HISTORY MAINS WORKBOOK (GS 1)
History is one of the most signifi cant part of UPSC General Studies 1 preparation. It is a wide subject that requires complete understanding of signifi cant events, role of personalities in Indian history, Indian art and culture as well as events of world history. Understanding of broad ideas and themes around important events is important to have a broader outlook towards History. GS Score History workbook aims to give you conceptual understanding of the relevant topics under History.
How will the workbook help students? It will enable broad coverage of syllabus and help you address demand of questions skillfully. It is meant to act as a guide for your preparation of important topics and ideas of history and to gain maximum benefi t out of it; a student must fi rst attempt each of the set by himself. Then compare it with model hints given. This exercise will enable answer writing practice, in enrichment of your answers and in better time management. The GS SCORE History Workbook consists of questions from the following topics:
Total 20 Sets " Covering Indian culture will cover the salient aspects of Art Forms, Literature and Architecture from ancient to modern times. " Modern Indian history from about the middle of the eighteenth century until the present- signifi cant events, personalities, issues. " The Freedom Struggle – its various stages and important contributors /contributions from different parts of the country. " Post-independence consolidation and reorganization within the country. " History of the world will include events from 18th century such as industrial revolution, world wars, redrawing of national boundaries, colonization, decolonization, political philosophies like communism, capitalism, socialism etc., their forms and effect on the society.
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ART & CULTURE WORKBOOK SET:1-6 QUESTION & ANSWER WORKBOOK | GS MAINS PAPER - 1 www.iasscore.in
ART & CULTURE (SET-1) QUESTIONS & ANSWERS
Q1. Is Sangeet Natak Academi, the sole custodian for the promotion of the performing arts in India, functioning in sync with its objectives? Critically analyze. Q2. Globalization has not only affected the economy and the society but also it has emerged as a challenge for the performing arts in India. Discuss. Q3. Religion has such a deep imprint on Indian art, that often entire Indian art is dismissed as religious only; however, there is no dearth of secular art. Elaborate. Q4. Elaborate the contribution of following in development of Indian Music. Q5. a) Tabla, b.) Thyagaraja, c) Purandara Dasa, d) Allauddin Khan, e) Amir Khusro Q6. What is the difference between classical and folk music? Q7. Is there a parallel between Indian classical music and western classical music? Q8. Most of the classical dances trace their origin in temples and themed around religious scriptures’. Elaborate Q9. What are the unique features of Kuchipudi dance? What are the similarities and differences between Kuchipudi and Bharatanatyam? Q10. Rukmini Devi Arundale was one of the greatest exponents of Bharatanatyam. Write her contributions to this classical dance Q11. Some dance forms in India are unique amalgamation of martial traditions and temple rituals. Write a short note on any such non-classical dance in India
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1. Is Sangeet Natak Academi, the sole custodian for the promotion of the performing arts in India, functioning in sync with its objectives? Critically analyze. (200 words)
APPROACH
1. Discuss objectives of Sangeet Natak Academy (40 words) 2. Explain the positive role played by it (60 words) 3. Give problems faced by Academy (60 words) 4. Conclude it by giving solutions (40 words)
HINTS
Sangeet Natak Akademi was set up in 1953 for the promotion of performing arts. It is an autonomous body under ministry of culture.
Objectives:
The academy functions as the apex body of the performing arts in the country to preserve and promote the vast cultural heritage of India expressed in music, dance and drama. It also works with governments and art academies in states and territories of the country. Gives grants to aid research, documentation and publishing in the performing arts Organizes and subsidizes seminars and conferences of subject specialists Documents and records the performing arts for its audio-visual archive Renders advice and assistance to the government of India in the task of formulating and implementing policies and programmes in the fi eld The Akademi is also responsible for the establishment and maintenance of institutions and projects of national importance in the fi eld of performing arts.
Positive Role
Since its inception, the Akademi has been funding institutions dedicated to music, dance and drama and providing fi nancial assistance to eminent practitioners. It has played a critical role in keeping alive the guru-shishya parampara, and has intervened to support young artists from traditional practicing families and gharanas, who would otherwise be unable to pursue their art. The Akademi has been instrumental in organizing music, dance and theatre festivals across the country and enabling cultural exchange both within the country and internationally. It also organizes workshops and seminars, and provides a forum for creative interaction in this fi eld. The Sangeet Natak Akademi awards for excellence and their fellowships for lifetime achievement in the performing arts are aimed at recognizing and spurring talent to greater heights. Akademi has played a commendable role in preserving endangered art forms. Its generous grants helped resuscitate diffi cult, esoteric traditions such as Koodiyattam and Chhau dance, which would have otherwise fallen prey to the lack of attention of a rapidly changing world. It has made efforts to sustain traditional teaching and learning processes such as the Sufi ana Kalam of Kashmir, or the percussion instruments of Kerala.
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Limitations of Sangeet Natak Academy
Ever since its inception in 1953 as a self-governing body by a resolution of the Government of India, the Akademi has been in the news for reasons other than it’s proclaimed cultural functions Bureaucratization of the functioning of the Akademi: Since the post of the secretary to the Akademi - the chief executive has often been donned by retired bureaucrats, and junior offi cers of the Education Ministry who were appointed on an ad hoc basis. Growing political interference in the functioning of the Akademi. Feudal ethos and administrative infi ghting degrade the performance of the Akademi. From the beginning the executive board - the fountain head of the Akademi has been stuffed with government servants rather than people belonging to the performing arts. According to a leading dancer there is an all-round lethargy and irregularity in its functioning.
Curtailment of its autonomy:
Though the Akademi enjoys autonomy. The function of giving grants-in-aid is also performed by the Department of Culture reducing the Akademi to the role of a promoter. The preservation of India’s cultural identity amidst the onslaught of globalization is the biggest challenge the Akademi faces today The Haksar Committee, appointed to consider the functioning of the Akademi, had uncovered several glitches in the governance of the Sangeet Natak Akademi. Their awards, mired in controversy are rarely granted to up-and-coming performers. The cultural cell of a leading party created a ruckus by accusing the Akademi of blatant nepotism.
Way Ahead
In most countries, funds for the arts come from a combination of public and private sources. However, in India, the corporate sector and civil society have yet to assume the role. The more immediate challenge facing the Akademi is to reinvent itself. There is a need to encourage creative experiment among emerging artists, a range of nation-wide programmes geared towards tapping and showcasing young talent need to be done. It must free itself from bureaucratic trappings, and make a genuine attempt to educate young people about the music, dance and theatre traditions that they have inherited. It requires is the imagination and will to re-link the performing arts with society at large.
SUPPLEMENTARY NOTES
Lalit Kala Akademi, New Delhi Lalit Kala Akademi is the Government’s apex cultural body in the fi eld of visual arts in India. It is an autonomous body, which is fully funded by the Ministry of Culture. The Akademi is an independent organisation and functions at arm’s length from the Government. It has substantial independence in making decisions related to national and international exhibitions, events and providing fi nancial assistance to artists and art organizations through scholarships and grants. Lalit Kala Akademi is an institution that has rendered service to the nation in the arts sphere long before the world woke up to the global impact of Indian art. It has established, preserved and documented a permanent collection of the highest order that refl ects the vitality, complexity and unfolding patterns of modern and contemporary art in India. All through the year it presents exhibitions and educational
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programmes of unparalleled signifi cance; sustains a library, art collection, archives, conservation laboratory, and supports scholars and publications of pre-eminent intellectual merit all over the country.
National School of Drama, New Delhi The National School of Drama is one of the foremost theatre training institutions in the world and the only one of its kind in India. It was set up by the Sangeet Natak Akademi as one of its constituent units in 1959. In 1975, it became an independent entity and was registered as an autonomous organization under the Societies Registration Act XXI of 1860, fully fi nanced by the Ministry of Culture, Government of India. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to practice. As a part of their training, students are required to produce plays which are then performed before the public. The syllabus takes into account the methods of great theatre personalities who have shaped contemporary theatre in all its variety. The systematic study and practical performing experience of Sanskrit drama, modern Indian drama, traditional Indian theatre forms, Asian drama and western dramatic protocols give the students a solid grounding and a wide perspective in the art of theatre.
Sahitya Akademi, New Delhi Sahitya Akademi, India’s National Academy of Letters is the central institution for literary dialogue, publication and promotion in the country and the only institution that undertakes literary activities in 24 Indian languages, including English. Over the 56 years of its dynamic existence, it has ceaselessly endeavored to promote good taste and healthy reading habits, to keep alive the intimate dialogue among the various linguistic and literary zones and groups through seminars, lectures, symposia, discussions, readings and performances, to increase the pace of mutual translations through workshops and individual assignments and to develop a serious literary culture through the publications of journals, monographs, individual creative works of every genre, anthologies, encyclopedias, dictionaries, bibliographies, who’s who of writers and histories of literature. It has so far brought out over 6000 books, the present pace of publication being one book every 19 hours. Every year the Akademi holds at least 50 seminars at regional, national and international levels along with the workshops and literary gatherings-about 300 in number per year, under various heads like Meet the Author, Samvad, Kavisandhi, Kathasandhi, Loka: The Many Voices, People and Books, Through My Window, Mulakat, Asmita, Antaral, Avishkar, NariChetna, YuvaSahiti, Bal Sahiti, Purvottari and Literary Forum meetings. Utility of performing arts during the ancient and the medieval period. Appreciate the contribution of classical dances, folk music as well as folk dances in Indian culture and Challenges faced by performing Arts
2. Globalization has not only affected the economy and the society but also it has emerged as a challenge for the performing arts in India. Discuss. (200 words)
APPROACH
1. Brief Overview of Globalization on performing art (40 words)
2. Explain the negative impact (60 words)
3. Explain positive impact (60 words)
4. Conclusion (40 words)
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HINTS
Globalization has infl uenced performing arts in variety of ways providing protection to some, commercializing others and at the same time providing a threat of extinction to many. Performing arts have been means of entertainment, carriers of folk and mass culture and have provided livelihood support to many. With the advent of globalization and new means of entertainment through TV, internet; access to diverse forms of performing arts from other countries have created a challenging environment for Indian performing arts.
Negative impact of Globalization
Many performing arts like puppetry are facing existential threats because of loss of viewership, patronage. The artists associated with this are facing livelihood threats. Threat to originality with intermixing of traditions. As people try new ways to sustain and reply to the demands of market forces the originality is lost. Focus on entertainment and commercialization only. The true intrinsic value or satisfaction that these arts provided to the performer is not give importance Earlier many performing arts like Shahnai vadan were not done for the purpose of earning money only; they were treated as hobby in which these people wanted to excel. Now this is lost.
Positive impact of Globalization
The global recognition too many performing arts like Koodiyattam by UNCESO helps them in spreading them to new places, accessing grants and getting worldwide recognition. Many performing arts have been able to catch on the commercialization opportunities provided by globalization. Shadow puppetry is an example of it, which has been used for advertising purposes and professionals are emerging in the fi eld. Organization of global cultural events provides artists opportunities to showcase their talents.
Conclusion
Cultural and artistic changes have been a continuous and subtle process throughout human history and it has resulted into extinction, modifi cation and emergence of new art forms. Globalization is just new step in the same process and it will also have similar effects. Development of drama through various phases in India and recognize the contribution of folk theatre Examine the importance of the three art forms in the development of human personality. Religious and secular Art in India
3. Religion has such a deep imprint on Indian art, that often entire Indian art is dismissed as religious only; however, there is no dearth of secular art. Elaborate. (200 words)
APPROACH
1. Introduce religious and secular art of India (40 words) 2. Elaborate infl uence of religion on Indian art (60 words)
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3. Elaborate on how secular art is equally prevalent in India (60 words) 4. Conclusion (40 words)
HINTS
India is the birthplace of major religions of the world like Hinduism, Buddhism and Jainism; these have inspired most of her art. Its artistic traditions are ancient and deeply rooted in religion. While at the same time art with secular themes giving vivid description of life and society of that period also formed an important part of Indian heritage.
Infl uence of religion on art: The primary purpose of paintings with religious infl uences was to convey the message and preaching’s of that particular religion.
Buddhism Huge rock cut sculptures and tomb paintings dedicated to the teachings of Gautama Buddha clearly depict the infl uence he had on the country. Queen Maya’s dream, preceding the birth of the Buddha, is also a major theme on the railing of the Bharhut stupa. Satvahana kings were Hindus but patronized Buddhism as well & built Buddhist rock cut caves in Western India, particularly the Pune-Nasik-Mumbai region. Buddhist art came to prominence during the Mauryan period with Viharas Chaityas being constructed. The caves at Ajanta, Karle, Bhaja and elsewhere contain early sculpture, often outnumbered by later works such as iconic fi gures of the Buddha and Bodhisattvas. Images of both Standing Buddha and sitting Buddha fl anked by Bodhisattvas are a major feature of Kanhericaves in Maharashtra.
Hinduism The depiction of Hindu gods and goddesses is quite evident in various Indian arm forms. In fact, Tanjore and Mysore paintings are famous worldwide for their beautiful depiction of episodes from Hindu epics. The Indian artists visualized the qualities of various gods and goddesses as mentioned in scriptures and infused these qualities into their idealised fi gures of man and woman. Kandariya Mahadev Temple in Khujraho temple is embellished with ornate carvings and sculptures and is dedicated to Hindu Lord Shiva, Art of painting in Central India, Rajasthan and the Pahari region etc. is deeply rooted in the Indian traditions, taking inspiration from Indian epics, religious texts like the Puranas, love poems in Sanskrit and other Indian languages, Indian folk-lore and works on musical themes. The cults of Vaishnavism, Saivism and Sakti exercised tremendous infl uence on the pictorial art temples in India. Kailashnath temple here the deities belong to both the Shaivite as well as Vaishanv faith. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva is a landmark in Indian art. The Shore temple at Malappuram constructed by the Pallavas symbolizes early Dravidian architecture, with its monolithic rock relief and sculptures of Hindu deities. They were succeeded by Chola rulers who were prolifi c in their prolifi c pursuit of arts Badami caves temples of Karnataka; Dashavatara temple in Deogarh is famous for Vishnu reclining on the serpent Shesha (Ananta) on a side panel.
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Jainism Armamalai Caves and Sittanvasal Caves in Tamil Nadu potrays theme from Jain religion. The Gupta period saw the emergence of the iconic carved stone deity in Hindu art, as well as the Buddha- fi gure and Jain Tirthankara fi gures, these last often on a very large scale. The fi ve Jain caves at Ellora belong to the Digambara sect. These caves show dimensions of Jain philosophy and tradition and refl ect a strict sense of ascetism.
Secular art:
On its way to modern times, Indian art has had cultural infl uences (Indus valley and Hellenistic) as well as religious infl uences such as Hinduism, Buddhism, Jainism and Islam. The rock cut architecture and art in India mainly focused on natural elements. The paintings in these sites like Barabar caves, Bhimbetkacommonly depicted scenes of human life alongside animals, and hunts with stone implements. During Indus valley civilization there were animal depictions, religious depictions like Pashupathi. Mughal paintings were uniquely secular in nature. It evolved from the synthesis of Indian and Persian arts. Paintings from Akbarnama Tutinama, Hamzanama depicted life at court, hunting scenes etc. Apart from Persian books of fables, themes from Mahabharata were also selected. Indian scenes and landscapes came into vogue. Emperors like Jahangir portraits of birds, animals and fl owers were portrayed in a realistic manner. With Delhi Sultanate and coming Mughal rule Islamic architecture and art came into light. It introduced use of delicate carvings, true arches, domes. Presentation of human fi gures, sculptures and imagery were prohibited in Islam structures. The walls of a mosque are decorated in geometrical patterns in different coloured marbles, plaster, stucco, paints and glazed tiles. Art and architecture was no longer confi ned to temples but many other structures were built like forts, palaces, gardens, and town gates Ex Buland Darwaza, Qutub Minar, Alai Darwaza, Golgumbaz in Bijapur etc. Other secular structures included step-wells or vavs. These wells were common in the towns of western India. The practice of construction of step-wells was there even earlier to Islams ruling. Muslim rulers also continued the tradition. They were meant to meet water needs public. Eg Dada Hari Vav in Ahmadabad built during 1501. During the British raj, the fusion of Indian traditions with European style was evident from Raja Ravi Varma’s oil paintings. Other artists, such as Rabindranath Tagore and Gaganendranath Tagore as well as new artists of the early 20th century such as Amrita Shergill were responsible for introducing Avant Gardewestern styles into Indian Art. Many other artists like Jamini Roy and later S.H.Raza took inspiration from folk traditions.
Conclusion
Thus Indian culture is a storehouse of both religious and secular art. But what remains important is that during her long history India experienced many foreign races and cultures who exercised some infl uence on Indian art forms,
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4. Elaborate the contribution of following in development of Indian Music. a. Tabla, b. Thyagaraja, c. Purandara Dasa, d. Allauddin Khan, e. Amir Khusro (200 words)
APPROACH
1. Introduce in brief about Indian music. (50 words) 2. Explain in detail each and every personality. (100 words) 3. Conclusion (50 words)
HINTS
The music of India includes multiple varieties of Punjabi Music, classical music, folk music, Bollywood music, Indian rock, and Indian pop. India’s classical music tradition, including Hindustani music and Carnatic, has a history spanning millennia and developed over several areas. Music in India began as an integral part of socio-religious life.
Tabla:
The tabla, a membrane phone percussion instrument, is often used in Hindustani classical music. The Dayan (right hand drum), is almost always made of wood. The bayan (left hand drum), may be made of iron, aluminium, copper, steel, or clay; yet brass with a nickel or chrome plate is the most common material. It was invented by Amir Khusro, to be used as principal percussion accompaniment with vocals and instruments.
Thyagaraja:
He was one of the greatest composers of Carnatic music or Indian classical music. He was a prolifi c composer and highly infl uential in the development of the classical music tradition. Thyagaraja composed thousands of devotional compositions, most in praise of Lord Rama, many of which remain popular today. Of special mention, are fi ve of his compositions, called the Pancharatna Kritis, which are often sung in programs in his honor.
Purandara Dasa:
Purandara Dasa was a prominent composer of carnatic music. He formulated the primary lessons of teaching carnatic music, by structuring graded exercises known as Swaravalis and Alankaras, He introduced the Raga Mayamalavagowla as the fi rst scale, to be learnt by beginners in the fi eld. He also composed Gitas (simple songs), for novice students. Purandara Dasa addressed social issues in addition to worship in his compositions, a practice emulated by his younger contemporary, Kanakadasa. Purandara Dasa’s carnatic music compositions are mostly in Kannada; some are in Sanskrit.
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Allauddin Khan:
Allauddin Khan was a Bengali shorodi and multi-instrumentalist, composer, and one of the most renowned music teachers of the 20th century in Indian classical music. During his lifetime, he composed several ragas and laid the foundation of a modern Maihar gharana. He was awarded the Padma Vibhushan, India’s second highest civilian honor in 1971, Prior to that in 1954; the Sangeet Natak Akademi awarded him with its highest honor, the Sangeet Natak Akademi Fellowship for lifetime contribution to Indian music.
Amir Khusro:
Amir Khusro was a Sufi musician, poet, and scholar. He wrote poetry primarily in Persian, but also in Hindavi. He is regarded as the ‘father of Qawwali’, and introduced the Ghazal style of song into India. He is also credited with introducing Persian, Arabic and Turkish elements into Indian classical music, and was the originator of the khayal and tarana styles of music. He has written many verse forms including Ghazal, Masnavi, Qata, Rubai, Do-Beti, and Tarkibhand. His contribution to the development of the ghazal is signifi cant. Amir Khusro is reputed to have invented certain musical instruments like the sitar and Tabla
Conclusion
Thus it can be concluded that infl uences of class , caste , religion , gender , geography etc has moulded Indian music to current shape where all dimensions exists but it more emotive than spiritual.
5. What is the difference between classical and folk music? (200 words)
APPROACH
1. Introduce by giving some introductory line about classical (60 words) and folk music 2. Explain in brief by providing suitable differences between (90 words) classical and folk music. 3. Conclusion (50 words)
HINTS
Indian classical music is found throughout North India. The style is sometimes called North Indian classical music or Shffi striya Sangffi t. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, in North India and to some extent in Nepal and Afghanistan.
There are two categories of Classical Music
Hindustani Music is practiced in Northern Parts of India Carnatic Music is practiced in the Southern parts of India Whereas music that originates in traditional popular culture or that is written in such a style is called ‘Folk Music’. It is transmitted orally, music with unknown composer, or music performed by custom over a long period of time. It denotes different kinds of music; the meaning of the term varies according to the part of the world, social class, and period of history.
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Differentiate between Folk and Classical music
The difference between folk and classical music lies in their origins. Classical music is considered as an ‘art form’ whereas, folk music is considered to be a more traditional form of art. Folk music is a music that is originated from traditional popular culture. Classical music is more academic music that follows established principles of music. Folk music songs are short and last for a few minutes. In classical music renditions are long and last for hours. Folk music is music that is played or sung by ordinary people, not by professional musicians. It is traditional music that people learn by listening to other people playing it and then copying them. It is a tradition which is ‘handed down’ by one generation to another. Traditional music is diffi cult and comprehensive in form and is infl uenced form folk music. Classical music usually requires a student devoting their entire life perfecting the forms of this music. Folk music was enjoyed and considered as the music of the ‘peasants’ who lived and worked at the grass roots level of society. It was a part of communal recreation. Folk music is not taught in the same way as classical music is taught. Folk music is more like a daily ritual without affecting the daily lives of people. People learn it since their childhood and grow up on these songs. Folk music also uses a number of instruments. The refi ned versions of these instruments are used for classical music. For instance, the “Tabla”, which is a very important instrument of classical music, is used in a crude form like daf, dholak or nal.
Conclusion
Thus both form of music has its own relevance in our Indian culture.
6. Is there a parallel between Indian classical music and western classical music? (200 words)
APPROACH
1. Give brief introduction related to Indian classical Music and (50 words) western classical music 2. Differentiate between Indian ad Western classical Music (100 words) 3. See the similarities between both ICM and WCM (50 words)
HINTS
Indian classical music (ICM) is primarily homophonic, which means its focus is on melodies created using a sequence of notes. Its magic is primarily experienced with different melodies constructed within the framework of the Ragas . Whereas western classical music’s (WCM) magic lies to a great extent in polyphonic composition, where counterpoint, harmony, and the texture created using multiple voices is critical. Melody exists in WCM too, but from a broad perspective, is not the singular or defi ning focus of most of WCM works. WCM is composed, ICM is improvised. All WCM compositions are formally written using the staff notation and performers have virtually no latitude for improvisation.
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The converse is the case with ICM, where no ‘work’ is ever written down, and the Teacher-Student tradition of learning ICM leads to each performance being an improvisation. The way vocals are used in relation to other instruments is different. When vocals are used in ICM, all the rest of the instruments are mere accompaniments there are Tanpooras that act like drones, harmonium that follows the tonality of the voice by providing chords, etc. Whereas in WCM, when vocals are used, the instrumentation still carries a lot of weight in the overall composition. In ICM, the individual performer shines through his improvisation. In any recital or performance, there is a lead vocalist or instrumentalist who expounds the raga, while others providing accompaniment are relegated to the background (except for occasional interludes where they show off their virtuosity). In WCM, the composer and conductor shine as individuals, but the performance is largely a group effort. ICM uses‘Taal’ – a cycle of beats cantered around ‘Sam’ that repeats itself. WCM doesn’t use such complex beat cycles. ICM makes extensive use of quarter-tones & microtones, usually referred to as Shruti. WCM has a few microtonal pioneers in recent times, but has largely been restricted to using semitones. ICM doesn’t use or encourage dissonance. Modern WCM has used dissonance extensively to add to the texture of the composition. ICM has a closer, intimate association with nature than WCM. Ragas have specifi c times of day or seasons of the year associated with them, Most of WCM doesn’t have any such characteristic. ICM’s roots are spiritual, while secular works in WCM have roots in factors like individual experiences, signifi cant historical events in human history, entertainment, occasions with dance celebrations, and so on.
The place of “composition” in these two systems is notably different.
Western music has the capacity of producing many feelings and moods. While Indian music, has the capacity to produce a principal emotion or a mood in a raga. An Indian musician improvises with his own creative genius within a raga’s framework, but in Western classical music, except in jazz, such an improvisation is inconceivable
Conclusion
Over the years Indian music has grown and undergone changes but not without retaining it’s aesthetic and elevating spirit. Different schools developed, achieving different characteristics and forms, but ragas and raginis have retained the standard scale which forms the bases of music. Indian music, with the passing of centuries, has enriched itself by assimilating good features from other systems of music
7. “Most of the classical dances trace their origin in temples and themed around religious scriptures”. Elaborate. (200 words)
APPROACH
1. Brief Intro on classical dance and their common origin (30 words) 2. Elaborate on major classical dance form and their origin in temples and (140 words) themed around religious scriptures 3. Conclusion (30 words)
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HINTS
Dance is an ancient and celebrated cultural tradition of India. It can be traced back to Harappan culture (dancing girl statue). Classical dance was originally performed in the temples as well as royal courts. Dance performance in temples had religious purpose, while in courts it was performed for entertainment. In both cases, for artists it was a way to achieve divine connection.
Evolution across the country:
In southern India, Bharatanatyam and Mohiniyattam developed as an important aspect of the rituals in temples. Yakshagana, a form of Kathakali in Kerala, told stories of Ramayana and Mahabharata. In northern India, Kathak and Manipuri told stories of Krishna. Performance of Odissi was related to the worship of Lord Jagannath. By the medieval times, some of these dance forms came to be performed in royal courts. Bharatanatyam: " Bharatanatyam is the oldest dance form in the country. Devadasis danced and sang as offerings to the deities in the temple courtyards. " Some of the renowned performers and gurus of the time belonged to the devadasi families; a well- known name is Bala Saraswati. The performance ended with a Mangalam invoking the blessings of the Gods. " It became part of temple architecture too. Example- Presence of a series of Bharatanatyam poses on the gopurams of the Chidambaram temple. Kathak: " The genre developed during the Bhakti movement. The Kathakars communicate stories through rhythmic foot movements, hand gestures, facial expressions and eye work. " This performing art that incorporates legends from ancient mythology and great Indian epics, especially from the life of Lord Krishna became quite popular in the courts of North Indian kingdoms. Odissi: " Originated in the Hindu temples of the eastern coastal state of Odisha, its theoretical base trace back to ‘Natya Shastra.’ " Age-old tradition of Odissi is manifested from Odisha Hindu temples and various sites of archaeological signifi cance that are associated with Hinduism, Jainism and Buddhism, the sculptures of which adorn dance postures of this art form. " A form of illustrative anecdote of mythical and religious stories, devotional poems and spiritual ideas emoted by dancer with excellent body movements, expressions, impressive gestures and sign languages, Mohiniyattam: " It evolved from the state of Kerala which also has an association with the old tradition of Lasya style of dancing. The temple sculptures of the state are the earliest manifestations of Mohiniyattam or other dance forms similar to it. Mohiniyattam poses are also palpable from the various feminine sculptures that adorn the 11th century Vishnu temple at Trikodithanam, and the Kidangur Subramanian temple.
Conclusion
Nurtured for centuries, these dance forms have continued their tradition through guru-shishya parampara. Temples and royal courts have been replaced by different avenues like theaters and auditoriums.
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8. What are the unique features of Kuchipudi dance? What are the similarities and differences between Kuchipudi and Bharatanatyam? (200 words)
APPROACH
1. Discuss unique features of Kuchipudi Dance (40 words) 2. Explain how it is different from Bharatnatyam (60 words) 3. Explain how it is Similar to Bharatnatyam (60 words) 4. Conclusion (40 words)
HINTS
Unique features of Kuchipudi:
The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylized mime, using hand gestures and subtle facial expression is combined with more realistic acting occasionally including dialogue spoken by the dancers. In this blend of performance techniques, Kuchipudi is unique among the Indian classical dance styles. Another unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns with dexterity, While sometimes also balancing a pot of water on the head. At the end of the dance, typically, the dancer extinguishes the candles and washes his or her hands with the water from the vessel. Another unique feature is the tala chitra nritya in which dancers draw pictures on the fl oor with their dancing toes. Vachika abhinaya (use of words/dialogues) is also aspecial feature of the Kuchipudi style
Similarities:
The dances are accompanied by songs which are typically Carnatic music. Kuchipudi and Bharatanatyam have many mudras in common. The sequence of items in both Kuchipudi and Bharatanatyam seem to be alike, invocation, jatiswaram and shabdam, etc. Both dances orchestra contains mridangam, violin and cymbal player. The common pieces in both nritya abhinaya are javalis, padams, and kirtans. Both the dances have their origin from south India.
Differences:
Bharatanatyam is a form of Classical dance from Tamil Nadu whereas Kuchipudi is a classical dance form from Andhra Pradesh. Bharatanatyam is a dance forms primarily inspired by the sculptures of the antique Chidambaram Temple. On the other hand, Kuchipudi or ‘Koochipoodi’ which is the traditional pronunciation is an initiated dance form that primarily originated from the creations and contributions of the original Brahmin dancers. Bharatanatyam is precisely known for its elegance, grace, softness, clarity and sculptured poses. On the
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other hand, most of the poses in Kuchipudi are brisk, fl at-footed, dazzling and overall curved having more rounded poses. Bharatanatyam is termed as the fi re dance replicating the inner fi re within the human body. On the other hand, Kuchipudi replicates man’s undying desire to unite with God.
Dressing:
The Bharatanatyam costumes have three fans of dissimilar lengths. But the Kuchipudi dresses have a single fan that is lengthier than the lengthiest fan in the former. Origin: Kuchipudi is relatively younger than Bharatanatyam in its origin. In Bharatanatyam Lot of focus to the “aramandi”. In Kuchipudi Dancers don’t sit low on ground. Jewellery: Bharatanatyam dancers wear a unique set of jewellery known as “Temple Jewellery” during the performance. In Kuchipudi Ornaments worn by the artists are generally made of a light weight wood called Boorugu.
Difference in the presentation
The main difference lies in the abhinaya. The graceful, lasya oriented Kuchipudi gives importance to Vakyarthaabhinaya go together. Bharatanatyam on the other hand is Mudraoriented and gives importance to Padartha abhinaya, each word interpreted through mudras
Conclusion
Similar to all leading Indian classical dance forms like Bharatanatyam of Tamil Nadu, Kuchipudi too has evolved as a religious art rooting back to the age-old Hindu Sanskrit text ‘Natya Shastra’ and connects traditionally with temples, spiritual faiths and travelling bards. Earlier it was male actors who impersonated female characters. However it was Lakshminarayan Shastry (1886-1956) who introduced many new elements including solo dancing and training of female dancers in this dance style.
SUPPLEMENTARY NOTES
Indian classical dance for various codifi ed art forms rooted in sacred Hindu musical theatre styles. Rig Veda refers to nritya (dances) and dancers. Natyashastra gave complete details about techniques and forms of dances. Indian Classical Dances Recognized by Sangeet Natak Akademi are Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Sattriya, Mohiniyattam and Manipuri.
Bharatanatyam (Tamil Nadu): Bharatanatyam is a classical dance originating from Tamil Nadu. Bharatanatyam is thought to have been created by Baharat Muni (wrote Natyashastra). In ancient times Bharatanatyam dance was performed as dasiattam by mandir (Hindu temple) devadasis. Bharatanatyam has three distinct elements to it viz. nritt (rhythmic dance movement), natya (mime, or dance with a dramatic aspect) and nritya (combination of nritta and natya).
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The music of Bharatanatyam dance is considered to be as fi re dance. The music of Bharatanatyam is of Carnatic style.
Kathakali (Kerala): Kathakali is a form of Indian dance. It originated in Kerala during the 17th century. This dance shares a lot of similarities to both Ramanattom and Krishnanattom. Kathakali name is derived from the Malayalam words katha (meaning story) and kali (meaning play). It is considered to be combination of fi ve elements of fi ne art viz. natyam (expressions), nritham (dance), nrithyam (enactment), geetha (song/vocal accompaniment) and vadyam (Instrument accompaniment). In Kathakali dance the language of the songs used is a mix of Malayalam and Sanskrit called Manipravaalam. It is dramatic rather than narrative in nature. It is the most refi ned and scientifi c dance form of Kerala. Kathakali dance combines music, poetry, mime and drama. It takes Hindu mythological themes.
Kathak (North India): Kathak is one of the classical dance forms originally from North India. It is a narrative dance from. Kathak performers today generally draw their lineage from three major schools of Kathak viz. the Jaipur gharana, The Lucknow gharana and the Banaras gharana (born in the courts of the Kachwala Rajput kings, the Nawab of awadh, and Varanasi respectively).
The term Katha is derived from Katha (story teller). It was originally a temple dance and became court dance under the Muslim rulers. Kuchipudi (Andhra Pradesh). Kuchipudi is a classical dance of Andhra Pradesh. Kuchipudi is the name of a small village in the DiviTaluq of Krishna district. Kuchipudi dance is similar to Bharatanatyam. Kuchipudi is essentially a solo dance.
Odissi (Odisha): Odissi is considered to be the oldest form of classical dance. Gita Govinda of Jayadeva dominates the poetical and musical content of Odissi dance style.
Sattriya (Assam): Sattriya dance is not famous dance; this dance is known classical dance form of Assam. Sattriya was emerged as medium of propagating Bhakti.
Mohiniattam (Kerala): Mohinia am dance is a tradi onal south Indian dance from Kerala.
9. Rukmini Devi Arundale was one of the greatest exponents of Bharatanatyam. Write her contributions to this classical dance. (200 words)
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APPROACH
1. Introduce Rukmini Devi Arundale as pioneer of Bharatanatyam (50 words) 2. Discuss her Contribution (100 words) 3. Conclusion (50 words)
HINTS
Rukmini Devi Arundale is considered one of the most important revivalists in the classical dance, Bharatanatyam, from its original sadir style- solo dance prevalent among the temple dancers or devadasis - to puritan art form.
Contribution of Rukmini Devi Arundale
At the behest of Anna Pavlov she learned bharatnatyam from Meenakshi Sundaram Pillai. She espoused the cause of Bharata Natyam, which was considered a low and vulgar art in the early 1920s. Originally known as sadhir, the Indian classical dance form of Bharatanatyam owes its current name, to E Krishna Iyer and Rukmini Devi Arundale, who has been instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the global attention. She removed the extraneous sringaar and erotic elements from the dance, which were the legacy of its devadasi association in the past, thereby raising it to the status of puritan art form. She was the pioneer in introducing musical elements like violin to Bharatnatayam. She designed costumes that were artistic and design exquisite jewellery and ornaments inspired from temple architecture. She was the fi rst one to create dance dramas based on Indian epics like Valmiki’s Ramayana, Jayadeva’s Geeta Govinda etc. some of the famous dance drama are Sita Swayamvaram, Kumara Sambhavam etc. To institutionalize and teach this dance form, she later established Kalakshetra in 1936 where she developed her own, Kalakshetra, style of Bharatanatyam is an arts and cultural academy dedicated to the preservation of traditional values in Indian art and crafts, especially in the fi eld of Bharatanatyam dance and Gandharva-veda music. The institute has got national and international recognition producing some of the world famous dancers like Yamini Krishnamurthy, Leela Samson etc.
Conclusion
On the larger context Rukmini Devi Arundale, considered one of the 100 people who shaped India and has made immense contribution to Indian classical dances and art forms. She resolved to erase the stigma and social stereotypes connected with the dance and challenged Devadasi system. In this way she gave Bharatnatyam its contemporary form which is respectable and unique.
10. Some dance forms in India are unique amalgamation of martial traditions and temple rituals. Write a short note on any such non-classical dance in India. (200 words)
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APPROACH
1. Introduce dance forms that combine martial arts and temple rituals. (50 words) 2. Explain such type of different dance forms (100 words) 3. Conclusion (50 words)
HINTS
Many of the dance forms in India combine aspects of martial arts and temple rituals. The Kathakali dancers acquainted with martial arts are said to be better performers, Kalarpiyattu was taught as part of dance forms to improve performances. The most outstanding of these combinations is the Chaau dance form of Odissa, Jharkhand region.
Chaau Dance:
The etymological root of the word ‘Chhau’ is traced to the Sanskrit ‘Chhaya’ or shade, referring to the mask used by the dancers. Chhau dance is evidently a war dance. The dance ranges from celebrating martial arts, acrobatics and athletics performed in festive themes of a folk dance, to a structured dance with religious themes found in Shaivism, Shaktism and Vaishnavism. The dance is traditionally an all males troupe, regionally celebrated particularly during spring every year, and may be a syncretic dance form that emerged from a fusion of classical Hindu dances and the traditions of ancient regional tribes. Until recent decades, the chhau dance was performed only by martial artists. It is found in three styles named after the location where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Bihar now Jharkhand, and the Mayurbhanj Chau of Odisha.
Kalaripayattu:
Kalaripayattu is perhaps the most ancient martial art in the world .Its training takes place in an enclosure called the “poothara”, it is a seven-tiered platform and houses the guardian deity of the Kalari. These seven steps symbolise seven abilities each person requires. They include Vigneswa (Strength), Channiga (patience), Vishnu (commanding power), Vadugashcha (the posture), Tadaaguru (training), Kali (the expression) and Vakasta - purushu (sound). Other deities, most of them incarnations of the Bhagavathi or Shiva, are installed in the corners
Conclusion
Thus martial dance forms in India combine features and practices inspired from temple rituals. These martial art forms are centuries old that fi nds mentions in Vedas. In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as fi nger movements in the nata dances, were incorporated into the fi ghting arts. A number of Indian fi ghting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalaripayatu can be applied to dance and kathakali dancers. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen
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SUPPLEMENTARY NOTES
Important martial art forms of India are: Kalarippayattu is a famous Indian martial art from land of attraction Kerala and one of the oldest fi ghting systems in existence. It is practiced in most of the part of south India. A kalari is the school or training hall where martial arts are taught. It includes strikes, kicks and some weapon based practiced, a Footwork pattern is most important key in Kalarippayattu. Gatka is weapon-based Indian martial art basically created by the Sikhs of Punjab. There are many weapons used in Gatka like, Stick, Talwar, kirpan, and kataar. The attacking and defense methods are based upon the positions of the hands feet and nature of weapons used. It is also displayed during the different celebrations or at fairs in Punjab. Thang Ta is popular term for the ancient Manipuri Martial Art also known as HUYEN LALLONG. Manipuri martial arts with swords and spears, is a strong yet gracefully sophisticated art.
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