Table Of Content Titles Page No Classical Dance Of India ……………………………………………………………………………………………. 1 Bharatanatyam- Tamil Nadu ………………………………………………………………………………………. 1 Kuchipudi …………………………………………………………………………………………………………………. 1 Kathakali …………………………………………………………………………………………………………………. 2 Kathak …………………………………………………………………………………………………………………….. 2 Odissi ………………………………………………………………………………………………………………………. 3 Sattriya ……………………..……………………………………………………………………………………………. 4 Manipuri ………………………………………………………………………………………………………………….. 4 Mohiniyattam …………………………………………………………………………………………………………… 5 Kalbella _ Rajasthan …………………………………………………………………………………………….…. 10 Music In India ………………………………………………………………………………………….……………… 11 Hindustani Music ……………………………………………………………………………………………………. 12 Carnatic Music ………………………………………………………………………………………………………… 14 Folk Music ……………………………………………………………………………………………………………… 16 Music Instruments Of India ……………………………………………………………………………………… 16 Martial Arts In India …………………………………………………………………………………………….… 18 Kalarippayattu ………………………………………………………………………………………………………… 18 Silambam ……………………………………………………………………………………………………………….. 18 Gatka ……………………………………………………………………………………………………………………… 19 Musti Yuddha …………………………………………………………………………………………………………. 19 Table Of Content Titles Page No Thang Ta ………………………………………………………………………………………………………………. 19 Mardani Khel ………………………………………………………………………………………………………… 19 Pari-Khanda ………………………………………………………………………………………………………….. 19 Kathi Samu …………………………………………………………………………………………………………… 19 Theatre From Of India ……………………………………………..…………………………………………….. 19 Bhand Pather(Jashin) - Kashmir …………..………………………………………………………………… 20 Swang - Haryana …….…………………………………………………………………………………………….. 20 Nautanki - Uttar Pradesh ………………………………………………………………………………………. 20 Raasleela …………………………………………………………………………………………………………….… 20 Bhavai - Gujarat ……………………………………………………………………………………………………. 20 Jatra - Bengal ……………………………………………………………………………………………………….. 20 Bhaona (Ankia naat) - Assam ………….…………….……………………………………………………….. 20 Koodiyaattam - Kerala …………………………………………………………………………………………… 22 Yakshagaana - Karnataka ……………………………………………………………………………………….. 22 Therukoothu - Tamil Nadu ……………………………………………………………………………….……. 22 Karyala- Himachal pradesh ……………………………………………………………………………………. 22 Puppet Forms Of India …………………………………………………………………………….……………. 22 String Puppets ………………………………………………………………………………………………………. 23 Glove Puppets ……………………………………………………………………………………………………….. 23 Rod Puppets …………………………………………………………………………………………………………. 24 Table Of Content Titles Page No Shadow Puppet ……………………………………………………………………………………………………… 25 Institutions Related To Performing Arts In India ……………………………………………………… 25 Sahitya Akademi ……………………………………………………………………………………………………. 25 Sangeet Natak Academy …………………………………………………………………………………………. 25 Lalit Kala Akademi ………………………………………………………………………………………………... 26 Centre for Cultural Resources & Training ………………………………………………………………... 26 Arts, Crafts, Music Monuments In States …………………………………………………………………. 26 Indian Architecture …………………………………………………………………………………………..…... 35 CLASSICAL DANCE OF • In modern era, credit of INDIA reviving Bharatnatyam goes to E. Krishna Iyer; while Rukmi This classification depends on the Devi Arundale gave it the source. The Sangeet Natak Akademi global recognition. recognizes eight – Bharatanatyam, • Tanjor Quartet defined the Kathak, Kuchipudi, Odissi, Kathakali, elements of a Bharatnatyam Sattriya, Manipuri and Mohiniyattam. recital as 1. Alarippu, 2.) The Culture Ministry of the Government Jatiswaram, 3.) Shabdam, of India includes Chhau in its classical 4.)Varnam, 5. Padam, 6.) list. We will use Sangeet Natak Jawali, 7.) Thilana academy’s list and deal with chhau in • The four Thanjavur teachers, Folk dances of India known as the Tanjor Quartet BHARATNATYAM are Chiniah, Ponniah, Vadivelu and Shivanandam • One of the most ancient forms • In the thirties of the twentieth of dance art is Bharatnatyam, century, Rukmini Devi with its origins in an Arundale, a champion of unbounded faith in God. The Bharatnatyam, brought about dance flourished in Tamil radical changes in the Nadu, but its influence is not costumes of the dancers limited to that state. • Kataka mukha hasta is one of • Bharatnatyam derives its the principal mudras of name from Bharata Muni and Bharatnatyam ‘natyam’ means dance in • Apart from Tanjor Quartet, Tamil. other famous proponents of • The style was kept alive by the Bharatnatyam were/are: devadasis, who were young Yamini Krishnamurthy, girls 'gifted' by their parents to Padma Subramaniam, the temples and who were Mrinalini Sarabhai, Mallika married to the gods. Sarabhai. • Devadasis performed music KUCHIPUDI and dance as offerings to the deities, in the temple • Kuchipudi derives its name courtyards. from the Andhra village of • As a solo dance, Kusselavapuri or Bharatnatyam leans heavily Kuchelapuram on the abhinaya or mime • Kuchipudi matured into an aspect of dance - the nritya, independent dance form where the dancer expresses during the days of the Bhakti the sahitya through movements, when it started movement and mime depicting Krishna’s life through music and drama 1 • The Kuchipudi dance consists KATHAKALI of a few divisions such as Adavus, Jatis, Jatiswaras, • A mixture of Dravidian and Aryan Tirmanas and Tilanas. These dance concepts, Kathakali is the features are also found in classical dance of Kerala Bharatnatyam, but what • The Nairs of Kerala, who makes Kuchipudi unique is formed a warrior caste, practiced Karnnakole is not to be found martial dances in order to in any other southern dance perpetuate in society the memory style. of their racial equalities. • Karnnakole is the superb, • Malayalam, with many Sanskrit quick and rhythmic footwork words, became the language of of the dancer. the Kathkali songs. • Modern form of Kuchipudi • Kathkali is dance-drama and not gives more prominence to solo drama bacause the actors do not items speak their lines. The dramatic • The dance also expresses itself story is carried forward through a through padas, varnas, highly evolved vocabulary of body shabdas and slokas movements, and gestures and eye • In twentieth century, movements. Balasarswati and Ragini Devi • Most Kathkali recitals are a grand revived Kuchipudi dance, representation of the eternal when the traditional male conflict between good and evil. bastion became popular with • Different colours are used in female dancers as well. Kathkali dance for different • Stories of Bhagwata purana purposes: green indicates form the basis of most of the nobility, divinity and virtue; red Kuchipudi recitals. patches beside the nose indicate • In Kuchipudi, there is a royalty; black colour is used to predominance of Shringaar indicate evil and wickedness ras. • Famous proponents: Guru • Both Lasya and Tandava Kunchu Kurup, Gopi Nath, Rita elements are important in the Ganguly Kuchipudi dance form KATHAK • Famous Proponents of Kuchipudi: Radha Reddy, • Tracing its origins from the Raja Reddy, Yamini Ras Leela of Brajbhoomi, Krishnamurthy, Indrani Kathak is the traditional Rehman dance form of Uttar Pradesh. • Kathak derived its name from the ‘kathika’ or the story- tellers who recited verses from 2 ART AND CULTURE 2020 the epics, with gestures and Maharaj established Kathak as a dance music. art of great merit. • During the Mughal era, ODISSI Kathak incorporated some secular features so as not to • Archaeological evidence of this offend Muslims; thus Kathak dance form dating back to the 2nd incorporated into itself certain century B.C. is found in the caves of Islamic features notably in its Udayagiri and Khandagiri near costumes. Bhubaneshwar. Features • With Hinduism taking roots in Orissa by about the 7th century A.D., • Intricate footwork. many imposing temples were erected. • Usage of facial expressions & The Sun Temple at Konarak, built in the hastas. 13TH century, with its Natya mandap or • No bending of knees unlike Hall of dance, marks the culmination of Bharatnatayam. the temple building activity in Orissa. • Indian and Persian costumes. These dance movements, frozen in Format stone, continue to inspire Odissi dancers even today. - Ganesh vandana. - Aamad (dancer enters stage • The maharis, who were originally with its item). temple dancers came to be employed in - Thaat (soft & varied royal courts which resulted in the movements). degeneration of the art form. Around - Gat Nikaas (brief outlines of this time, a class of boys called gotipuas mytho stories). were trained in the art, they danced in - Pradhant (recitation of the temples and also for general complicated bols & entertainment. Many of today's gurus of demonstration). this style belong to the gotipua tradition. - Tatkar (conclusion-intricate • Facial expressions, hand gestures footwork & complex). and body movements are used to • The classical style of Kathak was suggest a certain feeling, an emotion or revived by Lady Leela Sokhey in the one of the nine rasas. twentieth century. Since Kathak is • The techniques of movement are based on Hindustani style of music, it built around the two basic postures of also branched off to different gharanas: the Chowk (above) and the Tribhanga Lucknow,Jaipur, Raigarh, Banaras (left). The chowk is a position imitating • The fame of Kathak spread far a square - a very masculine stance with and wide as the dance was performed at the weight of the body equally balanced. different places. Gurus like Lachhu The tribhanga is a very feminine stance Maharaj, Shambhu Maharaj and Birju where the body is deflected at the neck, torso and the knees. 3 ART AND CULTURE 2020 • With the lower half of