Famous Classical Dances of India
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Folk Dances of India: Mohiniyattam
Folk Dances of India: Mohiniyattam India is one of the world’s oldest civilizations globally, and it encompasses a kaleidoscopic variety and rich cultural heritage. We have strengthened our socio-economic hold in the world ever since Independence. However, our classical heritage is something to be cherished since the very beginning of civilization. One of India’s famous classical dances that represent the historical enchantress avatar of the Hindu god Vishnu was developed in Kerala called Mohiniyattam.4 According to the mythological text, Vishnu took Mohini’s form to distract the demon Bhasmasura, while the gods took the elixir of immortality from the churning of the celestial oceans and thus saved the world from destruction.2 The Mohini myth forms the heart of every Mohiniyattam performance as it stands for good prevailing over evil.2 The earliest mention of this word can be found in the 16th- century text Vyavaharamala. The dance was systematized in the 18th century but later ridiculed as a Devdasi prostitution system during the British Raj, where it faced many bans.2 The socio-political conflict ultimately led to the revival and reconstruction of Mohiniyattam by the people of Kerala, particularly the poet Vallathol Narayana Menon. Since then, Mohiniyattam has not only been the focus of academic study but has also been integrated across India into the curricula of other art schools and universities.1 Like most classical dances, its roots come from the ancient Hindu Sanskrit performance arts namedNatya Shastra. It follows the delicate, eros-filled and feminineLasya style performed by a woman after extensive training. -
Indian Music
Indian music The history of India in terms of music can be regarded as one of the oldest in the world. Some of the experts claims the Indian music dates back to the times of Vedas. It doesn’t matters what time and age maybe associated with Indian music there is no doubt that music has been an important part of India’s cultural and traditional heritage. Indian music is basically the combination of vocal and instrumental music with great significance of dance. All these combine to form a Sangeet India’s music is based on the combination of vocal and instrumental music, along with dance. And these three combined is what is known as sangeet. Division of Indian music Indian music can be divided into three parts: Modern music Classical music Folk music Modern Indian music : Large collections of modern music are the songs from Indian cinema which makes up 72% of the music sales in the country. The modern music comprises: Pop Rock n mental music Dance music Indian hip-hop Classical music Instruments like Sitar, sarod, tabla, sarangi or dhrupad, khayal, ghazal or raga, tala, gharana are known by world today. They represent the musical art of India specially the Indian classical music. Indian classical music is based on two types of music further i.e. Classical music prevalent in north India The Carnatic music of south India Hindustani music: A significant amount of Persian influence can be observed in Hindustani music in terms of instruments. It has assimilated several folk tunes. Table players usually keep the rhythm which can be an indicator of time. -
Indian Dance Drama Tradition
Imperial Journal of Interdisciplinary Research (IJIR) Vol-3, Issue-4, 2017 (Special Issue), ISSN: 2454-1362, http://www.onlinejournal.in Proceedings of 5th International Conference on Recent Trends in Science Technology, Management and Society Indian Dance Drama Tradition Dr. Geetha B V Post-Doctoral research fellow, Women Studies Department, Kuvempu University, Shankarghatta, Shimoga. Abstract: In the cultures of the Indian subcontinent, for its large, elaborate make up and costumes. The drama and ritual have been integral parts of a elaborate costumes of Kathakalli become the most single whole from earliest recorded history. The recognized icon of Kerala. The themes of the first evidences of ritual dance drama performances Kathakali are religious in nature. The typically occur in the rock painting of Mirzapur, Bhimbetka, deal with the Mahabarat, the Ramayana and the and in other sites, which are various dated 20,000- ancient Scriptures known as the puranas. 5000 bce. The ancient remains of Mohenjo-Daro Kuchipudi dance drama traditions hails from and the Harappa (2500-2000 bce) are more Andhrapradesh. BhamaKalapam is the most definitive. Here archeological remains clearly popular Dance-Drama in Kuchipudi repertoire point to the prevalence of ritual performance ascribed to Siddhendra Yogi. The story revolves involving populace and patrons. The Mohenjo – round the quarrel between satyabhama and Daro seals, bronze fegurines, and images of priest Krishna. and broken torsos are all clear indications of dance In this paper I am dealing with Yakshagana dance as ritual. The aspects of vedic ritual tradition drama tradition. I would like to discuss this art closest to dance and drama was a rigorous system form’s present scenario. -
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. -
The Role of Indian Dances on Indian Culture
www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts. -
Search a Journal of Arts, Humanities & Management Vol-IX, Issue-1 January, 2015
search A Journal of Arts, Humanities & Management Vol-IX, Issue-1 January, 2015 DDCE Education for All DDCE, UTKAL UNIVERSITY, BHUBANESWAR, INDIA Prof. S. P. Pani, Director,DDCE, Utkal University, Bhubaneswar. Dr. M. R. Behera Lecturer in Oriya, DDCE, Utkal University, Bhubaneswar. Dr. Sujit K. Acharya Lecturer in Business Administration DDCE, Utkal University, Bhubaneswar. Dr. P. P. Panigrahi Executive Editor Lecturer in English, DDCE, Utkal University, Bhubaneswar. ISSN 0974-5416 Copyright : © DDCE, Utkal University, Bhubaneswar Authors bear responsibility for the contents and views expressed by them. Directorate of Distance & Continuing Education, Utkal University does not bear any responsibility. Published by : Director, Directorate of Distance & Continuing Education, Utkal University, Vanivihar, Bhubaneswar – 751007. India. Reach us at E-mail : [email protected]. 91-674 –2376700/2376703(O) Type Setting & Printing: CAD 442, Saheed Nagar Bhubaneswar - 751 007 Ph.: 0674-2544631, 2547731 ii History is TRUTH and TRUTH is God. History is a search for the ultimate truth , an understanding which would end the search for any further explanation. Many of you may feel disturbed with such a content. In fact, many of you may feel this statement to be very subjective. Indeed you may opine that history is all about alternative explanations, choice of one explanation over the others with justification. In this short editorial an attempt is being made to explore, ‘History as Truth’. History like any other discipline can never be dealt in isolation; however, it may seem so. It is not even a distinct part of the whole, it is indeed the whole itself- both temporally and spatially. Why all search in history may be partial yet the partial search always can be of the whole only. -
Bhagavata Mela Dance-Drama of Bharata Natya
BHAGAVATA MELA DANCE-DRAMA OF BHARATA NATYA E. Krishna Iyer The classical dance-drama of the Bhagavata Mela tradition which is struggling for survival in the Tanjore District is a rare art of great value. Its revival will not only add one more rich variety to our existing dance arts but also help to clear away many prevailing misconceptions about Bharata Natya, by proving, that it is not confined to, or exhausted by, the solo Sadir-Natya of women and that it has a dramatic form too with many male and female characters expounding great Puranic themes and rasas other than Sringara as well. In short it will be found as an exemplifica tion of the 2000-year old conception of Natya as dance-drama according to the Natyasastra. Incidentally it may also prove the art to be a source of rich material to help the creation or evolution' of new forms of dance drama and ballet. Bharata Natya, properly understood, is a vast, comprehensive and generic system of classical dance in India, the principles and technique of which are closely applied to three chief forms among others namely; (1)the lyrical solo Sadir nautch, (2) the heavy Bhagavata Me/a dance-drama and (3) the light Kuravanji ballet. Of these, only the first has become widely popular and is called by the generic name itself. Early Origins The Bhagavata Mela Dance-Drama tradition seems to have been in vogue in this country from the 1lth century A.D. ifnot earlier. It is known to have come into prominence in South India from the time of Thirtha narayana Yogi, the author of Krishna Lee/a Tharangini who migrated from Andhra Desa, lived 'and died at Varahur in the Tanjore District about The late 'Shri E. -
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. -
Embodying "Bhakti Rasa" in Bharata Natyam: an Indian-Christian Interpretation of "Gayatri" Mantra Through Dance
Journal of Hindu-Christian Studies Volume 19 Article 10 January 2006 Embodying "Bhakti Rasa" in Bharata Natyam: An Indian-Christian Interpretation of "Gayatri" Mantra through Dance Katherine C. Zubko Follow this and additional works at: https://digitalcommons.butler.edu/jhcs Part of the Religion Commons Recommended Citation Zubko, Katherine C. (2006) "Embodying "Bhakti Rasa" in Bharata Natyam: An Indian-Christian Interpretation of "Gayatri" Mantra through Dance," Journal of Hindu-Christian Studies: Vol. 19, Article 10. Available at: https://doi.org/10.7825/2164-6279.1365 The Journal of Hindu-Christian Studies is a publication of the Society for Hindu-Christian Studies. The digital version is made available by Digital Commons @ Butler University. For questions about the Journal or the Society, please contact [email protected]. For more information about Digital Commons @ Butler University, please contact [email protected]. Zubko: Embodying "Bhakti Rasa" in Bharata Natyam: An Indian-Christian Interpretation of "Gayatri" Mantra through Dance Embodying Bhakti Rasa in Bharata Natyam: An Indian-Christian Interpretation of Gayatri Mantra through Dance Katherine C. Zubko Emory University AS the five female dancers from the Indian through a performative embodied understanding Christian fine art college of Kalai Kaviri encircle of bhakti rasa, an aesthetic sentiment typically the South Indian brass lamp, or vilakku, defined as a "devotional" mood, contemporary awakening it to life with the flames from their performers of Bharata Natyam106 create a own individual votives, the beginning melody of critical framework that makes fluidity of a song cues the women to stretch out their arms religious narratives and meanings possible I I in preparation to rise from their seated positions across religious traditions. -
Ati 3M: Odissi Dance
BLM #1 STUDENT/TEACHER RESOURCE ATI 3M: ODISSI DANCE Odissi dance is the typical classical dance form of Orissa and has its origin in the temples. The rhythm, the bhangis and mudras used in Odissi dance have a distinctive quality of their own. Odissi dance deals largely with the love theme of Radha and Krishna. It is a lyrical form of dance with its subtlety as its keynote. The intimate relationship experienced between the poetry and music in Odissi is a feature on which the aesthetics of the style is built. It is a "sculpturesque" style of dance with a harmony of line and movement, all its own. The history of Odissi dates back to somewhere between the 8th and the 11th century when the kings took great pride in excelling in the arts of dance and music. It is during these centuries that inscriptions referring to "Devdasis,” the women who worshipped the deity, were carved at the Brahmeshwar temple. "Devdasis" apparently played an important part in the temple ritual and were required to perform from early evening to the bedtime of Lord Jagannath, the temple deity of Puri. Jayadeva's "Geeta-Govinda,” the bible of an Odissi dancer, written in the 12th century, has stupendous influence on the arts of Orissa. The "Ashtapadis" were marked with specific ragas and talas. Around the 15th century, during the reign of Surya Dynasty, the element of "abhinaya" or expressional dance entered Odissi. During the same time Maheshwar Mahapatra wrote his "Abhinaya Chandrika,” an elaborate treatise on Odissi dance style, which is still used by dancers today. -
An Introduction to the Sattra Culture of Assam: Belief, Change in Tradition
Journal of Ethnology and Folkloristics 12 (2): 21–47 DOI: 10.2478/jef-2018-0009 AN INTRODUCTION TO THE SATTRA CULT URE OF ASSAM: BELIEF, CHANGE IN TRADITION AND CURRENT ENTANGLEMENT BABURAM SAIKIA PhD Student Department of Estonian and Comparative Folklore University of Tartu Ülikooli 16, 51003 Tartu, Estonia e-mail: [email protected] ABSTRACT In 16th-century Assam, Srimanta Sankaradeva (1449–1568) introduced a move- ment known as eka sarana nama dharma – a religion devoted to one God (Vishnu or Krishna). The focus of the movement was to introduce a new form of Vaishnava doctrine, dedicated to the reformation of society and to the abolition of practices such as animal sacrifice, goddess worship, and discrimination based on caste or religion. A new institutional order was conceptualised by Sankaradeva at that time for the betterment of human wellbeing, which was given shape by his chief dis- ciple Madhavadeva. This came to be known as Sattra, a monastery-like religious and socio-cultural institution. Several Sattras were established by the disciples of Sankaradeva following his demise. Even though all Sattras derive from the broad tradition of Sankaradeva’s ideology, there is nevertheless some theological seg- mentation among different sects, and the manner of performing rituals differs from Sattra to Sattra. In this paper, my aim is to discuss the origin and subsequent transformations of Sattra as an institution. The article will also reflect upon the implication of traditions and of the process of traditionalisation in the context of Sattra culture. I will examine the power relations in Sattras: the influence of exter- nal forces and the support of locals to the Sattra authorities. -
Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME
Learning Outcome based Curriculum Framework (LOCF) For Undergraduate Programme B.P.A. (Odissi Dance) 2020 THREE YEAR FULL TIME PROGRAMME Syllabus and Scheme of Examination This shall be applicable for students seeking admission in B.P.A. Odissi Dance Programme in 2020-2021 DEPARTMENT OF PERFORMING ARTS Faculty of Indic Studies Sri Sri University DPA-B.P.A. (O.D.) Page 0 Introduction – The proposed programme shall be conducted and supervised by the Faculty of Indic Studies, Department of Performing Arts, Sri Sri University, Cuttack (Odisha). This programme has been designed on the Learning Outcomes Curriculum Framework (LOCF) under UGC guidelines, offers flexibility within the structure of the programme while ensuring the strong foundation and in-depth knowledge of the discipline. The learning outcome-based curriculum ensures its suitability in the present day needs of the student towards higher education and employment. The Department of Performing Arts at Sri Sri University is now offering bachelor degree program with specialization in Performing Arts (Odissi Dance and Hindustani Vocal Music) Vision – The Department of Performing Arts aims to impart holistic education to equip future artistes to achieve the highest levels of professional ability, in a learning atmosphere that fosters universal human values through the Performing Arts. To preserve, perpetuate and monumentalize through the Guru-Sishya Parampara (teacher-disciple tradition) the classical performing arts in their essence of beauty, harmony and spiritual evolution, giving scope for innovation and continuity with change to suit modern ethos. Mission : To be a center of excellence in performing arts by harnessing puritan skills from Vedic days to modern times and creating artistic expressions through learned human ingenuity of emerging times for furtherance of societal interest in the visual & performing arts.