Uttar Pradesh Raslila Guide Raslila Is a Famous Art Form of the Braj

Total Page：16

File Type：pdf, Size：1020Kb

Uttar Pradesh Raslila Guide Raslila Is a Famous Art Form of the Braj

Uttar Pradesh Raslila Guide by traveldesk Raslila is a famous art form of the Braj region of Uttar Pradesh. The Braj region comprises areas in and around Mathura. It includes towns that are in someway or other attached to Lord Krishna and his times. Raslila, or Rasleela as it is written at times, is a dance form that is attached with the love of Lord Krishna with milkmaids of his village and his consort Radha. The dance form was originated during the amorous encounters of milkmaids with Lord Krishna. Legend goes that when all the milkmaids started demanding Krishna to be their dance partner, Krishna cast a spell so that each of those milkmaid thought Krishna was dancing with them. This marked the birth of Raslila. Raslila is generally performed by mobile troupes that roam around village to village. This dance is performed primarily on Rasia, a song form that is entirely based on the theme of Krishna-Radha love. Raslila is a folk tradition that has incorporated elements of Indian classical music, drama and dance. This presentation goes beyond professionalism. Though the dramas have basic scripts there is ample room for improvisation and extemporization, only to return to its formal delineation after the inspiration of the creative force is consumed. The emphasis is on 'seeing through sound' (darshan). The visual sense is to enhance, but the ultimate ingredient is the 'bhava', a particular mood or sentiment conveyed by the music and songs, which along with the action of the drama enable the actors and the audience to personally taste the different dramatic flavors, such as friendship, servitor ship, parental love, conjugal love, amazement, humor, chivalry, compassion, fury, fear and dread. Uttar Pradesh Raslila Guide by traveldesk.

Copy Link

Recommended publications

Rasaesthetics.Pdf
Rasaesthetics Richard Schechner Where in the body is theatricality located? What is its place? Traditionally in Western theatre, the eyes and to some degree the ears are where theatricality is experienced. By etymology and by practice a theatre is a “place of/for seeing.” Seeing requires distance; engenders focus or differentiation; encourages analysis or breaking apart into logical strings; privileges meaning, theme, narration. Modern science depends on instruments of observation, of ocularity: tele- scopes and microscopes. Theories derived from observations made by means of ocular instruments define the time-space continuum. From super-galactic strings on the one hand to molecular and subatomic wave particles on the other, we “know” the universe by “seeing” it. See = know; know = see; speed = space; distance = time; diachronicity = story. But in other cultural traditions there are other locations for theatricality. One of these, the mouth, or better said, the snout-to-belly-to-bowel—the route through the body managed by the enteric nervous system—is the topic of this essay. The snout-to-belly-to-bowel is the “where” of taste, digestion, and excretion. The performance of the snout-to-belly-to-bowel is an ongoing interlinked muscular, cellular, and neurological process of testing-tasting, separating nourishment from waste, distributing nourishment throughout the body, and eliminating waste. The snout-to-belly-to-bowel is the where of in- timacy, sharing of bodily substances, mixing the inside and the outside, emo- tional experiences, and gut feelings. A good meal with good company is a pleasure; so is foreplay and lovemaking; so is a good shit.
[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]
THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
Paper 11: Special Interest Tourism Module 34: Performing Arts of India: Classical Dances, Folk Dance & HistoricalFolk Culture Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Dr. Arunesh parashar, Chief Coordinator Department Of Tourism Management, Dev Sanskriti University Content Reviewer Prof. Pariskhit Manhas Director , school of hospitality & tourism management Jammu university, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hotel Management Paper Name Special Interest Tourism Module Title Performing Arts of India: Classical Dances, Folk Dances and Folk Culture Module Id 34 Pre- Requisites Basic knowledge about Performing Arts Objectives To develop a basic insight about the performing arts in India Keywords Classical, folks lore, folk dances and folk cultures QUADRANT-I Performing arts are divided into two dimensions of performance: Dance Music Classical dance Bharatnatyam Bharatnatyam originates in Tamil Nadu which is likewise alluded to as artistic yoga and Natya yoga. The name Bharatnatyam is gotten from the word "Bharata’s" and subsequently connected with the Natyashashtra. Though the style of Bharatnatyam is over two thousand years old, the freshness and lavishness of its embodiment has been held even today. The strategy of human development which Bharatnatyam takes after can be followed back to the fifth Century A.D. from sculptural proof. This established move has an entrancing impact as it inspires the artist and the spectator to a larger amount of profound cognizance.
[Show full text]
Folk Dances of North India: an Overview K
Academic Journal of Dance and Music Xournals Xournals Academic Journal of Dance and Music ISSN UA | Volume 01 | Issue 01 | January-2019 Folk Dances of North India: An Overview K. Kabatas1 Available online at: www.xournals.com Received 12th September 2018 | Revised 11th October 2018 | Accepted 7th December 2018 Abstract: Folk dance demonstrates the nation's temperament, art, culture, simplicity, social status and customs. In simple language folk dances are the nation’s mirror. The folk dancers are represented by basic folks commonly of a specific community. These are the dances performed by the whole village community by the young and the old. Traditional folk dances has a role in preserving traditional values and teaching it to next. Folk dance are performed spontaneously with great ease and grace. Every individual region and state suggest a unique glimpse and taste into its system of life, and related traditions and rituals. The number of folk dances of India is very large so here we explore some main folk dances of north India. Most of the north Indian dances are traditional or folk dances, which marks the celebration of festivals, marriages ceremonies, celebration of birth, and the harvesting time. The present paper aims to explore the popular folk dances of North India by studying the present status of the dancing community. Keywords: Dance, Folk, India, Customs Authors: 1. Kastamonu University, Kastamonu, TURKEY. Volume 01 | Issue 01 | January-2019 | Page 5 of 9 Xournals Academic Journal of Dance and Music Introduction Hence in general the folk dance are basically shows In India, dance is considered as widely spread no thoughtful emphasis on representing the art of the activity which include their different forms and dance to the audience as they itself present in the manner.
[Show full text]
The Course – Curriculum for Master of Performing Arts (Mpa) (Dance & Drama )
SCHOOL OF PERFORMING ARTS SAMBALPUR UNIVERSITY THE COURSE – CURRICULUM FOR MASTER OF PERFORMING ARTS (MPA) (DANCE & DRAMA ) 2018 – 2020 1 Courses Offered : Master of Performing Arts (Dance & Drama) Aim and Objective : The above courses aim at providing both theoretical and Practical aspects of dance/drama to students and facilitating them to take up career in performing art. Duration : Two years Pattern : Semester-cum-Course Credit System Total Mark : 2000 Credit Hours : 80 CH Seats : 16 + 16 Outline of the Course Curriculum for MPA Special Papers : 1) Dance: (A) ODISSI (B) SAMBALPURI 2) Drama: ACTING 2 THE COURSE CURRICULUM FOR MASTER OF PERFORMING ARTS (DANCE) Outline of Course Curriculum 1ST SEMESTER MPA (DNC) – 4.1.1 : History of Indian Dance & Drama (Ancient and Medieval) (4CH) MPA (DNC) – 4.1.2 : Natyashastra and Other Texts (4 CH) MPA (DNC) – 4.1.3 : Folk Dance and Folk Drama (Major) of Western Odisha (4CH) MPA (DNC) – 4.1.4 : Studio Course (Practical) -Yoga, Music & Theatre Games (4 CH) MPA (DNC) – 4.1.5 : Studio Course (Practical)-Multimedia & Computers (4CH) 2ND SEMESTER MPA (DNC) – 4.2.1 : Indian Dance: Pre and Post-Independence Scenario (4CH) MPA (DNC) – 4.2.2 : Dance Aesthetics (4 CH) MPA (DNC) – 4.2.3 : Popular Dances of the World (4CH) MPA (DNC) – 4.2.4 : Studio Course (Practical) Abhinaya Aspect of Classical (4 CH) MPA (DNC) – 4.2.5 : Studio Course (Practical) Rhythm(4 CH) 3RD SEMESTER (Special Papers) A) ODISSI DANCE MPA (DNC) 5.1.1 : Dance Research (4 CH) MPA (DNC) 5.1.2 : Theory of Odissi Dance (4 CH) MPA (DNC) 5.1.3
[Show full text]
Appendix: Roster of Emergent Theatre Forms
APPENDIX: ROSTEr OF EMErGENT THEaTrE FOrMS 550–500 BCE—Greek tragedy (Athens) (Hartnoll 607) 500–450 BCE—Greek “Old” Comedy (Athens) (Hartnoll 607) 350–300 BCE—Greek “New” Comedy (Athens) (Hartnoll 551) 250–200 BCE—Comedy and tragedy (Rome) (Banham, Cambridge 936) 250–200 BCE—Mime (Rome) (Duckworth 13) 200–100 BCE—Sanskrit Theatre (India) (Richmond et al. 1990: 27) 150–100 BCE—“Horn butting game” (China) (Dolby, “Early” 11) 50–1 BCE—Pantomime (Rome) (Beacham 142) 500–600 CE—Bukagu/gagaku (Japan) (Leiter 1.67) 600–650—Gigaku (Japan) (Leiter 1.227) 700–750—Canjunxi (Adjutant Play) (China) (Dolby, History 7) 700–750—Tayao niang (Stepping and Swinging Women) (China) (Dolby, “Early” 13) 800–900—Robam kbach boran (lakhon kbach boran) (Cambodia) (Ghulam-Sarwar118) * * * 900–1000—Liturgical theatre (Europe) (Hartnoll 674) 900–1000—Wayang kulit purwa (Indonesia) (Ghulam-Sarwar 276) 900–1000—Gambuh (Indonesia) (Ghulam-Sarwar 79) 900–950—Kuttiyatam (India) (Leiter 1.358) 900–950—Wayang beber (Indonesia) (Ghulam-Sarwar 276) © The Author(s) 2020 305 S. Tillis, The Challenge of World Theatre History, https://doi.org/10.1007/978-3-030-48343-2 306 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 950–1000—Song (dynasty) zaju (China) (Dolby, History 15) 950–1000—Religious literary drama (Europe) (Banham, Cambridge 501) * * * 1000–1100—Dengaku (Japan) (Leiter 1.154) 1000–1100—Khayāl all-zill (Egypt) (Moreh 47) 1000–1050—Cheo (Vietnam) (Brandon 73) 1050–1100—Wayang topeng (Indonesia) (Ghulam-Sarwar 311) 1050–1100—Sangaku/Sarugaku (Japan) (Ortolani 62–63) * * *
[Show full text]
Indian Dances in Three Periods
© 2020 JETIR April 2020, Volume 7, Issue 4 www.jetir.org (ISSN-2349-5162) INDIAN DANCES IN THREE PERIODS KRISHNA TAMULI Research Scholar Department of Cultural Studies, Bhasha Bhawan, Viswa Bharati University, West Bengal, India. Abstract- This study covers the evolution of Indian dance in the three periods, ancient, medieval and modern. Different types of dances came up with these periods due to social, political, cultural, economical change. The study will be specially conducted with fieldwork however; I would like to collect data from both primary and secondary sources. I will try to collect the data and the materials from monks and experts of this field and from some of the community leader and main persons of a community union or a community. Introduction- Indian dance has variety of colors. It was practiced as sacred in ancient time and gradually it passes different phases. The leading Indian scholar Kapila Vatsayan divided the history of dance into three or four periods. The first is the pre-historic or proto- historic period, this period carries the cave paintings, engravings. There are no literary records in this period. History starts with Vedas, which is in the second period. The second period may be considered from 2nd century B.C. to the 9th century A.D. Both those period are considered as Ancient period. The third period may be considered from the 10th or 11th to the 18th or 19th century A.D. This period include early medieval and late medieval period. And the forth period is from 18th or 19th century to the contemporary India which is called the modern period.
[Show full text]
THE PLACE of DEVOTION Luminos Is the Open Access Monograph Publishing Program from UC Press
SARBADHIKARY | The Place THE PLACE OF DEVOTION of Devotion ..... siting and experiencing divinity in bengal-vaishnavism Sukanya Sarbadhikary Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The Place of Devotion South aSia acroSS the diSciplineS South Asia Across the Disciplines is a series devoted to publishing first books across a wide range of South Asian studies, including art, history, philology or textual studies, phi- losophy, religion, and the interpretive social sciences. Series authors all share the goal of opening up new archives and suggesting new methods and approaches, while demonstrat- ing that South Asian scholarship can be at once deep in expertise and broad in appeal. Series Editor: Muzaffar Alam, Robert Goldman, and Gauri Viswanathan Founding Editors: Dipesh Chakrabarty, Sheldon Pollock, and Sanjay Subrahmanyam Funded by a grant from the Andrew W. Mellon Foundation and jointly published by the University of California Press, the University of Chicago Press, and Columbia University Press. 1. Extreme Poetry: The South Asian Movement of Simultaneous Narration, by Yigal Bronner (Columbia) 2. The Social Space of Language: Vernacular Culture in British Colonial Punjab, by Farina Mir (California) 3. Unifying Hinduism: Philosophy and Identity in Indian Intellectual History, by Andrew J. Nicholson (Columbia) 4. The Powerful Ephemeral: Everyday Healing in an Ambiguously Islamic Place, by Carla Bellamy (California) 5.
[Show full text]
INDIAN CLASSICAL & FOLK DANCES What Is Dance? Dance Is
www.takshilalearning.com INDIAN CLASSICAL & FOLK DANCES What is dance? Dance is an art form that requires the movement of your body, music, and rhythm. It is considered a means of expressing yourself in many cultures. It is often carried out as a means of social interaction, psychological speech, and exercise. It is often used numerous times to convey ideas. Almost every state in India has its own style of dance. How are dance forms differentiated? India is the land of the world's most diverse cultures and traditions. India has a wide variety of dance styles that are folk or classical dance. After almost 100 km, the dialect shifts here, as does the style of folk dances, clothing, musicians, etc. We have four seasons as well, but we're dancing for various seasons. At the time of harvest, there is one dance in nearly every province. India is renowned for its cultural heritage, which is rich. Diversification is the nation's identity. Indian dance is one of our culture's most respected identities. In India, classical and folk dance styles can be narrowly divided into 2 groups. As per the local tradition, these dance forms originated from different parts of India. Which form of dance prevails throughout the country? In India, dancing is an ancient and celebrated cultural practice. Throughout the country, folk dances prevail, and large crowds of people can be found dancing at festivals and weddings. There are also dance and song features in Indian cinema (so-called "Bollywood" films). But from where does Indian dance have its roots? These are six of India's most significant styles of classical dance.
[Show full text]
Farley Richmond: the Pioneer in Indian Theatre Studies
Theater Arts Faculty Works Theater Arts 2013 Farley Richmond: The Pioneer in Indian Theatre Studies. Arnab Banerji Loyola Marymount University Follow this and additional works at: https://digitalcommons.lmu.edu/thea_fac Part of the Theatre and Performance Studies Commons Recommended Citation Banerji, Arnab. “Farley Richmond.” Asian Theatre Journal 30.2 (2013): 295–308. This Article is brought to you for free and open access by the Theater Arts at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Theater Arts Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Arnab Banerji Farley Richmond is the pioneering figure in Indian theatre scholarship in the United States. He has taught and headed departments at University of Michigan and SUNY Stony Brook and is presently teaching at the University of Georgia. He is trained in Kutiyattam, one of India’s oldest classical theatre forms, and is a key figure in bringing it to world attention. Arnab Banerji is a doctoral candidate in the Department of Theatre and Film Stud- ies at the University of Georgia. He is currently in India conducting field research for his doctoral dissertation on contemporary Bengali group theatre. He has published book reviews and articles in Asian Theatre Journal and Southeast Review of Asian Studies (SERAS). Sakun - tala, the West came to regard Sanskrit theatre as the highest achieve- ment in Indian drama—now long lost and beyond retrieval. Sylvan Levi in his Le Theatre Indien explicitly states that for him Indian theatre meant Sanskrit drama.
[Show full text]
Dancing Into Modernity: Multiple Narratives of India's Kathak Dance
Swarthmore College Works Dance Faculty Works Dance Summer 2006 Dancing Into Modernity: Multiple Narratives Of India's Kathak Dance Pallabi Chakravorty Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-dance Part of the Dance Commons Recommended Citation Pallabi Chakravorty. (2006). "Dancing Into Modernity: Multiple Narratives Of India's Kathak Dance". Dance Research Journal. Volume 38, Issue 1/2. 115-136. DOI: 10.1017/s0149767700007415 https://works.swarthmore.edu/fac-dance/17 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Dance Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Dancing into Modernity: Multiple Narratives of India's Kathak Dance Pallabi Chakravorty odernity, once a prerogative of the West, is now ubiquitous, experienced diversely Mby people all over the world. The changing notions of modernity are historically linked to the development of the public sphere. This article broadly attempts to map the discourse of modernity to the evolution of Kathak, a premier classical dance from India. The article has two threads running through it. One is the development of the public sphere in India as it relates to anti-colonial nationalism, the formation of the modern nation-state, and globalization. The other focuses on transformations in Kathak as they relate to changing patronage, ideology, and postcolonial history. I emphasize the latter to mark the transitions in Kathak as emblematic oflndian national identity and national ideology to a new era of cultural contestation. This emergent public domain of culture is coined as "public modernity" by anthropologist Arjun Appadurai in contemporary India.
[Show full text]
Physical & Mental Health for Indian Classical Dance
Balaji Deekshitulu P V, AJHC, 2019; 2:9 Review Article AJHC 2019,2:9 American Journal of History and Culture (ISSN:2637-4919) Physical & Mental Health for Indian Classical Dance Balaji Deekshitulu P V Homeopathy & Alternative Medicine Physician and Counseling Psychologist, Sri Balaji Homeo Clinic, Tirupati, A.P, India.cell:8885391722 / 7207255557. ABSTRACT Dance provides an active, non-competitive form of exercise *Correspondence to Author: that has potential positive effects for physical health as well as Balaji Deekshitulu P V mental and emotional wellbeing. Dance therapy is based on the Homeopathy & Alternative Medi- idea that body and mind are co-relational. The therapeutic ap- cine Physician and Counseling Psy- proaches with various forms of Indian dances are a new entrant chologist, Sri Balaji Homeo Clinic, to dance literature. Ayurveda held dance as a power of healing Tirupati, A.P, India.cell:8885391722 (therapy) and inner awareness (psychology). Indian philosophy / 7207255557. also supports the facts of Sangeet (song, dance and music) for benefit of human health physically as well as mentally. The pow- erful dance form of Bhangra (Punjab), Karagam (Tamilnadu), How to cite this article: Chou, Rayabese, Dhali (West Bengal) gives good health and Balaji Deekshitulu P V. Physical & strength. The fast footwork of Kathak dance helps to release Mental Health for Indian Classical anger and tension. Manipuri dancers make rounded movements Dance. American Journal of History and avoid any jerks, sharp edges or straight lines. It gives them and Culture, 2019,2:9. undulating and soft appearance, proper body control and peace of mind. All these body movements, body balancing, expression, muscle movement, muscle constriction and relaxation have a strong effect on therapeutic movements.
[Show full text]