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Home , Chholiya, Mohiniyattam

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Titles Page No

Classical Dance Of ……………………………………………………………………………………………. 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 ……………………………………………………………………………………………………. 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

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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 - …………………………………………………………………………………………… 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

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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. Iyer; while Rukmi This classification depends on the Arundale gave it the source. The global recognition. recognizes eight – , • Tanjor Quartet defined the , , , , elements of a Bharatnatyam , Manipuri and . 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 of name from 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: , 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 , independent dance form where the dancer expresses during the days of the the sahitya through movements, when it started movement and mime depicting Krishna’s life through music and drama

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• The Kuchipudi dance consists KATHAKALI of a few divisions such as Adavus, Jatis, Jatiswaras, • A mixture of Dravidian and 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, • , with many 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: • Both and Kunchu Kurup, Gopi , Rita elements are important in the Ganguly Kuchipudi dance form KATHAK • Famous Proponents of Kuchipudi: 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

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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 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 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 of demonstration). this style belong to the 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.

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• With the lower half of the body • Sankaradeva included Vyah Goa remaining static, the torso moves from Ojah into his daily rituals in Sattra. Till one side to the other along the axis now Vyah Goa Ojah is a part of rituals of passing through the centre of the upper the Sattras of Assam. The dancers in a half of the body. Great training is Oja paali chorus not only sing and dance required for this control so as to avoid but also explain the narration by any shoulder or hip movement. gestures and stylized movements. • There are certain foot positions • As far as dance is with flat, toe or heel contact. These are concerned, resemblance of a good used in a variety of intricate number of rhythmic syllables and dance combinations. postures along with footwork with Sattriya dance is a clear indication of the • Almost all leg movements are influence of the former on the latter. spiral/circular • Other visible influences on SATTRIYA Sattriya dance are those from Assamese • It is introduced in the 15th folk dances namely , Bodos etc. century A.D by the great Vaishnava saint • Sattriya dance tradition is and reformer of Assam, Mahapurusha governed by strictly laid down Sankaradeva as a powerful medium for principles in respect of hastamudras, propagation of the Vaishnava faith. footworks, aharyas, music etc • This neo-Vaishnava treasure of MANIPURI Assamese dance and drama has been, for centuries, nurtured and preserved Thang – Ta (Martial Art) with great commitment by the • Because of its geographical Sattras (Vaishnava location, the people of Manipur have maths/monasteries). Because of its been protected from outside influences, religious character & association with and this region has been able to retain the Sattras, it has been aptly named its unique traditional culture. Sattriya. • Lai Haraoba (merrymaking of the • There were two dance forms gods) is one of the main festivals still prevalent in Assam before the neo- performed in Manipur which has its Vaishnava movement such as Ojapali roots in the pre-Vaishnavite period. The and Devadasi with many classical principal performers are the maibas and elements. maibis (priests and priestesses) who re- • Two varieties of Ojapali still enact the theme of the creation of the prevalent in Assam: world. 1. Sukananni/ Maroi Goa Ojah- • With the arrival of Cult. in the 15th century A.D., new compositions based on episodes from 2. Vyah Goa Ojah - Vaishnava Cult.

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the life of Radha and Krishna were throated rendering with particular type gradually introduced. of trills and modulations. • Manipur dance has a large • The main musical instrument is repertoire; however, the most popular the Pung or the Manipuri classical forms are the Ras, the Sankirtana and drum. the Thang-Ta. MOHINIYATTAM • There are five principal Ras • Mohiniyattam literally dances of which four are linked with interpreted as the dance of ‘’, the specific seasons, while the fifth can be celestial enchantress of the Hindu presented at any time of the year. In mythology, is the classical solo dance Manipuri Ras, the main characters are form of Kerala. Radha, Krishna and the gopis. • Literally meaning the Dance of • A short fine white muslin skirt is the Enchantress, it is deeply rooted in worn over it. A dark coloured velvet femininity, GRACE (Lasya) and blouse covers the upper part of the body BEAUTY (Sringara) forming the and a traditional white veil is worn over quintessence of this dance form. a special hair-do which falls gracefully over the face. Krishna wears a yellow • Of all the classical South Indian dhoti, a dark velvet jacket and a crown styles, Mohiniyattam can be singled out of peacock feathers. with admirable distinction, for its characteristic body movements, marked • The form of by the graceful sway of the torso. congregational singing accompanies the dance which is known as Sankirtana in • What is unique is the easy going Manipur. The male dancers play the rise and fall of the body, with emphasis Pung and Kartal while dancing. The mainly on the torso. The movements are masculine aspect of dance - the Choloms never abrupt, but dignified, easy, are a part of the Sankirtana tradition. natural, restrained and yet subtle. The The Pung and Kartal choloms are glances, postures, gait employed are so performed at all social and religious subtle and graceful that they convey the festivals. infinite suggestiveness of radiant love. • The martial dancers of Manipur - • The traditional costume worn in the Thang-ta - have their origins in the Mohiniyattam is white with a gold days when man's survival depended on border, and gold ornaments are worn. his ability to defend himself from wild animals. • The unique coiffure with hair gathered on the left side of the head • The Manipuri classical style of reflects its aesthetic appeal, making it singing is called Nat - very different distinct from the other dance forms of from both north and south Indian India. music, this style is immediately recognizable with its high pitched open

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• The regional system of music that GAUR MADIA – CHHATTISGARH Mohiniyattam follows is the SOPANA Special feature style which in its lyricism is evocative of the spiritual element. Basically performed on the occasion of marriage by Gaur Madia of Abhujmar plateau of Bastar in 1. Name of the Dance, Chhattisgarh and is called Gaur after 2. Area Bison. It may appear to be a hunt-dance 3. And its Special feature with only the imitation of the frisking, jerking movements of the animals. MATHURI (KOPPU) - ANDHRA However, a sense of ritual and deep PRADESH sanctity underlies the perfect Special feature synchronization of the dance. This dance is performed by the - inhabitants of the Umji and Indravelli Special feature forest areas of Utnoor Tehsil in Adilabad district of Andhra Pradesh. It is Prevalent in the Kumaun region traditionally performed during Krishna of Uttarakhand, the Chholiya dance has Janmashtami celebrations and the elements of martial craft and is themes are taken from the associated with the Kirji Kumbh . Though both men and celebrations; Kirji Kumbh is a poisonous women perform this dance, the pace is flower which blossoms every 12 years. different. Women dance in slow Villagers march in a procession to rhythmic movements, while the men destroy the flower before it sheds its dance at a more vigorous space. The poison into the mountain streams. Nagara is the main instrument used. – GUJARAT BIHU - ASSAM Special feature Special feature Garba is one of the most popular Bihu is one of the most colourful form of Gujarat, which is linked dances of India. The dance is an integral with the worship of “Shakti”. The word part of the Bihu Festival celebrated to “Garbo” has originated from Sanskrit mark the advent of Spring and the word “Garbhdeep”, an earthen pot with Assamese New Year. Bihu ushers in the circular holes is popularly known as sowing time and also the season of “Garbo”. The pot is the symbol of the marriage. he dance has been noted for body and the lighted lamp inside the pot maintaining authenticity and at the signifies the divine soul. Garba is same time displaying the traditional performed during Navratri and during Assamese handlooms and handicrafts in weddings. It is essentially performed by their glory and beauty by the dancers. women, dancing in circular motion clapping their hands to the beats of the Dhol.

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CULTURE DAANG – GUJARAT KINNAURI NATTI - HIMACHAL PRADESH Special feature Special feature Daangis hail from South Gujarat on the border of Maharashtra. This This dance is in the veins of the dance is usually performed during Kinnauris. Their movement of the and other festivals. Daang dance centers natural world around them and their around the social life, feasts, fairs, music echoes the sound of the breeze festivals, ceremonies and rituals blowing through forests. Important connected to worship. It is vigorous, as amongst the dances of the Kinauris is most tribal dances are, and highly LOSAR SHONA CHUKSAM. It takes its rhythmic. Interesting circular formation name from LOSAI meaning new year. is created centering around the The dancers recreate movements of all accompanists who stand in the middle the agricultural operations of sowing of an open space. The men hold their and reaping ogla (barley) and phaphar arms round the women’s shoulders and (a local grain). Slow movements with women clasp the men by their waists. soft knee dips with accentuation of torso The dance builds up gradually and are the key step of this dance. acquires a fast tempo in the end. The PAIKA - JHARKHAND women climb on the shoulders of men and form a human pyramid. The two Special feature and three tier formation moves clockwise and anti clockwise. ‘Paika’ is a typical dance of the Munda community of Jharkhand, and - Rajasthan and thematically represents rituals Haryana connected with preparations for war. With chest blades, multi-coloured Special feature headgear, anklets, bows, arrows, spears, Ghoomar is a dance performed by the swords and shields the dancers enact girls of border areas of Rajasthan and battle scenes, symbolizing the great war Haryana at various festivals like Holi, of the Mundas against the British. The Gangaur and . The girls form fast beat of the madal, along with the semi-circles and start singing and use of other musical instruments like clapping.The dancers then form a circle dhol, nagara, shehnai, and ranbheri and the tempo of the dance is make Paika dance performaces truly accelerated. The movements are made captivating. Though performed on by holding body weight on one foot and various occasions, the Paika dance is moving forward. As the tempo increases most readily associated with the towards the end, the dancers whirl Dussehra celebrations. around in pairs. The accompanying songs are full of satire and humour and refer to contemporary events.

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