchipudi. Kottam 2 Assam Ojapali Ankia Nat 3 Arunachal Pradesh Lion and Peacock dance Chalo Popir Aji Lamu 4 Jata Jatin Faguna or Fag Purbi Bidesia 5 Chhatisgarh Panthi Raut Nacha 6 Dandya Ras Nritya Bhavai Garba Rasila Trippan 7 Dekhnni Tarangamel 8 Haryana Swang Khoria Gugga dance Loor Sang Dhama 9 Luddi Dance Munzra Kanayala Parhaun Hikat 10 Jammu and Kashmir Rouf

Chakri 11 Karma 12 Bayalata Simha Nutrya Dollu Kunitha 13 Kerala Chakiarkoothu Kathakali Mohiniattam Ottam Thullal Chavittu Natakam Kaikotti Kalai Krishnavattam Mudiyettu Tappatri Kai 14 Lakshadweep Lava 15 Macha Lota Pandvan Tertali Charkula Jawara Phulpatti dance Grida dance Maanch Gaur maria dance 16 Mizoram Chiraw (Bamboo Dance) 17 Manipur Thang ta cholom Manipuri 18 Tamasha Dahi Kala Lavani 19 Odissi Savari Ghumara Paika Chhau Sambalpur 20 Puducherry Garadi

21 Punjab Giddha Daff Dhaman Malwai Jhumar, Karthi Kikli Sammi Dandass Ludi Jindua 22 Ghumar Chakri Gangaur Jhulan Leela Jhuma Suisini Ghapal 23 Sikkim Singhi chham Yak Chaam Maruni Rechungma 24 Tamil Nadu Bharatnatyam Kumi Kolattam Kavadi Karagattam Theru Bommal attam Puliyaattam 25 Perini Thandavam Dappu Lambadi 26 Tripura Goria Lebang Boomani 27 Jagars Thali-Jadda Jhainta Barada Nat 28 Uttar Pradesh Nautanki

Raslila Kajri Jhora Chhapeli Jaita 29 Jatra Chau Kathi

5. INDIAN MUSIC India is a land of five rivers but it is also a land of seven notes or the sapt swars. Indian traditions have music imbibed and embedded in them. The variety amazes the listeners from melodies to classical. The music is as old as the vedic tradition as the describe the different kind of wind and string instruments. The also have been discussed in the Vedas. The Kings and their courts had an elaborate arrangement for music. Even the mughal rulers who came from outside of India and made India their home patronized the music and the musician in their courts. Tansen is still known as one of the nine gems of ’s court. The music can be demarcated into two neat parts the classical side of music and the folk side of music. The classical can be further sub divided into North Indian or the Hindustani music and the other being the Carnatic or South Indian music. This division came out in the 16th century and this can be applicable to both the vocal and the instrumental music. A third sub division is getting in shape which is the modern/popular/film music.

5.1 CLASSICAL MUSIC The classical music is bifurcated into two neat parts the Carnatic Music prominently dominant in the peninsular region and the other is the Hindustani music more prominently dominant in the North eastern and Central Regions. This will include the concept of Shruti, Swar, Alankar, and Tala.

5.1.1 HINDUSTANI MUSIC Originated from the Carnatic music and took birth in the thirteenth and the fourteenth century. The Vedas helped it to develop when they have taken the hymns form and they were sung and chanting was not done. It is known as Hindustani as it is a combination of vedic, ancient, Indian traditions and the influence of the Persian practices of the Mughals.

5.1.2 CARNATIC MUSIC The Carnatic music has been around since fourteenth and the fifteenth century. It traces it origin to South India. It is very close to the Hindustani music and have fixed compositions and is very soulful. The main area of concentration is the vocal part and mainly sung but performed on instruments too. In terms of or notes it is very rich and has seven million plus ragas out of which three hundred are more popular.

5.2 FOLK MUSIC Folk music is celebration music largely performed on weddings. Festivals, birth ceremonies, initiation ceremonies etc. Each state like its has its unique folk music too. Some more known names are – which is from the Bengal region of India and extends to the neighboring . It is a result of influenced by kabir and other Bhakti cult propagators. It followed an oral tradition and is highly emotives and is not penned down. It could be played upon , , Duggi, Dhol, Manjira etc. - is also a form of folk music. It will have a religious or spiritual idea embedded in it with regional flavours. There is no fixed format. It has lyrics and based on different ragas generally contain life incidents of Gods and saints. It is also a

result of Bhakti movements. It has its modifications like in Vaishnism, Shivism, and Shabd Kirtan in Sikhism. ODISSI- It originated from the Indian state of Orissa which has Southeastern location. Odramagadhi exists in the form of Odissi. It is a base for the Odissi dance and performance is done on this music. – These are songs composed by Tagore and are two hundred and thirty in number. These have Bengal base and is widely use din folk music of Bengal. - It is semi classical in form. It is a mix of dance, drama, gestures, eroticism, evocative, and is popular in Uttar Pradesh with variants spreading to neighboring states. Besides these , , , , and SUFI are few to name.

5.3 MODERN MUSIC The post modern or the advent of twentieth century witnessed a massive change in the music scenario. The language and the rhythms all became very modern. The modernity in terms of compositions creped in. Many foreign, new instruments were introduced too. Modern cinema gave support to this music and in this multiple musicians were employed. It became a period of playback singers who used their voices for on screen actors and performers. It captured the fantasy of the youth as they made it a fashion and a fad. The result of these are live concerts where like minded people get together and witness their favorite musicians and singers performing often to dance performances of their favorite actors too.

6. BALLET AND INDIAN DANCES

The current genre may recognize classical dance forms but seem to be almost unaware of the folk dances. Jhijhi, Jhumar, Jogira, Natua nach are alien words to the young generation’s dictionary. India has treatise when it comes to different classical and folk dance forms and the ballet can easily be base don a mix of them. The difference that one can trace between the west and the east form of ballet is the timings, the western have their base in the present whereas as eastern value system we live across the periods of time, present, past and future. This is much reflected in our performances. Mythology, Theology, Religion, Spiritualism are inseparable part of our ballets. These concepts takes us back to our roots which will connect us and are relevant in all the times to come. The ballet has to start with a theme which then is turned into characters, the costumes, effects, lights and props on the stage. Mix of light and sound is also needed. A good brainstorming session is needed with the performers and the director. , practice sessions, full dress rehearsals are activities that are often repeated to take it to a level of perfection.

7. SUMMARY Thus we see India has a rich culture and music and dance is intertwined in it. The religion and spiritual India is deeply connected to the dance and music forms and their survival over a period of years are an ample proof that still there are patrons who want to keep the traditions alive. There are government and private organizations that are working hard to keep up their popularity. The various researches conducted and the attempts to popularize them both within and outside India will help to keep these traditions alive and we will be able to pass them to our next generation.