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. It is a moving style that involves of Bhava, Raga, Tala, and Natya which mirror the genuine importance of the Bharatnatyam.

 Bharatnatyam is apparently the most established and most customary classical dance style which seems a blend of theory, model, music and writing. This move got its name from Sage Bharata’s who composed the Natya Shastra.

 Bharatnatyam is an energetic dance from wherein the stances and adjusted position, i.e. the heaviness of the body is put solidly down the focal point of the body. There is accentuation on the hitting of the floor with the feet. There are bounced noticeable all around as likewise pirouettes called bhramaris. There are developments finished with the knees reaching the floor. These are called Mandi adavus.

 Bharatnatyam can be performed solo or in a gathering. The unadulterated move is called nritta and the expressive is Nrityam. The performance artist utilizes different strategies for narrating to decipher the verses and stories she performs. The individual who leads the presentation is known as the natatuvanar, who is by and large the master of the artist. He or the plays the cymbals called nattuvangam. Alternate performers are the vocalist, the mridangist or percussion player, of flute player, a violinist and a veena player.

 One of the best entertainers of Bharatnatyam has been Balasaraswati who was persuasive in advancing the move as much as Rukmini Devi Arundale. Balasaraswati was celebrated for her heartfelt renderings of abhinaya or mimetic piece, in which she moved as well as sang also.

The Steps and Performance  Bharatnatyam is constantly performed with the knees of the artists twisted. The move frame accentuates on the hand developments to pass on various types of feelings to the observer. While performing Bharatnatyam, the craftsman envisions his/her body as comprised of triangles. The means of the move depend on an adjusted circulation of body weight and firm places of the lower appendages, enabling the hands to cut into a line, to stream around the body, or to take positions that upgrade the fundamental shape. With a specific end goal to perform Bharatnatyam, the craftsman ought to have the learning of the various unpretentious components of the move style.

Four Techniques:

Karanas

 Depicted in Natya Shastra, Karanas are characterized as the 108 key transitional developments of Bharatnatyam that additionally highlight in other established move types of India. Karana is a Sanskrit word, signifying 'doing'. Traditional artist Padma Subramanyam is notable for her elucidation of Karanas, which transcendently incorporates the leg, hip, body and arm developments supplemented by hasta mudras, as portrayed in the Natya Shastra.

Hastas

 The utilization of expressive hand signals is a highlighting highlight of Bharatnatyam. As the name recommends, hastas are the wide assortment of hand images utilized by the entertainer. Probably the most surely understood hand signals of the move frame incorporate Anjali, which is utilized as an image of welcome, when a man welcomes his/her kindred artist. Hastas are comprehensively separated into two sorts - Asamyukta and Samyukta.

Adavus

 Adavus is characterized as a progression of ventures in Bharatnatyam. The execution of the means is not quite the same as style to style. The 108 principals of adavus are perceived by most schools of Bharatnatyam. Upwards of 60 adavus are utilized by numerous expert artists. Jathis is the blend of adavus and structures the Nritta entries in a Bharatnatyam execution.

Bhedas, Eye and Neck Movements

 Bharatnatyam is viewed as deficient without beads and the expressive eye developments of the entertainer. Neck and eye developments are utilized widely in the

m o v e

f r a m e .

T h e shiro bheda (head developments) involves Sama, Udhvahita, Adhomukha, Alolita, Dhutam, Kampitam, Paravruttam, Utkshiptam and Parivahitam.

Kuchipudi

Kuchipudi outfit

It appears to be like those well used in Bharatnatyam move. Rich footwork is an imperative part of Kuchipudi. Another particular part of this move is that in extraordinary

 Exhibitions, the move is executed on metal plate and moving the plate with the feet to the tune of the going with music. However another is the arrangement of wonderful floor designs utilizing effective feet developments. The entertainer needs to express through move and motions, the discourse and tune. The artiste, aside from being an artist and performer, needs to have a high capability in Sanskrit and Telugu dialects, Music and the writings for the execution.

 The Kuchipudi execution starts with presentation of concentrates from the four Vedas as these symbolize the structure of the Natyaveda.This taken after by Ganapati stuti before the section of the sutradhar who portrays the move show with its suggestions and presents the artistes. Every artist is presented with pravesa daruva orentrance number joined by tune and musical syllables. The word daruvu implies cadenced example. There is nritta, nritya, and natya. The nritta part is made out of teeermanams and jatis; the naitya comprises of sabdams indroduced to advance the move and natya is acting with mudras to order the stories of yore.

 Kuchipudi traditional move contains a mix of tandava and lasya components. The music is this move from is established and the outfits are traditional. Bhagavatula Ramayya, composed by Hari Madhavayya, presented the move show in the Kuchipudi collection; and today vachikabhinaya (verbal expression) has turned into a unique component of Kuchipudi move dramatization. Kathakali Kathakali is an antiquated and customary move type of Kerala. The word Kathakali actually signifies "Story-Play". Kathakali utilizes expand make-ups, outfits and foundation. Kathakali was started in the seventeenth century and has its underlying foundations in Hindu mythology. Kathakali has a one of a kind mix of writing, music, painting, acting and move. Kathakali depends on religious topics. They play is generally in view of the two stories "Ramayana" and 'Mahabharata'.

Components of Fine Art

Kathakali is a mix of five types of compelling artwork like:

 Natyam (Acting or Expressions)

 Nritham (Dance)

 Nrithyam (Enactment)

 Sangeetham (Music)

 Vadyam (Instrument backup)

Despite the fact that the verses/writing would qualify as another free component called "Sahithyam", it is considered as a segment of Geetha, as it assumes just a supplementary part to Nritham, Nrithyam and Natyam.

 A Kathakali execution is a noteworthy get-together. They by and large begin at nightfall and experience out the night. Kathakali is normally performed just by men. Female characters are depicted by men wearing ladies' outfit. Be that as it may, lately, ladies have begun to wind up Kathakali artists.

 Kathakali has a long convention. It goes back to the seventeenth century. It was given its present frame by Mahakavi Vallathol Narayan Menon, who was the organizer of the Kerala Kala Mandalam.

 The performing artists depend intensely available motion to pass on the story. These hand signals, known as mudra, are regular all through quite a bit of traditional Indian move

Ensemble

 The ensemble is the most particular thing for Kathakali. The cosmetics are exceptionally intricate and the ensembles are vast and substantial.

 There are a few sorts of outfit. There are: Sathwika (the saint), Kathi (the lowlife), Minukku (females), and Thatti. These fundamental divisions are additionally subdivided in a way which is extremely outstanding to Malayali (Keralite) gatherings of people. Each character is in a flash conspicuous by their trademark cosmetics and outfit.

 The cosmetics are exceptionally detailed. It is elaborate to the point that it is more similar to a cover than cosmetics in the standard sense. The materials that include the cosmetics are all locally accessible. The white is produced using rice flour; the red is produced using Vermilion (a red earth, for example, cinnabar). The dark is produced using sediment. The hues are not simply embellishment, but rather are additionally methods for depicting characters. For example, red on the feet is utilized to symbolize malicious character and malevolence purpose.

Mohiniattam  Mohiniattam is essentially a feminine dance of Kerala recorded to have begun between the 3rd and 8th century AD. Legend says the Lord Vishnu took the form of Mohini to entice the asuras (demons). During the churning of the ocean, the asuras rushed towards the bowl of nectar. Vishnu appeared in the feminine form of Mohini to entice the asuras and took the bowl away.  Literally meaning the dance of the enchantress, Mohiniattam was mainly performed in the temple precincts of Kerala. The most popular padams in Mohiniattam, composed by Swati Tirunal, describe the heroine's yearning for her lover. Lord Vishnu or Sri Krishna is more often the hero.

 Mohiniattam was conceived as a form of social diversion. It is essentially a solo dance performed by women with tender and graceful body movements in the lasy style. Hand gestures play an important role as a communication system. The dominant emotion in this dance form is shringara or love for the Divine.  The dancer wears a white sari resplendent in a gold border. On festive occasions, young girls perform this dance in circle with simple movements, while singing songs.  The repertoirs of Mohiniattam follows closely that of Bharatnatyam. Mohiniattam, like other forms, follows the Hasthalakshana Deepika as textbook of hand gestures.

The basic steps in this dance form are adavus-toganam, jaganam,dhaganam and sammisram. The adavus or steps are set to musical compositions. The varnam has a simple format with greater emphasis on abhinaya and less on nritta or pure dance.  The performance begins with Ganapati stuti or invocation followed by mukhachalam, a pure dance item in which the graceful delineation of charcteristic movements is seen. The repertoire of Mohiniattam consists of five principal items, starting with cholkettu, then vrnam, jatiswaram, padam and concluding with tillana. Varnam combines pure and expressional dance, while padam tests the histrionic talent of a dancer and tillana reveals her technical artistry. Jayadevas Gita-Govinda is most popularly performed to depict the divine love of Radha and Sri Krishna.  The most well-known performers of this dance are Ms Kanak Rele and Ms Bharati Shivaji.

Folk dances of India The multitude of folklore, legends and myths prevalent in various parts of India. Combined with local songs and dance traditions, results in a rich mix of composite art. The folk dance forms are generally spontaneous, crude and performed by the masses without any formal training. This simplicity gives the art form an inherent beauty. However, these art forms have remained confined to a certain sect of people or at a particular locality, to whom the knowledge has been passed down the ages. Some of the well-known folks dance of India are:

Chhau  The word chhau originates from chhaya meaning shadow. It is a form of mask dance that uses vigourous martial movements to narrate mythological stories. Some narrations also use natural themes such as sarpa nritya or mayor nritya.  There are three main style of chhau dance – saraikella chhau in Jharkhand, mayurbhanj chhau in Odisha and purulia chhau in west Bengal. Of these, mayusbhanj chhau artists don’t wear masks. In 2011, UNESCO inscribed chhau in the representative list of intangible cultural heritage of humanity.

Garba  Garba is a popular folk dance of Gujrat, held at the time of nacaratra, garba actually refers to garbha deep – an earthern pot with holes, in which a lamp is lit and women dance around it in circular movement with rhythmic clapping.

Dandiya Raas  It is an energetic, lively dance form in which polished sticks or dandiyas are used. It represents a mock fight between durga and mahishasura.

Tarangamel  It is the folk dance of Goa that celebrates the youthfulness of the region. It is performed during dussehra and holi. The use of rainbow like costumes with multi coloured flags and streamers make it a visual spectacle.

Ghoomar or Gangore  It is a traditional folk dance performed by the women of the bhil tribe in Rajasthan. It is characterized by the pirouetting movements of the women, which brings into prominence the multi coloured vibrancies of the flowing Ghaghara. Kalbelia  It is a sensuous folk dance performed by the women of the kalbelia community of Rajasthan. The costumes and dance movement are similar to that of the serpents been, is the popular musical instrument of this dance form. The UNESCO has inscribed kalbelia folk songs and dances in the representative list of the intangible cultural heritage of humanity in 2011.

Charba  It is the popular folk dance of himachal Pradesh, performed during the dussehra festivities.

Bhangra / giddha  Bhangra is the highly energetic folk dance of Punjab. Accompanied with infectious and catchy drum beats, it is a popular form of celebration during festivities. Giddha is the female counterpart of the male bhangra.

Raslila  Braj raslial is a popular folk dance of the region of uttar Pradesh, revolving around the adolescents love stories of radha and Krishna.

Dadra  It is the semi classical form of dance popular in uttar Pradesh, accompanied by the music of the same style. It was extremely popular among the courtesans of the lucknow region. Jawara  Jawara is the harvest dance popular in the bundelkhand region of Madhya Pradesh. The dance, which includes balancing a basket full of jawar on the head, is accompanied by a heavy instrumental music.

Matki  Matki is performed by the women of malwa region on the occasion of wedding and other festivities. It is mainly performed solo, while balancing a number of earthen pots on the head. Aada and khada nach are popular variants of the matki dance.

Gaur maria  Gaur maria is an important ritualistic dance form of the bison horn maria tribes who live in bastar region of Chhattisgarh. The dance imitates the movements of a bison and is performed in group by both men and women. Alkap

 Alkap is a rural dance drama performance prevalent in the rajmahal hils of Jharkhand and rajshahi, murshidabad and malda regionof west Bengal. It is performed by troops of 10 -12 dancers, accompanied by one or two lead singers known as gayens.

Biraha  Biraha dance along with its variant, bidesia, is popular form of entertainment in rural bihr. It is a portrayal of pain of the women, whose partners are away from home.

Paika  Paika is a martial folk dance performed in the southern parts bihar. Paika is a form ling spear. The dancers are armed with wooden spears and shields. And show off their skills and agility in infantry like formation.

Jat – jatin  Jat jatin is popular in the northern parts of Bihar, especially in the region of Mithila. This dance form is unique in its representation of the tender love and quarrel of a married couple.

Jhumar  Jhumar is a popular harvest dance, performed by the tribal people of Jharkhand and Odisha. It has two variations – Janani jhumar, performed by women and mardana jhumar, performed by men. It is a major attraction at many fairs and festivals.

Danda jatra  The danda nata or the danda jatra is one of the oldest folk arts if India. Mainly popular in Odisha, It is a unique blend of dance, drama and music. While it mainly narrates stories and lore about shiva, the theme is generally social harmony and brotherhood.

Bihu  Characterized by brisk steps and rapid hand movements, this is a folk dance performed by both men and women of Assam. The musical instruments mostly used in the dance are Dhol (drum), Pepa (horn), Gagana (an instrument made of bamboo). Usually, the ladies wear a mustard and red colored saree while the men are dressed in a dhoti and a headband of red and mustard color. Music  Music is the soul of any culture and India has had a long tradition of musical ingenuity. It is said that narada muni (sage) introduced the art of music to earth. He also taught the inhabitants about the sound that pervades the whole universe called Naada Brahma.  All the seven notes a raga karaharpriya can be found in the descending order in sama veda.

History of music  A lot of development in music stemmed from being played at devotional sites. This type of ritualistic music was displayed in the later vedic period through a type of music called sangama.  The first work that clarified and elaborated on the subject of musicology was bharat muni’s natyashastra.  The sangeet ratnakar defines about 264 ragas including some from north indian and the Dravidians repertoires.

 During the ancient early medieval period we find evidence of the existence of gurukuls where students lived with the teacher in order to become a master in the art of music.

Before one delves into the different types and kinds of indian music it is necessary to understand the anatomy of indian classical music. There are three mail pillars of indian classical music: Raga, Tala and Swara.

Classification of Indian Music Classical music The two main distinct schools of indian classical music evolved:  Hindustani music: practiced in the northern part of India – there are 10 main style of singing in Hindustani music like the Dhrupad, dhamar, hori, khayal, tappa, chaturang, ragas agar, tarana, sargam and thumri.  Carnatic music: practiced in the southern part of India – o Anu pallavi: two lines called anu pallavi follow the pallavi or the first line. o Varnam: this is the composition usually sung at the beginning of the recital. o Rangamalika: this is usually the concluded part of the pallavi.

Points of difference Points of difference Hindustani music Carnatic music Influence Arab, Persian, and afghan Indigenous Freedom Scope for artists to improve No freedom to improvise hence scope for variation Sub style There are several sub style Only one particular which leads to emergence of prescribed style of singing gharanas Need of instruments Equally important as vocals More emphasis on vocal music Ragas 6 major ragas 72 ragas Time Adheres to time Doesn’t adhere to any time Instruments Table, sarangi, sitar and Veena, mridangum, and santoor mandolin

Association to parts of North India Usually south india India Communality between the Flute and violin Flute and violin two

Folk music India is a geographically diverse nation and that diversity is also present in the indian culture. Each state of this country has its own form of music that is the basis of their cultural affirmation. While the classical music follow the rules as laid in the natyashastra and cultivate a guru-shisya tradition; the folk tradition is the music of the people and has no hard and fast rules. They are based on diverse themes and are full of music rhythm. They are also set on beats so that they can be dance oriented.

There are several types of folk music associated with a particular state:

Name of folk music State Baul West Bengal Wanawan Kashmir Pandwani Chhattisgarh Alha Madhya Pradesh Paani hari Rajasthan Ovi Maharashtra Pai song Madhya Pradesh Lavani Maharashtra Maand Rajasthan Dandiya Gujrat Powada Maharashtra Khongjom parva Manipur Bhagawati Karnataka and Maharashtra

Name of the State of origin Major theme music Sohar Bihar Sung during childbirth Tikir Assam It embodies the teaching of islam Ja-jin-ja Arunachal Pradesh Sung during marriage Nyioga Arunachal Pradesh Sung at the end of the marriage ceremony Heliamleu Nagaland Dancing songs Neuleu Nagaland Songs about legends and myths Hereileu Nagaland War songs Hekaileu Nagaland Songs about oneself