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Classical Dance Bharathanatyam

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Classical Dance Bharathanatyam Classical dance Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni (400 BCDefinitions [edit] These are: Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms. Dances performed in royal courts to the accompaniment of classical music were called Carnatakam. This was an intellectual art form. For lack of any better equivalents in the European culture, the British colonial authorities called any performing art forms found in India as "Indian dance". Even though the art of Natya includes nritta, or dance proper, Natya has never been limited to dancing and includes singing, abhinaya (mimeacting). These features are common to all the Indian classical styles. In the margi form Nritta is composed of karanas, while the desi nritta consists mainly of adavus. The term "classical" (Sanskr. "Shastriya") was introduced by Sangeet Natak Akademi to denote the Natya Shastra-based performing art styles. A very important feature of Indian classical dances is the use of the mudra or hand gestures by the artists as a shorthand sign language to narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion. Many classical dances include facial expressions as an integral part of the dance form) Bharathanatyam Definitions [edit] These are: Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms. Dances performed in royal courts to the accompaniment of classical music were called Carnatakam. This was an intellectual art form. For lack of any better equivalents in the European culture, the British colonial authorities called any performing art forms found in India as "Indian dance". Even though the art of Natya includes nritta, or dance proper, Natya has never been limited to dancing and includes singing, abhinaya (mimeacting). These features are common to all the Indian classical styles. In the margi form Nritta is composed of karanas, while the desi nritta consists mainly of adavus. The term "classical" (Sanskr. "Shastriya") was introduced by Sangeet Natak Akademi to denote the Natya Shastra-based performing art styles. A very important feature of Indian classical dances is the use of the mudra or hand gestures by the artists as a shorthand sign language to narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion. Many classical dances include facial expressions as an integral part of the dance form. Dance tradition [edit] Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam ( ), as well as the later Silappadikaram( ), testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played a major role.[7]In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharatnatyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatnatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti.Bharatnatyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharatnatyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya). Tamil Nadu, especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharatnatyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatnatyam in Tanjore. Odissi Odissi, also known as Orissi (Oriya: ଓଡ ଼ିଶୀ oṛiśī, Devnagari: ), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological [1][2] evidences. The classic treatise of Indian dance, Natya Shastra, refers to it as Odra- Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts [3][4] break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolises Lord Jagannath. This dance is characterised by various Bhangas(Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga,Atibhanga and Tribhanga. Origin and history [edit] temple rituals of Jagannath Temple, Puri, included Odissi. The first clear picture of Odissi dance is found in the Manchapuri cave in Udayagiri which was carved during the time of emperor Kharavela. Flanked by two queens, emperor Kharavela was watching a dance recital where a damsel was performing a dance in front of the court along with the company of female instrumentalists. Thus, Odissi can be traced back to its origin as secular dance. Later it got attached with the temple culture of Odisha. Starting with the rituals of Jagannath temple in Puri it was regularly performed in Shaivite, Vaishnavite and Sakta temples in Odisha. An inscription is found where it was engraved that a Devadasi Karpursri’s attachment to Buddhist monastery, where she was performing along with her mother and grandmother. It proves that Odissi first originated as a court dance. Later, it was performed in all religious places of Jainism as well as Buddhistmonasteries. Odissi was initially performed in the temples as a religious offering by the Maharis who dedicated their lives in the services of God. It has the closest resemblance with sculptures of the Indian temples.[5] The history of Odissi dance has been traced to an early sculptures found in the Ranigumpha caves at Udaygiri (Odisha), dating to the 2nd century BCE. Odissi appears to be the oldest classical dance rooted in rituals and tradition. In fact, the Natya Shastra refers to Odra- Magadhi as one of the Vrittis andOdra refers to Odisha.[6] Kathak Kathak (Hindi: कथक) is one of the eight forms of Indian classical dances, originated from India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathakars or storytellers. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement. From the 16th century onwards it absorbed certain features of Persian dance and central asian dance which were imported by the royal courts of the Mughal era. The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means he who tells a story, or to do with stories. The name of the form is properly katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day कथकkathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is 'Kathak'. There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur, Lucknow andBenares (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later)Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions. .
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