sign in sign up
<<
Home , Alkap, Bhavageete, Bhavai, Chakyar, Chakyar Koothu, Chhau dance

CONTENT

1. 1-2

1.1 Progress in Music and During Ancient Age 1 1.2 Progress in Music and Dance During Medieval Age 1

2. HINDUSTANI MUSIC AND 2-4

2.1 Introduction 2 2.2 Main Styles of Singing in Hindustani Music 3 2.3 Semi-Classical Styles of Hindustani Music 4

3. FOLK MUSIC IN 4-6

3.1 Introduction 4 3.2 A Fusion of Classical and Folk Music 6

4. LIST OF MUSICAL INSTRUMENTS AND RELATED PERSONALITIES 6

5. FOLK MUSIC INSTRUMENTS 7

6. DANCE 7-8

6.1 8

7. CLASSICAL OF INDIA 8-10

8. LIST OF 10-12

9. DRAMA/THEATRE 13-14

9.1 Drama 13 9.2 Theatre Form of India 13

Indian History - ART & CULTURE: MUSIC & DANCE, DRAMA/THEATRE Central : 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266|

TOPIC MUSIC & DANCE, DRAMA/THEATRE 1

1. MUSIC

1.1 PROGRESS IN MUSIC AND DANCE DURING ANCIENT AGE • Progress in the field of music and dance commenced during the Stone Age and continued throughout the course of Indian history. Some scenes of communal dance have been found in Bhimbetka cave paintings. • These scenes indicate that dance was practised by people during the Stone Age (Mesolithic period). Since dance is hardly possible without music, it can be assumed that some sort of music was also practised by people during the same time in the Indian subcontinent. • Archaeological evidences confirm that the tradition of music and dance was well developed in Harappan civilization. o Images of Dancing Girl found at Harappa (made of steatite) and Mohenjo-Daro (made of bronze) informs that dance was practised by the people of Harappan civilization. • Harappans were aware of musical instruments and practised music as well. A seal found at Lothal depicts a Harp- like musical instrument (similar to ). o Shell models of bardy-like instrument (similar to guitar) have been discovered at various places. • During the Vedic age music must have been practised as the hymns of have been set to musical tones. These hymns were chanted by Udgatri priests during rituals and ceremonies. o Gandharva Veda (Upaveda of Samaveda) deals exclusively with music. • In , there is reference to playing his Veena. The famous scholar Panini (4th century BC) developed music on scientific basis and gave it a classical bent. o This classical music attracted and influenced foreign countries like Egypt, Russia, Arabia and Greece. o It was at this time that the seven swaras were represented through seven letters. The group of 7 swaras is known as gamut. • During the historic age, music and dance developed under the patronage of courts and due to the efforts of individuals like prostitutes. also contributed immensely to the progress of these art forms. • Musicians and dancers were maintained in courts by kings to enhance their prestige. This was a common practice throughout the ancient age. o Rashtrakutas were particularly famous for maintaining large numbers of musicians and dancers in their courts. • Some of the rulers took personal interest in music. Samudragupta is depicted playing Veena in his coins. • Women like Amrapali (6th century BC) were famous for their expertise in music and dance. She enjoyed high social status in the city of Vaishali. She donated a mango garden to Buddha. o According to Vatsyayana (author of Kamasutra), prostitutes were formally trained in music and dance. • Large numbers of were maintained in temples for entertainment of deities with their music and dance. According to Kalidasa, Mahakal temple of Ujjain had a large number of devadasis. 1.2 PROGRESS IN MUSIC AND DANCE DURING MEDIEVAL AGE Progress during Sultanate Period • Amir Khusrau was a great musician from the Sultanate period. o He contributed immensely to the development of music by composing many works on music. o In his poem titled Ghurrat-ul-Kamal he has mentioned that he wrote three volumes on music. o Later works credit him with inventing 19 melodic forms () of which Khayal, and are the most noteworthy. o He invented by combining Veena (Indian) and Tambura (Iranian). is also regarded by many as his invention. • Musical instrument is also Indo-Islamic in origin. • Barani described music rivalries organized in the court of Sultan Muizzuddin Kaiqubad. Kilokhari Palace built by Kaiqubad housed such rivalries. • Ragdarpan was translated from language into Persian language during the reign of Sultan Firoz Shah Tughlaq. It is a famous Indian work on music. Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 1

• Sikandar Lodi patronized music lavishly. Lahjat-i-Sikandari was written under the patronage of Sultan Sikandar Lodi. This was a notable contribution of the Sultan to classical music. • Famous Sufi saint Pir Bodhan was a great musician from this age. • Chishti Sufis patronized classical style of music. Famous musicians were proud to play before Shaikh Bahauddin of Barnawa and frequently visited him. o In his old age, is also said to have performed before him. Tansen sent his son to sit at the Sheikh’s feet. Progress during Mughal Period • Mughal rulers patronized music in their courts. loved and patronized music in all forms. • Tansen (1506–1586) belonging to was the leading singer in Akbar’s court. o According to Abul Fazl, India had not witnessed any singer of his talent during the previous thousand years. o Megh performed by Tansen could cause rainfall any season and his Raga Deepak could set candles alight. • Senia tradition is the musical tradition that invokes the name of Tansen. • was the teacher of Tansen. He also lived in Akbar’s court for some time. • dance was also patronized by Akbar in his court. It was the support provided by Akbar that transformed Kathak into a classical dance form. • Shah Jahan cultivated music in his court and he himself enjoyed high level of proficiency in the art of music. • During the initial 10 years of his reign, Aurangzeb generously rewarded his musicians and appeared to be devoted to music. Aurangzeb himself was a proficient player of Veena. • After 1668, Aurangzeb banned singing and dancing in his court. He allowed only instrumental music was allowed. • However, he allowed his sons and nobles to continue their patronage to music in all forms. Most of the books on music in Persian language were written during the reign of Aurangzeb. • Emperor was also a great patron of music. During his reign the development of music reached new heights. o Sadarang (original name Niyamat Khan) and Adarang (original name Firoz Khan) were famous musicians is his court. Sadarang introduced a new form of Khayal. • The famous book Sangeet Shiromani was written in 1420 under the patronage of Ibrahim Shah Sharqi of Jaunpur. • Man Singh Tomar of Gwalior (1450–1528) was a great musician. He wrote a book titled Man Kautuhal on music. o He transposed the classical material known as /Dhruvapada from Sanskrit into . • Ibrahim Adil Shah II of Bijapur (1580–1627) ascended the throne at the age of 9. Jagat was his other title. He was both a poet and a musician. o His poems, collected in his book Kitab-i-Nauras (the Sanskrit Navarasa—the 9 emotions), were designed to be sung in different ragas which are identified as maqams (modes) in the Perso-Arabic system. o He used to start his performance of music with the invocation of Goddess . • Perso-Arabic music seems to have considerably influenced the Deccani/ music in the Vijayanagar court. Kalliena acknowledged its influence in his commentary on the Sangeet Ratnakara in the mid-15th century as did Ramamatya, a minister of the Vijayanagar king Raya, in his well-known treatise Svaramela-kalanidhi, written in 1550. • Vijaya Vithala temple, with its 56 carved pillars emitting musical notes, is located in Hampi. • The Sangitasara, which may be regarded as a forerunner of the Southern system, is ascribed to , the saint- founder of Vijayanagar kingdom, in the early part of the 14th century. • The emergence of the Shaiviate and the Vaishnava of the Tamil region and their devotional music was followed by the rise of Haridasas of Karnataka, who expressed high truths and moral teachings through songs (Padas). The greatest of these was Purandar Dasa (1480–1564). He is considered as Pitamaha (grandfather) of Carnatic music. • This age may be said to have set the stage for the advent of the golden age of Carnatic music in Thanjavur and the appearance of the musical trinity—, Muthuswami Dikshitar and Shyama Shastri. 2. HINDUSTANI MUSIC AND CARNATIC MUSIC

2.1 INTRODUCTION • has two major traditions - the North Indian classical music tradition is called Hindustani, while the South Indian expression is called Carnatic. Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 2

CARNATIC MUSIC HINDUSTANI MUSIC • It is the traditional and original Indian music. • It came into existence in 13th century due to assimilation of elements of Persian music with traditional Indian music. • It flourished in south India. • This branch of music was popular in • , Karnataka, and because the influence of Persian cultural was have been the main focus areas of Carnatic music. predominant here. • It is one of the oldest systems of music in the • It is comparatively new because it came into existence world because this has been in India since thousands of only in 13th century. years. • Carnatic music is divine in its origin. God is • Hindustani music is the creation of mankind. considered to be its creator. • Carnatic music is religious in nature because its • Hindustani music is secular in nature because Islam never compositions are mainly used during rituals and had any place for music in religious life. ceremonies. • Every musical performance commences with invocation of Goddess Saraswati. • Carnatic music is devotional in nature. • Hindustani music is emotional in nature. • Vocal elements were predominant in Carnatic music. • Instrumental elements are predominant in Hindustani Almost every composition is meant to be sung. music. Compositions are generally performed with instruments. • Carnatic music is a complex system. Its performance • Hindustani music is comparatively easier. requires very high level of expertise. • Carnatic music flourished under the patronage of • Hindustani music flourished under the patronage of courts and temples along with individual efforts. courts and due to individual efforts. There was no role of temple in it. • Concept of has no place in Carnatic music. • Concept of Gharanas is associated with Hindustani music. Gwalior , , Gharana, and Gharana are some examples. • Tyagaraja, Muthuswami Dikshitar and Shyama Shastri • Ustad Bismillah Khan (Shehnai player), Ustad Alla Rakha were the three greatest personalities associated with and Zakir Hussain (Table player), Ustad Amjad Ali Khan Carnatic music. They are popularly referred to as the ( player), Pandit Ravi Shankar (Sitar player), Pandit Trinity of Carnatic Music. , and Ustad Bade Ghulam • Purandara Das was another great personality Ali Khan (all there are vocalists) are the prominent associated with Carnatic music. He is termed as personalities associated with Hindustani music. Pitamaha of Carnatic music. 2.2 MAIN STYLES OF SINGING IN HINDUSTANI MUSIC • It is one of the oldest and grandest forms of Hindustani classical music. • It is essentially a poetic form • Marked by the precise and overt elaboration of a raga. • It literally means ‘unmoving’. • It implies the return of Swara (tonal), Kala (time) and (textual) trajectories to a fixed point. Dhrupad • Dhrupad starts with an alap which is sung without words. • Include use of Sanskrit syllables and is of temple origin. • It is further divided into four forms on the basis of vanis that they perform: 1. Dagari Gharana 2. Darbhanga Gharana 3. Bettiah Gharana 4. Talwandi Gharana

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 3

• It is derived from Persian and means ‘ideas or imagination’. • Origin of this style is attributed to Amir Khusrau. • It provides greater scope for improvisation. • Based on the repertoire of short songs ranging from two to eight lines. • A composition is also referred to as a '’. • The most unique features of Khyal is the use of taan in the composition, because of this, Alap is Khyal given much less room in the khyal music as compared to Dhrupad. • Major Gharanas under Khyal Music are: o o Kirana Gharana o Agra Gharana o Gharana o Bhendibazar Gharana • Rhythm plays a very crucial role. • The structure consists of the main melody, usually short, repeated many times, with variation and Tarana elaboration at the performer’s discretion. • It uses many words that are sung at a fast tempo. • The world fastest Tarana singer is Pandit Rattan Mohan Sharma of the . 2.3 SEMI-CLASSICAL STYLES OF HINDUSTANI MUSIC • It is based on mixed ragas. • The compositions are either romantic or devotional in nature. • Language of composition is a usually Hindi or Awadhi dialect or the Bhasha dialect. • Compositions are usually sung in a female voice. • Rhythm plays a very important role as the compositions are based on fast, subtle and knotty constructions.

• Originated from the folk songs of the camel riders of North-west India. • Great use of very quick turn of phrases. • Brought to the court of Mohammad Shah. • It is a poetic form that consists of rhyming couplets. • It is said that Amir Khusrau was one of the first expounders of the art of making Ghazal. • A Ghazal never exceeds the 12 ashaar or couplets.

3. FOLK MUSIC IN INDIA

3.1 INTRODUCTION • Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. • Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time. • Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music. • India is a geographically diverse nation and that diversity is also reflected in the Indian culture. • They are based on diverse themes and are full of musical rhythm. • They are also set on beats so that they can be a dance-oriented. Here we discuss some of the unique folk music in India: FOLK MUSIC STATE DESCRIPTION • The music of the , Sangeet is a particular type of folk song. • Its lyrics carry influences of the Hindu movements and the Suphi, a form of Sufi song exemplified by the songs of and is Baul called ‘Baul Gaan’ or Baul song. • Their music represents a long heritage of preaching mysticism through songs in Bengal, as in the Shahebdhoni or Bolahadi sects.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 4

• It is especially sung during wedding ceremonies and is considered very Wanawan Kashmir auspicious. • This type of folk music is based on the grand epic- and Bhīma as a hero. • It is all inclusive of Gayan (singing) and vadan (playing an instrument). • It is a heroic song with intricate words. Alha • It is usually sung in different languages like Braj, Awadhi, and Bhojpuri. • It is thematically related to water. • Panihari The songs are generally about women fetching water from the nearby well and carrying the water back to their households in matkas over their head. • They are usually the songs of women. Ovi and Goa • These are usually songs written for marriages, pregnancy and as lullabies for children. • It is a combination of traditional dance and song that is performed Lavani Maharashtra usually on the beats of the Dholki, which is a . • The famous song Kesariya Balam is in Maand style. Maand Rajasthan • The songs in about the glory of rulers. • They are sung during the festivals, especially those festivals that fall Pai Song Madhya Pradesh during the rainy season. • Raas or is the traditional folk dance form of . Dandiya Gujarat • It is associated with scenes of and Lila of and at . Maharashtra • They are usually sung for the Heroes of the past like Shivaji. Khongjom • It is popular for ballad genre. Manipur Parva Karnataka and • These are emotional songs that are very popular amongst the masses in Bhavageete Maharashtra Karnataka and Maharashtra. Mando Goa • It is a unique blend of Indian and western musical traditions. Andhra Pradesh, • It is similar to “Dandiya”. Kolannalu or Karnataka and Tamil Kolattam Nadu. 3.2 A FUSION OF CLASSICAL AND FOLK MUSIC Music STATE DESCRIPTION Sugam Sangeet Gujarat • This is the genre of devotional music, which brings classical and folk together. • They are one of the most popular types of devotional singing present in north India • Its origin to . • The are usually accompanied by musical instruments like the , North India , dhaphli, and manjira. • The major expounders of the bhajans in the medieval period were Mirabai, , , Kabir, etc. • With the rise of , many devotional songs dedicated to the was sung in the Gurudwaras. Shabad • There are three types of Shabad singing, raga-based Shabad singing; traditional shabads as mentioned in the Adi Granth and the lighter ones. • This is a kind of devotional music as they are in praise of the Allah or the Prophet Muhammad or any other major Sufi or Islamic saint. • It is composed in a single raga and is generally written in Urdu, Punjabi or Hindi.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 5

• They are performed in Sufi shrines. Rabindra • This is one of the most famous forms of composing music in Bengal. Bengal Sangeet • It recreates the music produced by the Nobel Laureate . • This is the form of fusion music that is sung in chorus or groups and in large numbers.

• The most common form of Gana Sangeet is to sing about patriotic feelings. Gana Sangeet • One of the most popular examples of Gana Sangeet is our national song: , which is sung in praise of the nation. Rajasthan • It is currently practiced by a community known as the Haveli Sangeet and Gujarat or the community that believes in Pushtimarg as the way to salvation.

4. LIST OF MUSICAL INSTRUMENTS AND RELATED PERSONALITIES

INSTRUMENTS TYPE RELATED PERSONALITIES ABOUT • Ustad Alla Rakha Khan, Zakir • These are the membrane-phone Hussain, instruments. Awanad/Avanaddha Percussion • Shafat Ahmed and Samata Prasad • Bhumi Dundubhi is the most ancient Instruments – Tabla in this class. • D.A. Srinivas - • Examples - Tabla, , , Congo, Mridangam, etc. • Ustad Bismillah Khan, Pt. Anant • These are the aerophones. Lal, Pt. Daya Shankar – Shehnai • Example - (flute), Shehnai, Wind Sushira Vadya • Pandit Hariprasad Chaurasia- flute , Ninkirns, etc Instruments • It was initially called Nadi or Tunava • It does not require any tuning. • They are also called Idiophone instruments. Solid • Ghana Vadya Examples - Manjira, Jaltarang, Instruments Kanchtarang, Jhanj, , etc. • The Manjira is a small brass cymbal that is generally used in temples. • Bhangash family –Sarod • These are the Chordophones • Jaipur, , Etawah (Imaad • There are three major types: Khani) Gharanas – Sitar 1. Bowed: The instruments where the • Pandit Ravi Shankar, sound is drawn from drawing a bow - Sitar across the strings. Example - , , and Violin, etc. 2. Plectral: The instruments where the strings are plucked by the fingers or String Tata Vadya by a plectrum of wire or horn. Instruments Example - Sitar, Veena, and Tamboura. 3. Those instruments that are struck by a small hammer or a pair of sticks. Example - Gotuvadyam and Swaramandal. 4. The Veena is the most ancient and revered instrument that belongs to Goddess Saraswati.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 6

5. FOLK MUSIC INSTRUMENTS

TYPE INSTRUMENT ABOUT • It is played during in . • It is a one-stringed instrument played by wandering monks. • A two-stringed instrument used by Bauls. Chikara • It is a bowed instrument. • It is used in Rajasthan, Uttar Pradesh, and Madhya Pradesh. CHORDOPHONES Dilruba or Esraj • It is used in Punjab and during in eastern India. Onavillu • It is made of bamboo. • Widely used in Kerala. • Important tribal instrument. • It is used by Santhals Tribe in Eastern India and also used in Rajasthan and Assam. Been • It is used by snake charmers. • It is made up of dried bottle gourd and two bamboo sticks. Algoza • It is a double flute. • It is a popular folk instrument of North West India, especially Punjab. Tangmuri • It is a folk instrument of Khasi hill people of Meghalaya.

Aerophones Titti • It is made up of goatskin in south India especially Kerala and Andhra Pradesh. Mashak • An important folk instrument of Garhwal region in , in Rajasthan and Uttar Pradesh. • It is made up of bamboo. • It is used in the festival in Assam. Ghumot • It is like a drum and is played during the Ganesh festival in Goa. • It is like Damru and is from Kerala. Udukai • It is an hour-glass shaped instrument like damru from Tamil Nadu. • It is like a drum. Membranophones Sambal • It is played with sticks. • Konkan region of Maharashtra. Tamak • It is an important instrument of the Santhal tribe and is a two-headed drum. It is beaten with drum sticks. Diggi • It is a folk drum from Ghariya village of Uttar Pradesh. Chimpta • It evolved from fire tongs, used in Punjab. Gharha • These are earthen pots, used in the folk Idiophones Andelu • It is used in Burra-Katha. • It is a pair of hollow metal rings.

6. DANCE

6.1 INDIAN CLASSICAL DANCE • Indian classical dances are considered divine in origin because God Shiva is believed to be their creator. He was the first performer of dance. Dance was performed by him when he used to indulge in acts of creation, preservation and destruction. His dance form is known as . • The name Tandava owes its origin from the name of Tandu who was an attendant of God Shiva.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 7

o Tandu used to observe the dance performances of Shiva. He accumulated this entire knowledge and transferred this knowledge to Muni at the instructions of Shiva himself. o Bharata Muni compiled this knowledge in his book Natya . Shiva in his form is considered as the first dancer in the universe and supreme lord of dance. CLASSICAL DANCE FOLK DANCE It refers to a dance form that is highly evolved. Folk dances belong to a lower level of evolution. Classical dances are institutionalized in nature.There Institutionalization is absent in folk dance. are formal institutions that impart training and maintain their standard. Classical dances have their origin from tradition of Natya Fold dances have nothing to do with tradition of . These dances are divine in their origin. Shastra. Their origin can be traced to cropping and harvesting seasons mainly. Fold dances can be performed by anyone. Nospecialized Classical dances are performed by experts who have knowledge is necessary. undergone years of training. Folk dances are many. Classical dances are few in number. There are only 8 classical dances in India at present. Classical dances are recognized by Folk dances do not require any such recognition. Akademi. , , , Bihu, Raas, Goaf, Hudo, Lavani,

7. CLASSICAL DANCES OF INDIA

The classical dance forms recognized by the and the Ministry of Culture are: DANCE FORM STATE DESCRIPTION • The Bharata Muni's Natya Shastra and Abhinaya Darpana by Nandikesvara are the main sources of textual material, for the study of the technique and grammar of body movement in Bharatnatyam Dance. • The style was kept alive by the devadasis, who were young girls 'gifted' by their parents to the temples and who was married to the gods, also referred to as ‘Dashiattam’. • Bharatnatyam dance is known to be ekaharya, where one dancer takes on many roles in a single performance. Tamil • Equal emphasis is given on both the Tandava and aspects of dance, with Nadu major emphasis on ‘mudras’. • Alarippu, Jatiswaram, Shabdam, Varnam, Padam, Jawali, Thillana are the various elements of dance performance. • Bharatanatyam is accompanied by the music of Carnatic style. • The accompanying orchestra consists of a vocalist, a mridangam player, violinist or veena player, a flautist, and a cymbal player. • The person who conducts the dance recitation is the Nattuvanar • Famous proponents: Rukmini Arundale, Yamini Krishnamurthy, Viswanathan, Padma Subramaniam, Mrinalini Sarabhai, Mallika Sarabhai, etc. • Tracing its origins from the Ras Leela of Brajbhoomi. • Kathak dance form is characterized by the use of intricate footwork and pirouettes. • Jugalbandi is the main attraction of kathak recital which shows a competitive Uttar Kathak play between the dancer and the table player. Pradesh • Kathak is generally accompanied by dhrupad music. , , and were also introduced during the Mughal period. • Instruments like Pakhawaj, Tabla, Sarangi, Sitar, Harmonium, Flute, Sarod, etc. are used.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 8

• The four main Gharanas or schools of Kathak dance are the Jaipur, , Raigarh and the Benares Gharanas. • The classical style of Kathak was revived by Lady Leela Sokhey in the twentieth century. • Famous proponents: Birju Maharaj, Lacchu Maharaj, Sitara Devi, Damayanti Joshi etc. • Kathakali is a blend of dance, music, and acting and dramatizes stories, which are mostly adapted from the Indian epics. • with many Sanskrit words is the language used in Kathakali songs. • The Mask like elaborate facial makeup is governed by the complex symbolism of colour, line, and design. • Each character like Heroes, Anti-heroes, Villians, Demons, Snags, and King have a prescribed makeup and costume. • It is performed in an open-air theatre or in temple premises. Brass lamp is Kathakali Kerala used for lighting. • Combination of colour determines the type and mood of the character in the play. Green is associated with Good, red with valor and ferocity, black with evil and primitiveness, and white with purity. • Representation of through the movement of Eye and Eyebrows is the most remarkable feature of Kathakali. • Kathakali music follows the traditional sopana sangeet of Kerala. • Famous proponents: Guru Kunchu Kurup, Gopi , Kottakal Sivaraman, Rita Ganguly etc. • Kuchipudi is the name of a village in the Krishna district of Andhra Pradesh. • Most of the Kuchipudi recitals are based on stories of Bhagwata Purana. • Kuchipudi became prominent under the patronage of Vijayanagara and Golconda rulers. • The dance style is a manifestation of earthly elements in the human body. • The dancer may undertake the role of the singer as well as becoming a dance- drama performance. Andhra Kuchipudi • Pradesh The music of dance is Carnatic. • Both Lasya and Tandava elements are important in the Kuchipudi dance form. • The dance involves Manduk shabdam – Tells the story of a frog, Tarangam – The dancer performs with his/her feet on the edges of a brass plate and balancing a pot of water on the head or a set of diyas and Jala Chitra Nrityam – In this item, the dancer draws pictures on the floor with his or her toes while dancing. • Famous proponents: Radha Reddy and Raja Reddy, Yamini Krishnamurthy, Indrani Rehman, etc. • Manipuri dance is unique in its emphasis on devotion and not sensuality. • Manipuri emphasis on devotion. It incorporates both Tandava and Lasya in which more emphasis is given to Lasya. • In this dance form, faces are covered with a thin veil and facial expression is of lesser importance, Hand gestures and gentle movement of feet are important. • The expressions used in Manipuri are from the poetry of Jayadev, Vidyapti, Manipuri Manipur Chandidas, Govindadas, and Gyandas that may be in Sanskrit, Maithili, Brij or any other language. • The drum ‘pung’ is an intricate element of the recital. Flute, Khartals (wood clapper), , etc also accompany the music. Compositions of Jayadeva and Chandidas are used extensively. • Famous proponents: Jhaveri sisters-Nayana, Suverna, Ranjana and Darshana, Guru Bipin Singha etc. • 'Mohini' means beautiful and 'Attam' means dance. It is essentially a solo dance Mohiniyattam Kerala performance that incorporates Lasya and Tandava style. • It generally narrates the story of the feminine dance of .

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 9

• White and off-white are the principal colour used in costumes of Mohiniyattam. • It includes a peculiar manner of dancing with feet and legs apart. Knees are greatly bent and rhythmic syllable words are used in recitation. • The element of air is symbolized through a Mohiniattam performance. • Musical instruments used are cymbals, veena, , flute, etc. • The Lasya aspect (beauty, grace) of dance is dominant in a Mohiniattam recital. It is mainly performed by female dancers. • 'Atavakul or Atavus’ is the collection of forty basic dance movements. • Famous proponents: Sunanda , Kalamandalam Kshemavathy, Madhuri Amma, Jayaprabha Menon etc. • derives its name from 'Odra Nirtya' mentioned in Natya Shastra. Khandariya- Udayagiri caves provide some of the early examples of Odissi dance. • It is similar to Bharatnatyam in the use of Mudras and postures to express emotions. • The tribhanga posture, i.e. the three-banded form of the body is innate to Odissi dance form. Also, the ‘Chowk’ posture with hands spread out depicts masculinity. • Mangalacharan or the beginning where a flower is offered to the mother earth. Odissi • Pallavi includes the facial expressions and the representation of the song. • It consists of two styles of traditional Odissi Maharis (Devadasis or Temple Girls) and (Performed by Boys). • It is a unique representation of gracefulness, beauty, and sensuality. • Geometrical shapes and patterns are created with a dancer’s body. Hence it is called 'Mobile Sculpture'. • Instruments used are Manjira, Pakhawaj (Drums), Sitar, Flute, etc. • Famous proponents: Guru Pankaj Charan Das, Guru Kelu Charan Mohapatra, Sonal Mansingh, Sharon Lowen (USA), Myrla Barvie (Argentina). • It was introduced by the Vaishnava saint Shankaradeva. • The devotional aspect of dance and narrates mythological stories of Vishnu. • derives its name from the Vaishnava Monasteries Known as Sattras. • The dance is performed in a group by male monks known as ‘Bhokots’ as part of their daily rituals. • Rhythmic syllables and dance postures along with footwork has given greater Sattriya Assam emphasis in Sattriya dance. • There is a strict guideline laid down for the hand gestures and footwork in Sattriya dance. • (drum), Cymbals (Manjira) and flute form the major accompanying instruments of this dance form. • In modern times, Sattriya dance has evolved into two separate streams – the Gayan- Bhayanar Nach and the Kharmanar Nach.

8. LIST OF FOLK DANCE

FOLK DANCE PLACE FEATURES • Chhau originates from 'Chhaya' means shadow. • It narrates mythological stories. It is a form of mask dance in which martial movements are used to narrate the stories. , • Sarpa Nirtya, Mayur Nirtya, etc. are some of the natural themes used Chhau , and to . Odisha. • Three main styles of chhau dance: o Chhau- Jharkhand o Mayurbhanj Chhau- Odisha o Chhau- West Bengal

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 10

• Mayurbhanj Chhau artists don’t wear masks. • In 2010, UNESCO inscribed chhau in the representative list of the Intangible Cultural Heritage of Humanity. • Garba refers to "Garba deep" which is an earthen pot with holes. • It is a dance performed in a circular form by the village as well as Garba urban women with rhythmic clapping. Gujarat Dandiya Raas • It is an energetic dance form in which polished sticks or dandiyas are used. • It represents a mock fight between and mahisasura. • Celebrates the youthfulness of the region. Tarangamel Goa • Performed during Dussehra and Holi. • Use of rainbow-like costumes with multi-colored flags. • Traditional folk dance performed by the women of the Bhil tribe. Ghoomar/ • Characterized by the pirouetting movements of the women, which brings Gangore Rajasthan into prominence the multi-colored vibrancies of the flowing Ghaghra. • It is a sensuous folk dance performed by the women of the community of Rajasthan. • The UNESCO has inscribed Kalbelia folk songs and dances in the Kalbelia Rajasthan Representative List of the Intangible Cultural Heritage of Humanity in 2010. • The costumes and dance moves are similar to that of the serpents. Charba Himachal Pradesh • Perform during the Dussehra festivities. • Most popular folk dance of Punjab, performed by men on festive occasions &

Bhangra/Gidda to celebrate Baisakhi or the harvest festival. Punjab • is the female counterpart of the male Bhangra. Uttar Pradesh • It revolved around the adolescent love stories of Radha and Krishna. Uttar Pradesh • Popular among the courtesans of Lucknow region. Bundelkhand • Includes balancing a basket full of jawar on the head. Jawara (Madhya Pradesh) • Performed by the women of the region on the occasion of wedding and other festivals. Matki Malwa Region • Mainly performed solo, while balancing a number of earthen pots on the head. • It is an important ritualistic dance form of the Bison Horn Maria Tribes. Gaur Maria Chhattisgarh • The dance imitates the movement of bison and is performed in a group by both men and women. • is a rural dance-drama performance prevalent in the Rajmahal hills, and Malda regions. Jharkhand Alkap • Performed by troops of 10-12 dancers, accompanied by one or two lead and West Bengal singers known as gayens. • Dance is generally associated with the Festival of Shiva. • It is a portrayal of the pain of the women, whose partners are away from Biraha Bihar home. • The dance form is practiced solely by males. • It is a martial folk dance performed in the southern parts of Odisha. • The dancers are armed with wooden spears and shields and show off their Paika Odisha skills and agility in infantry like formations. • It has a martial art character. • It is popular in the northern parts of Bihar, especially in the regions of Mithila. Jat-Jatin Bihar • It is the representation of the tender love and quarrel of a married couple. • It is performed in a couple on moonlit nights in monsoons.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 11

• It is a popular harvest dance, performed by the tribal people of Jharkhand Jharkhand and and Odisha. Jhumar Odisha • It has two variations – Janani Jhumar, performed by women and Mardana Jhumar, performed by men. • It mainly narrates stories and lore about Shiva. Danda- Odisha • The theme is generally social harmony and brotherhood. • It performed in the group by both men and women. Bihu Assam • The dance performance includes group formations, rapid hand movements, and brisk footsteps. • The dance performance is a unique display of skill, creativity, and agility in which the performers enact a mock fight sequence – leaping to attack and Thang Ta defend. • Rangma/ Manipur It is a war dance of the nagas. • Bamb oo Dance Dressed in colorful costumes, jewelry, and colourful headgears, the dancers enact mock war formations and tradition.

• Popular mask dance of Sikkim.

• The dancers are dressed in furry costumes, symbolizing the snow lion and Singhi Chham Sikkim pay tribute to Khang-Chen Dzong Pa. • The dance is performed by the women, standing in a circular formation. Tamil Nadu and • The dance is generally performed during and other religious Kerala festivities. • It is a folk dance performed by young girls, dressed as peacocks, with Kerala and Tamil colourful headgears, beaks, and feathers. Nadu • Also known as peacock dance. Burrakatha Andra Pradesh • A single performer narrates stories from the . • Literally means basket toys. West Godavari Butta Bommalu • The dancers wear masks of different characters, resembling toy-like shapes, (Andra Pradesh) and entertain through delicate movement and non-verbal music. • It is performed by both men and women at the time of to celebrate the Kaikottikali Kerala rich harvest. Airukali and Tattamakali are similar forms of this dance. • It is a martial dance performed in the temples.

• The dancers wear huge masks known as kolams and present interpretations Kerala of divine and semi-divine narratives. • Kol means stick and Paricha means shield. - Kerala and • Parichakali Lakshadweep The performance starts at a slow pace, but slowly builds up the tempo and reaches climax in frenzy. Bhootha • Idols depicting devils are placed on the plinth and performer then dance Karnataka Aradhna vigorously as if a possessed person. • Primarily a religious dance performed by men. Use of long bamboo poles decorated with colourful ribbons, known as pata. Pata Kunitha Mysore • Kunitha is a variant of this dance form popular in the region of Bengaluru and Mandya district. Kerala • A solo performance, where the performer dresses as a snake. • Performed by tribal Sikhs in Punjab.

• Celebrated during the harvest season. Jhoomar Punjab • Movement of arms is the most important part, on the tune of the drums. Chotanagpur • Performed during the Tribal festival of . Karma Naach Plateau Raut Naach Chhattisgarh • Performed by the Yadav community during the festival of . • It is performed using bamboo sticks. Cheraw Mizoram • Men Tap long pairs of bamboo in rhythmic beats, and girls dance to the beats of bamboo.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 12

9. DRAMA/THEATRE

9.1 DRAMA • Drama is a variant of performing art in which stories are enacted by using dialogue, dance, music and acting. The origin of Indian drama took place in the age of Rig Veda, which is a vast source material for theatrical art. • It contains reference of various actors such as Yama-Yami, Pururava, Urvashi, Sarma-Pani, -Indrani and . According to Rig Veda, these actors could assume any form at free will. Samvada-sukta hymns of the Rig Veda contain rudiments of the Indian drama. • Other ancient literary works such as Ramayana, Mahabharata and also contain various techniques of dramaturgy. • Sitabengra Cave, located in Surguja district of Chhattisgarh, is one of the oldest amphitheatres discovered anywhere in the world. • Indian theatre was benefitted by the arrival of Indo-Greeks (Yavanas) in India. They introduced theatre curtains in India. These curtains were known as ‘Yavanika’ in ancient times. • Ashvaghosha was the first playwright in Indian history. He wrote Sariputra-prakarana in Sanskrit language. It was a 9-act play. Its theme revolved around conversion of Sariputra and Mahamoggallana from Brahmanical religion into Buddhism. • Kalidasa wrote Abhijnana Shakuntalam, Malavikagnimitram and Vikramorvasiyam. • Vishakhadatta wrote Mudrarakshasa and Devichandraguptam. • Shudraka was the author of Mrichchakatikam (literal meaning is ‘little clay cart’). Its story is derived from another drama titled Daridra-Charudatta (Charudatta in Poverty) written by the playwright Bhasa. Its theme revolves around the love story of Charudatta of Ujjain and courtesan Vasantasena. • King Harshavardhana wrote a drama named Ratnavali. • Bhavabhuti was a great playwright of India. He lived in 8th century AD. He wrote three plays namely Mahaviracharita, Uttararamacharita and Malatimadhava. 9.2 THEATRE FORM OF INDIA • Living traditions occupy a prominent place in the Indian social system. • There can be no doubt about the fact that traditional art forms reflect the ideals of the society, its determination to survive, its ethos, emotions, fellow-feelings, and so on. • Drama in itself is a complete form of arts. • It includes in its framework acting, dialogue, poetry, music, etc. THEATRE STATE DESCRIPTION • It is a unique combination of dance, music, and acting. • In this theatre form, music is provided with surnai, Nagaara, and dhol. Bhand Pather Kashmir • Actors of Bhand Pather are mainly from the farming community. • It is secular in outlook, although it is performed by Muslims. • The meters used in the verses are Doha, Chaubola, Chhappai, and Behar-e- tabeel. Nautanki Uttar Pradesh • The plays are themed around historical, social and folk tales and delivered through dance and music. • It is a dance drama enactment of the adolescent love stories of Krishna and Raasleela Gujarat Radha. • The instruments used in Bhavai are bhungal, tabla, flute, pakhaawaj, Bhavai Gujarat rabaab, sarangi, manjeera, etc. • The theme of the play is generally romantic. • Fairs in honour of gods, or religious rituals and ceremonies have within their framework musical plays are known as Jatra. Jatra Bengal • Krishna Jatra became popular due to Chaitanya's influence. • The earlier form of Jatra has been musical. • In this theatre, form songs are given prominence in between the dialogues. Madhya Pradesh • The unique feature of this form is the dialogues, which are delivered in the form of couplets known as Rangat Dohas.

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 13

• It is a presentation of Ankia Naat.

• Sutradhar (Narrator) narrates the play and sings verses from holy texts. Bhoana Assam • Songs and music are also a part of it. • It has evolved from folk forms such as Gondhal, Jagran and .

• The unique feature of Tamasha is the presence of female actors, who play even Tamaasha Maharashtra the male roles. • The performers personify the ten incarnations of Lord Vishnu-the god of preservation and creativity. Maharashtra and • The ten incarnations are Matsya (fish), Kurma (tortoise), Varaha (boar), Dasavatar North Goa Narsimha (lion-man), Vaman (dwarf), Parashuram, Rama, Krishna (or Balram), Buddha and Kalki. • It is a cycle of eight plays performed for eight consecutive days.

• The plays are Avataram, Kaliamandana, Rasa krida, kamasavadha, Krishnattam Kerala Swayamvaram, Bana Yudham, Vivida Vadham, and Swargarohana. • It is usually performed only in the temples of Kerala, as an oblation to the Goddess. Mudiyettu Kerala • The seven characters in Mudiyettu: Shiva, Narada, Darika, Danavendra, , Kooli and Koimbidar (Nandikeshvara) are all heavily made-up. • It is based on mythological stories and Puranas.

• Originated in the royals courts of the Vijaynagar Empire and was performed by Yakshagaana Karnataka a particular community known as Jakkula Varu. • It is mostly performed at the time of annual temple festivals of Therukoothu Tamil Nadu (Rain goddess) to achieve rich harvest. • It is an open theatre.

• It is performed in front of the local temples to mainly honour the spirit of the Kerala ancestors besides gods. • It is performed in the style of an opera and depicts incidents from the life of Krishna. • Sutradhar or narrator is accompanied by a group of musicians known as Gayan- Ankia Nat Assam Bayan Mandali. • Use of masks to depict special expressions. • It is an enactment of Ramayana using songs, dances, and dialogue during the

time of Dussehra. Uttar Pradesh • Performed by the Male actors. Bhuta Karnataka • The traditional practice of worshipping the dead ancestors. • Dedicated to Bhumiyal Devta, the local deity. • People of the Bhandari wear the sacred mask symbolizing Narasimha. Ramman Uttarakhand • Included in the UNESCO’s representative list of Intangible Cultural Heritage of Humanity. • In this form, there are two narrators- Gayaka, who is the chief singer and Daskathia Odisha Palia, who is a co-narrator. Garodas Gujarat • It uses painted pictures to narrate stories of romance and valor. Punjab and • They are mainly musical dramas, sung through verses, accompanied by the Swang Haryana music of ektara, harmonium, sarangi, dholak, and khartal. • Means bow-song. Villu Pattu Deccan • Stories of Ramayana are narrated using bow-shaped instruments. ♦♦♦♦

Indian History - Art & Culture: Music & Dance, Drama/Theatre Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| 14