DOCSLIB.ORG

KATHAK DANCE IKSV X-XI 2 IKSV X-XI 2 Ch-,- Izfkeo’Kz] Ijh{Kk& 2011 B.A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KATHAK DANCE IKSV X-XI 2 IKSV X-XI 2 Ch-,- Izfkeo’Kz] Ijh{Kk& 2011 B.A IKSV X-XI 1 IKSV X-XI 1 BA/ M A/ M.DANCE KATHAK DANCE IKSV X-XI 2 IKSV X-XI 2 ch-,- izFkeo’kZ] ijh{kk& 2011 B.A. I YEAR, EXAM. 2011 dFkd u`R; KATHAK DANCE Paper-I izFke iz’u i= Time: 3 Hrs. Max. M. 75 Min.M. 25 le;&3 ?k.Vs iw.kkZad&75 U;wuakd&25 Note : Attempt any five questions. All questions carry equal marks. *** Vhi%& dksbZ iakp iz’u gy dhft;s A lHkh iz’uksa ds vad leku gSa A 1. Write in brief history of Kathak Dance. $$$ 2. Explain the importance of Guru-Vandana and 1- dFkd u`R; dk laf{kIr bfrgkl fyf[k;s A Mangalacharan in Kathak Dance. 2- dFkd u`R; esa xq#&oanuk ,oa eaxykpj.k dk egRo le>kb;s A 3. Write down the life sketch of Pt. Bindadin Maharaj 3- ia0 fcUnknhu egkjkt dk thou ifjp; fy[krs gq, dFkd along with his contribution to Kathak Dance. u`R; dks muds ;ksxnku dk o.kZu dhft;s A 4. Describe Greeva Bhed according to Abhinaya Darpan. 4- vfHku; niZ.k ds vuqlkj xzhok Hksnksa dk o.kZu dhft;s A 5. Write the definition of any five of the following:- 5- fuEufyf[kr esa fdUgha ik¡p dks ifjHkkfÔr dhft;s%& Tatkar, Hastak, Sam, Aavartan, Theka, Tal, Matra. rRdkj] gLrd] le] vkorZu] Bsdk] rky] ek=k A 6. According to Abhinaya Darpan write the names of 6- vfHku; niZ.k ds vuqlkj vla;qDr gLr eqnzkvksa dks ’yksd Asamyukta Hasta Mudra with shloka and describe lfgr uke fy[krs gq, fdUgha ik¡p dks fofu;ksx lfgr le>kb;s A any five hastas with viniyoga. 7- izkphu dky ls Hkjr dky rd Hkkjrh; u`R; dk bfrgkl 7. Write the history of Indian dance from Ancient fyf[k;s A period to Bharat period. 8- Bkg] nqxqu] frxqu ,oa pkSxqu ls vki D;k le>rs gSa \ 8. What do you understand by Thah, Dugun, Tigun and f=rky dks Bkg] nqxqu] frxqu ,oa pkSxqu esa fyfic) dhft;s A Chougun? Write in notation of Tal Trital in Thah, xx Dugun, Tigun and Chougun. xx IKSV X-XI 3 IKSV X-XI 3 ch-,- izFkeo’kZ] ijh{kk& 2011 B.A. I YEAR, EXAM. 2011 dFkd u`R; KATHAK DANCE Paper-II f}rh; iz’u i= Time: 3 Hrs. Max. M. 75 Min.M. 25 le;&3 ?k.Vs iw.kkZad&75 U;wuakd&25 1. Write an essay on any one of the following :- 35 1- fuEufyf[kr esa ls fdlh ,d foÔ; ij fucU/k fyf[k;s %& 35 (a) Kathak and other Classical dance. v& dFkd vkSj vU; ’kkL=h; u`R; A (b) Religion and Dance. c& /keZ vkSj u`R; A (c) Kathak and Yoga. l& dFkd vkSj ;ksx A (d) Guru-Shishya Parampara and Institutional education system in Dance. n& u`R; esa xq#&f’k”; ijEijk ,oa laLFkkxr f’k{k.k iz.kkyh A 2. Write the notation of any five of the following:- 40 2- fuEufyf[kr esa ls fdUgha ik¡p dks fyfic) dhft;s %& 40 (a) Theka of Tal Jhaptal in Thah, Dugun, Tigun and v& rky >irky dk Bkg] nqxqu] frxqu ,oa pkSxqu A Chougun. c& rky >irky esa ,d iju A (b) One Paran in Tal Jhaptal. l& rky nknjk dk Bkg] nqxqu] frxqu ,oa pkSxqu A (c) Theka of Tal Dadra in Thah, Dugun, Tigun and n& rky >irky esa ,d vken A Chougun. b& rky f=rky esa ,d lknk rksM+k A (d) One Amad in Tal Jhaptal. Q& rky >irky esa ,d lknk rksM+k A (e) One simple Toda in Tal Trital. d& rky f=rky esa ,d vken A (f) One simple Toda in Tal Jhaptal. [k& rky f=rky esa ,d dfor~ A (g) One Amad in Tal Trital. x& rky f=rky esa ,d iju A (h) One Kavitta in Tal Trital. xx (i) One Paran in Tal Trital. xx IKSV X-XI 4 IKSV X-XI 4 ch-,- f}rh;o’kZ] ijh{kk& 2011 B.A. II YEAR, EXAM. 2011 dFkd u`R; KATHAK DANCE Paper-I izFke iz’u i= Time: 3 Hrs. Max. M. 75 Min.M. 25 le;&3 ?k.Vs iw.kkZad&75 U;wuakd&25 Note : Attempt any five questions. All questions carry equal marks. *** Vhi%& dksbZ iakp iz’u gy dhft;s A lHkh iz’uksa ds vad leku gSa A 1. Throw light on the history of Indian dance from $$$ Bharata period to Medieval period. 1- Hkjr dky ls e/; dky rd ’kkL=h; u`R; ds bfrgkl ij izdk’k 2. Describe any two classical dances. Mkfy;s A 3. Describe any three regional Folk dances in brief. 2- fdUgha nks ’kkL=h; u`R;ksa dk o.kZu dhft;s A 4. Define ‘Rasa’ and describe any five Rasas. 3- fdUgha rhu {ks=h; yksdu`R;ksa dk laf{kIr o.kZu dhft;s A 5. Explain any five Shirobhedas with shlokas according 4- jl dh ifjHkkÔk nsrs gq, fdUgha ik¡p jlksa dk o.kZu dhft;s A to Abhinaya Darpan. 5- vfHku; niZ.k ds vuqlkj fdUgha ik¡p f’kjksHksnksa dk ’yksd lfgr 6. Explain Drishti Bhedas according to Abhinaya o.kZu dhft;s A Darpan. 6- vfHku; niZ.k ds vuqlkj n`f”V Hksnksa dks le>kb;s A 7. Write the name of Samyuta Hastas according to 7- vfHku; niZ.k ds vuqlkj la;qr gLrksa ds uke fy[krs gq, fdUgha ik¡p Abhinaya Darpan and give description of any five dk y{k.k ,oa fofu;ksx lfgr o.kZu dhft;s A Hastas with Lakshan and Viniyoga. 8. Define any five of the following:- 8- fuEufyf[kr esa ls fdUgha ik¡p dh ifjHkkÔk fyf[k;s%& That, Aamad, Paran, Salami, Chakkardar, FkkV] vken] iju] lykeh] pDdjnkj] Kavitta, Gatnikas. dfoÙk] xrfudkl A 9. Throw light on the life sketch of Pt. Achchhan 9- ia0 vPNu egkjkt dk thou ifjp; nsrs gq, dFkd u`R; esa Maharaj and his contribution to Kathak dance. muds ;ksxnku ij izdk’k Mkfy;s A xx xx IKSV X-XI 5 IKSV X-XI 5 ch-,- f}rh;o’kZ] ijh{kk& 2011 B.A. II YEAR, EXAM. 2011 dFkd u`R; KATHAK DANCE Paper-II f}rh; iz’u i= Time: 3 Hrs. Max. M. 75 Min.M. 25 le;&3 ?k.Vs iw.kkZad&75 U;wuakd&25 1- fuEufyf[kr esa ls fdlh ,d foÔ; ij fucU/k fyf[k;s%& 35 1. Write an essay on any one subject of the following :- 35 (a) Dance and Literature. v& u`R; vkSj lkfgR; A (b) Kathak Dance and Navras. c& dFkd u`R; vkSj uojl A (c) Dance and Other Fine arts. l& u`R; vkSj vU; yfyr dyk,¡ A (d) Dance in Television and Film. n& nwjn’kZu ,oa fQYeksa esa u`R; A 2. Write the notation of any five of the following:- 40 2- fuEufyf[kr esa ls fdUgha ik¡p dks fyfic) dhft;s %& 40 (a) One Chakkardar Paran in Tal Trital. v& f=rky esa ,d pDdjnkj iju A (b) One Tisra Jati Toda in Tal Trital. c& f=rky esa ,d frL= tkfr rksM+k A (c) One Kavitta in Tal Trital. l& f=rky esa ,d dfoÙk A (d) One Amad in Tal Ektal. (e) One Kavitta in Tal Ektal. n& ,drky esa ,d vken A (f) Thah, Dugun and Chougun of Choutal. b& ,drky esa ,d dfoÙk A (g) One Chakkardar Toda in Choutal. Q& pkSrky dk Bkg] nqxqu vkSj pkSxqu A (h) One simple Paran in Choutal. d& pkSrky esa ,d pDdjnkj rksM+k A xx [k& pkSrky esa ,d lknk iju A xx IKSV X-XI 6 IKSV X-XI 6 ch-,- vafreo’kZ] ijh{kk& 2011 B.A. III YEAR, EXAM. 2011 dFkd u`R; KATHAK DANCE Paper-I izFke iz’u i= Time: 3 Hrs. Max. M. 75 Min.M. 25 le;&3 ?k.Vs iw.kkZad&75 U;wuakd&25 Note : Attempt any five questions. All questions carry equal marks. *** Vhi%& dksbZ iakp iz’u gy dhft;s A lHkh iz’uksa ds vad leku gSa A 1. Describe in detail the history of Indian Dance from $$$ Middle period to Modern period. 1- e/;dky ls vk/kqfud dky rd Hkkjrh; u`R; ds bfrgkl dk 2. Explain the specialities of Lucknow gharana of foLr`r o.kZu dhft;s A Kathak dance in detail. 2- dFkd u`R; ds y[kuÅ ?kjkus dh fo’ksÔrkvksa dks foLrkjiwoZd 3. What is Folk dance? Explain any one Folk dance. le>kb;s A 4. Describe Nayak bheda according to Natyashastra. 3- yksdu`R; D;k gS \ fdlh ,d yksdu`R; dk o.kZu dhft;s A 5. Describe Bhrikuti bhedas according to Natyashastra. 4- ukV~;’kkL= ds vuqlkj uk;d Hksnksa dk o.kZu dhft;s A 6. Explain ‘Natyotpatti’ according to Natyashastra. 5- ukV~;’kkL= ds vuqlkj Hk`dqfV Hksnksa dh O;k[;k dhft;s A 7. Explain Bhaava in detail. 6- ukV~;’kkL= ds vuqlkj ukV~;ksRifÙk dks le>kb;s A 8. While writing the introduction of Ashta Nayikas 7- Hkko dks foLrkjiwoZd le>kb;s A throw light on its importance to Kathak dance. 8- v”Vukf;dkvksa dk laf{kIr ifjp; nsrs gq, dFkd u`R; esa buds xx egRo ij izdk’k Mkfy;s A xx IKSV X-XI 7 IKSV X-XI 7 ch-,- vafreo’kZ] ijh{kk& 2011 B.A.
Load more

Recommended publications
  • How Modern India Reinvented Classical Dance
    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
    [Show full text]
  • Classical Dances Have Drawn Sustenance
    Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return.
    [Show full text]
  • June 2017.Pmd
    Torch Bearers Padma Sharma: CONTENTSCONTENTS An Exceptional Guru Cover 10 18 Story Rays of Kumari Kamala: 34 Hope A True Inspiration Dr Dwaram Tyagaraj: A Musician with a Big Heart Cultural Beyond RaysBulletin of Hope Borders The Thread of • Expressions34 of Continuity06 Love by Sri Krishna - Viraha Reviews • Jai Ho Russia! Reports • 4th Debadhara 52 Dance Festival • 5 Art Forms under One Roof 58 • 'Bodhisattva' steals the show • Resonating Naatya Tarang • Promoting Unity, Peace and Indian Culture • Tyagaraja's In Sight 250th Jayanthi • Simhapuri Dance Festival: A Celebrations Classical Feast • Odissi Workshop with Guru Debi Basu 42 64 • The Art of Journalistic Writing Tributes Beacons of light Frozen Mandakini Trivedi: -in-Time An Artiste Rooted in 63 Yogic Principles 28 61 ‘The Dance India’- a monthly cultural magazine in "If the art is poor, English is our humble attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Editor-in-Chief International Coordinators BR Vikram Kumar Haimanti Basu, Tennessee Executive Editor Mallika Jayanti, Nebrasaka Paul Spurgeon Nicodemus Associate Editor Coordinators RMK Sharma (News, Advertisements & Subscriptions) Editorial Advisor Sai Venkatesh, Karnataka B Ratan Raju Kashmira Trivedi, Thane Alaknanda, Noida Contributions by Lakshmi Thomas, Chennai Padma Shri Sunil Kothari (Cultural Critic) Parinithi Gopal, Sagar Avinash Pasricha (Photographer) PSB Nambiar Sooryavamsham, Kerala Administration Manager Anurekha Gosh, Kolkata KV Lakshmi GV Chari, New Delhi Dr. Kshithija Barve, Goa and Kolhapur Circulation Manager V Srinivas Technical Advise and Graphic Design Communications Incharge K Bhanuji Rao Articles may be submitted for possible publication in the magazine in the following manner.
    [Show full text]
  • Bridging the Gap: Exploring Indian Classical Dances As a Source of Dance/Movement Therapy, a Literature Review
    Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-16-2020 Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Ruta Pai Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Art Education Commons, Counseling Commons, Counseling Psychology Commons, Dance Commons, Dramatic Literature, Criticism and Theory Commons, Other Arts and Humanities Commons, Other Languages, Societies, and Cultures Commons, and the Performance Studies Commons Recommended Citation Pai, Ruta, "Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review." (2020). Expressive Therapies Capstone Theses. 234. https://digitalcommons.lesley.edu/expressive_theses/234 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. BRIDGING THE GAP 1 Bridging the Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Capstone Thesis Lesley University August 5, 2019 Ruta Pai Dance/Movement Therapy Meg Chang, EdD, BC-DMT, LCAT BRIDGING THE GAP 2 ABSTRACT Indian Classical Dances are a mirror of the traditional culture in India and therefore the people in India find it easy to connect with them. These dances involve a combination of body movements, gestures and facial expressions to portray certain emotions and feelings.
    [Show full text]
  • A North Indian Classical Dance Form: Lucknow Kathak
    100 A North Indian Classical Dance Form: Lucknow Kathak Gina Lalli The word 'Kathak' now refers to a school of dancing and 'Kathak dancer' to a practitioner of that school. The old word kathak (story-telling, composition) is a Sanskrit word, as is ka.thaka., which means 'narrator' or 'one who recites'. Both words refer to a tradition of dramatic recitation, utilizing gestures and musical accompaniment, of religious teachings still practiced in the temples of Ind.ia. 1 The main schools of Kathak originated in Luck.now, Benares, Jaipur and (later on), Lahore. These schools have a general form in common, but they differ in emphasis of some facet of the dance form. Lucknow Kathak is noted for its development of the pantomimic part of the dance and for its balance bet\.veen storytelling and more abstract aspects of the dance having no stories attached to them. It would be difficult to trace the history of Lucknow Kathak with any accu­ racy beyond the past one hundred fifty years. It is known that in the early nineteenth century, Mo brothers, Thakur and Durga Prasad, migrated to 2 Lucknow from Rajastan or Jodhpur (from Khokar 1959 and Birju Maharaj ). The then ruler of Lucknow, Wajid Ali Shah, was a great patron of the arts who, recognizing Durga Prasad's mastery as a dancer and musidan, invited him to be his court musician and dance teacher. According to Birju Marharaj, Durga Prasad taught the dance to his own sons, Kalkadin and Bindadin. The brothers were devoted, together deciding that only one of them would marry so that the other, free from the economic responsibilities of marriage, could spend his life in the practice and teaching of Kathak.
    [Show full text]
  • THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
    THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full
    [Show full text]
  • Kathak Through the Ages, the Last Choreography of Guru Maya Rao in 2014, Video Projection in the Background Adds to the Dynamism of the Choreography
    PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 20 Modern Development And Future Trends In Kathak Kathak though an ancient dance form, with clear established history, has grown to a massive body of work, making it veer towards what is contemporary and modern. The words contemporary and modern are two different terms in context of art. Any art form, design, film, fashion, music can be contemporary. Each generation or time cycle brings something to the table of this development in society but modern means a whole new language. It means new structure, new grammar and new form. So, in dance when we speak of a modern Kathak, what does it imply? Kathak has certain grammar and structure, as with any and most dance forms. Thus, when we say modern Kathak, it doesn’t mean we break the grammar or change costume - that is just innovation or making it more in tune with contemporary desires of a society at any given point of time. 1 Many believe that Kumudhini Lakhia’s solo performance entitled Duvidha was a turning point of Kathak as a dance form. She founded the Kadamb School of Dance and Music in Ahmedabad in 1967 and has done more than 70 successful productions all over the world. Her choreographies include Dhabkar / धबकार, Yugal / युगऱ, Atah Kim / अथ: ककम, The Peg, Okha-Haran / ओखा हरण, Sama Samvadan / सम संवाद, Suverna / सुवण,ण Bhav Krida / भाव क्रीड़ा, Golden Chains, Kolaahal / कोऱाहऱ, Mushti / मुष्टि to name a few.
    [Show full text]
  • Cultural History of Indian Subcontinent; with Special Reference to Arts and Music
    1 Cultural History of Indian subcontinent; with special reference to Arts and Music Author Raazia Hassan Naqvi Lecturer Department of Social Work (DSW) University of the Punjab, www.pu.edu.pk Lahore, Pakistan. Co-Author Muhammad Ibrar Mohmand Lecturer Department of Social Work (DSW) Institute of Social Work, Sociology and Gender Studies (ISSG) University of Peshawar, www.upesh.edu.pk Peshawar, Pakistan. 2 Introduction Before partition in 1947, the Indian subcontinent includes Pakistan, India and Bangladesh; today, the three independent countries and nations. This Indian Subcontinent has a history of some five millennium years and was spread over the area of one and a half millions of square miles (Swarup, 1968). The region is rich in natural as well as physical beauty. It has mountains, plains, forests, deserts, lakes, hills, and rivers with different climate and seasons throughout the year. This natural beauty has deep influence on the culture and life style of the people of the region. This land has been an object of invasion either from the route of mountains or the sea, bringing with it the new masses and ideas and assimilating and changing the culture of the people. The invaders were the Aryans, the Dravidians, the Parthians, the Greeks, the Sakas, the Kushans, the Huns, the Turks, the Afghans, and the Mongols (Singh, 2008) who all brought their unique cultures with them and the amalgamation gave rise to a new Indian Cilvilization. Indus Valley Civilization or Pre-Vedic Period The history of Indian subcontinent starts with the Indus Valley Civilization and the coming of Aryans both are known as Pre-Vedic and Vedic periods.
    [Show full text]
  • Men in Dance with Special Emphasis on Kuchipudi, a South Indian
    Men in Dance with Special Emphasis on Kuchipudi, a South Indian Classical Dance Tradition Presented at International Word Congress of Dance Research By Rajesh Chavali (MA Kuchipudi) Introduction India is a country of diverse languages, religions, cultures and castes, all assimilated seamlessly with great integrity. We must acknowledge this is not a political decision but rather a course of evolution and history. A historic perspective of ancient India with several invasions and rulers of India that didn’t belong to that land influenced a lot of what we see in todays’ India. As we can imagine and nothing out of ordinary, India has seen several intrinsic and extrinsic influences including socioeconomic condition, political influences, power struggle, hierarchy in the caste system, acceptance of the roles of man and woman in the social ecosystem, development and adoption of a variety of religions and philosophical schools of thoughts. For the scope of the current paper at this congress, I’ll focus briefly on these influences and how Indian dances evolved over time and will present more detailed discussion of origin of Kuchipudi, a south Indian classical dance form as a male tradition in Indian classical dance history to its current state. Extrinsic and Intrinsic Influences on Developing India over the Years India, as a country, has undergone several political invasions, major influencers being Mughal and British invasions. The existing cultural dances of India (classical or other non-classical forms or non-classical forms of those times that later attained classical status) in parts of the country were heavily influenced by these invasions while the relatively untouched or inaccessible parts of India, such as northeast part of India largely retained their identity.
    [Show full text]
  • Re-Appropriated Voices in the Poetry of Kathak Dance Repertoire
    The Polish Journal of the Arts and Culture. New Series 4 (2/2016): 47–78 [article] DOI: 10.4467/24506249PJ.16.010.6241 A heroine in the pangs of separation or a soul longing for the divine? Re-appropriated voices in the poetry of kathak dance repertoire Katarzyna Skiba Abstract The paper explores the ambivalent nature of poems that are partand parcel of the kathak dance repertoire in the context of a changing sys- tem of dance patronage during the 19th and 20th centuries in North India. Through a textual analysis of selected ṭhumrī songs, the author investigates the use of śṛṅgāra rasa (erotic sentiment) in this poetic genre in relation to its original, secular function and its interpretation in religious idioms. The comparison of traditional ṭhumrīs with the compositions prevalent on the modern, classical dance stage shall un- derline a shift in the character of kathak performance (from romantic, sensual and intimate to devotional and impersonal). The attempts to locate ṭhumrī in the shastric framework and to ‘purify’ the content of these poems from the imprints of its lineage with tawā’if s culture is examined as part of the process of reinventing kathak in response to the tastes of a new class of patrons and performers and matching this art to the vision of Indian cultural heritage, propagated by nationalists. Keywords: kathak, ṭhumrī, Indian dance revival, nāyikā-bheda, dance Katarzyna Skiba is a Ph.D student at the Jagiellonian University in Krakow. Her main area of research includes: South Asian perform- ing arts, dance anthropology, sociology and postcolonial studies.
    [Show full text]
  • Just Dance / जट डाॊस, Boogie Woogie / फूगी वूगी
    PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 15 KATHAK AS VOCATION For long has dance been a vocation in India. Both men and women have been ritual dance specialists associated with temples and monasteries. The story of the Devadasis, Maibis and Maharis / भहायी is well known. There are monk dancers in Assam called bhakats who are examples of males who dedicate their lives to the performance of dance as an offering and a ritual in a temple. There were also public platforms, where for entertainment purposes men and women danced. Chhau / छाऊ, Raibenshe / यैफᴂशे, Yakshagana / मऺगान, Kuchipudi / कु चिऩुड़ी, etc are examples of how and when traditionally males’ danced. Some of the women belonging to specific communities were associated with dancing for entertainment. For instance the Kalbelia / कारफेलरमा, Rai / याइ and Bedia / फेडडमा women were for centuries known to dance for entertainment. It is believed that the Bedia women danced for the laborers from different parts of the word who had collected at Taj Ganj at the time of the building of the Taj Mahal. Later they were among the communities and tribes that entertained the British troupes. Today many Bedia girls are among the Bar dancers of Mumbai. Apart from these girls there was also a group of traditional performers called by various names- Tawaif / तवामप, baijis / फाईजी, 1 etc. They were a whole range of professional dancing girls, some so talented that they had access to the highest centres of power, like the palace and the courtly setting, and were well integrated with the royals and the aristocracy.
    [Show full text]
  • Why Kathak Dance?
    Chapter -3 WHY KATHAK DANCE? KATHAK'S GEOGRAPHICAL DISTRIBUTION 17 It has been discussed earlier, that there are seven classical dance forms in India, which are ancient, traditional and glorious as well. Nearly all of them have performed the same social functions for society. They have undergone changes according to social changes, 122 and today all of them are trying to survive as well as develop. They are also trying to restore their original purity of form. No doubt that these styles differ from one another in various aspects. The case of Kathak is entirely distinct in many ways. This form of Indian classical dance possesses some different characteristic features than others. And many of the aspects regarding Kathak can be studied sociologically. Ancient works on Hindu Natya originally described a Kathak as a storyteller who chants stanzas from the great epics, the Mahabharata and the Ramayana. For the entertainment and the enjoyment of his listeners he adds appropriate explanatory gestures and movements. Later, these simple actions acquired a more definite form and were involved into a significant gesture language and choreographic form. This forms the basis of this dance form. Later it came to be known as Kathak. In course of time it became an elaborate art, rich in both the aspects of dancing Nritta (technical part or the pure dance) and Natya or abhinaya, which includes facial expressions and symbolic gestures to interpret the theme, it also includes bhavas and rasas (emotions and sentiments). Kathak dance has its origin in Uttar Pradesh, mainly in Lucknow, Ayodhya and Nathadwar.
    [Show full text]