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Home , Bhangra (dance), Bihu dance, Dalkhai, Dance in India, Garba (dance), Kanak Rele

Component-I (A) – Personal details:

Prof. P. Bhaskar Reddy Sri Venkateswara University, .

Dr. E. Sivanagi Reddy CEO, The Cultural Centre of .

Dr. E. Sivanagi Reddy CEO, The Cultural Centre of Vijayawada.

Prof. P Narayana Reddy REVA University, .

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Component-I (B) – Description of module:

Subject Name Indian Culture

Paper Name Tourism in

Module Name/Title and

Module Id IC /TI / 25

Pre requisites Dance and music its importance in India To study about different types and forms of dance Objectives and music Keywords Dance, music, classical, folk, importance

E-Text (Quadrant-I): Introduction Dance and music has always been an important part of Indian life and culture. The range of musical and dance phenomena in India extends from simple melodies, folk music to what is one of the most well- developed ‘systems’ of classical dance and music in the world. Music and dance tourism involves an act of visiting a city or town, to see a music festival or other music performances. Music tourism is a lucrative industry for many regions of the world, and it refers to people travelling to a new area in order to attend a music show or concert, or even a larger festival. When people purchase tickets to go to a festival or show, particularly when they will have to travel to see, they are then more likely to spend additional money in the local economy. This chapter examines some of the different types and forms of classical and folk music and dance. Its emergence, origin and popular personalities or practitioners, places of practice and its importance are also discussed in this chapter. Learning outcomes This chapter provides an overview of tourism and its importance. After reading the chapter you will be able to understand the following:  What are the different forms of classical, folk music and ?  History and development of dance and music  Importance of dance and music  Role of dance and music in tourism 1.0 Music Traditions of India Dance and music has always been an important part of Indian life. The range of musical phenomenon in India extends from simple melodies to what is one of the most well- developed ‘systems’ of classical music in the world. There are references to various string and wind instruments as well as several kinds of drums and cymbals in the . Some date the advent of the system of classical Indian music to Amir Khusro. Muslim rulers and noblemen freely extended their patronage to music. In the courts of the Mughal emperors, music is said to have flourished and Tansen was one of the jewels of Akbar's court. The great poet-saints who chose to communicate in the vernacular tongues brought forth a great upheaval in and the or devotional movements they led, gained many adherents. The lyrics of , , and most particularly and Mirabai continue to be immensely popular. By the sixteenth century, the division between North Indian

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(Hindustani) and South Indian (Carnatic) music was also being more sharply delineated. Classical music, both Hindustani and Carnatic, may be either instrumental or vocal. 1.1 Carnatic music is considered as one of the oldest classical music systems in the world. It is mainly prevalent in the southern Indian states of , , and . The system of (melodic scales) and talas (rhythmic cycles) are the basis of Carnatic music. It comprises of seven rhythmic cycles and 72 fundamental ragas from which all other ragas are considered to have originated. Swamikal, Muthuswami Dikshitar and Shyama Shastrikal are the three major composers of the 19th century. They have composed thousands of krithis which contributes to the devotional element of Carnatic music. Carnatic music gives much importance to vocal music and hence most compositions are made to be sung.The basic swaras of Carnatic music are "sa-ri-gaa-ma-pa-da-ni" which are abbreviations of the real names Shadjam, Rishabham, Gandharam, , Panchamam, Dhaivatam and Nishaadam. Various instruments used during Carnatic music presentation are violin, mridangam, tambura, venu, veena, chitraveena and so on. During the years which extent from 1930 to 1960, several Carnatic vocalists of greater skills raised to fame. D. K. Pattammal, M. L. Vasanthakumari and M. S. Subbulakshmi are referred to as the female trinity of Carnatic music. The leading male vocalists of Carnatic music were Muthiah Bhagavathar, Vasudevachar, Chintalapalli Venkata Rao, Asthan Vidwan Chintalapalli Ramachandra Rao, Kanchipuram Naina Pillai and so on. 1.2 Hindustani Music Hindustani music is the North Indian style of . This music tradition has originated in Vedic ritual chants which dates back to more than three thousand years ago. Since the 12th century it has undergone changes. The Hindustani music system was born out of a cultural synthesis of the tradition and the ancient Persian tradition of Musiqi-e assil, and various other folk traditions prevalent in the region. When a performer reaches a distinguished level of achievement, titles of respect is awarded, which is “Pandit” for and “Ustad” for Muslims. Similar to the Carnatic music, śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) forms the basic elements of the Hindustani music system. Pandit is considered as one of the most prominent and legendary Hindustani vocalist. He is well known for the "Khayal", a form of Hindustani classical. Kumar is another personality among the most famous classical musicians in India. He always believed in being innovative by trying out his own new styles and never let any kind of Gharana to tie him down from experimenting. 1.3 Indian Fusion Music Fusion is not a very old trend in Indian music. Fusion trend is said to have begun with 's 1955 performance in the United States. Indian fusion music came into being with rock and roll fusions with Indian music in the 1960s and 1970s. But it was limited to Europe and North America. For some time the stage of Indian fusion music was taken by Pandit Shankar, the Sitar maestro. Pandit began fusing Jazz with Indian traditions along with Bud Shank, a jazz musician. Soon the trend was imitated by many popular European and American music exponents. In the year 1965, George Harrison played the song, "Norwegian wood" on the Sitar. Another famous Jazz expert, Miles Davis recorded and performed with the likes of Khalil Bal , Bihari Sharma and Badal Roy. 1.4 Ghazal Ghazal is a common and popular form of music in India and . Strictly speaking, it is not a musical form at all but a poetic recitation. However, today it is commonly conceived as an song whose prime importance is given to the lyrics. Ghazal traces its roots in

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classical poetry. Ghazal grew from the Persian qasida (a verse form that had come to Iran from Arabia around the 10th century A.D).The qasida was usually a eulogy composed in praise of the emperors or their noblemen. Many a times the Qasida often had 100 couplets or more. With the coming of the Muslims, Ghazal got introduced in the 12th century. Thus, Ghazal was imported into India from the 12th to the 18th centuries. Slowly and gradually Ghazal acquired local colour and form. The most notable contributor to Ghazal music in India was the famous poet Amir Khusro. Soon Ghazal came to enjoy widespread popularity among Indian Muslims and rulers for many centuries. 1.5 Folk India is a land of cultural diversities. Every region in India has its own form of folk music. This rich tradition of folk music is very much alive in not just rural India, but also in some metros. Though one may say that music has acquired a totally different definition with the arrival of pop culture and new age cinema, still there are many who would beg to differ. The realm of traditional folk music in India is very large and it is basically a countryside representation of the urban Indian society. Many people tend to mix up with tribal music. There is a huge difference between the two genres of music. Folk music is very different from classical music . To begin with, it is not taught in the same way as classical music is taught. Classical music usually requires a student devoting their entire life perfecting the forms of this music. Folk music is more like a daily ritual without affecting the daily lives of people. People learn it since their childhood and grow up on these songs. One can always carry on with their daily life routine while listening to or singing folk music. Most of the songs are sung in small village functions like weddings, births etc. Like dance, music also forms part of the tourism products and and state governments are organizing music festivals to promote tourism. Premamati Music Festival conducted by Andhra Pradesh Tourism is one such example. 1.6 Indian Film Music One of the most popular Indian music forms is film music. film industry, popularly known as , along with Indian regional film industries, produces thousands of films a year, most of which are musicals and feature elaborate song and dance numbers. It is interesting to note that some of the movies become successful only because of their music . Movie soundtracks are released as tapes and CDs much before the movie is released. Earlier, radio was the main media of film music but with the introduction of satellite TV and FM radio, the scenario has completely changed. 2.0 in India Indian dances are in varied forms and styles. These forms originated in different parts of India, developed according to the local, culture, traditions and also imbibed elements from other parts of the country. , the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances. Folk dances are , numerous in number and style, and vary according to the local tradition of the respective region, ethnic or geographic area. Contemporary dances include refined and experimental fusions of classical, folk and western forms. Dancing traditions of India have influence not only over the dances in the whole of , but on the dancing forms of South East Asia as well. Classical Dances of India 2.1 Bharatanatyam is believed to be the oldest dance form and the mother of all classical dance styles of India. The dance form originated from the temples and courts of Tamil Nadu. , women who were dedicated to the temples to perform dances, used to perform Bharatanatyam as a service to the Gods. In those days the dance form used to be performed in the temples and not on stages. As the society changed and rule by kings came

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to an end E Krishna Iyer and Rukmini Arundale bought this dance form out of the temples and started performing on stages. In the 19th century, four brothers known as Tanjore Quartet (musicians), namely Chinnaiya, Ponaiyah, Sivanandam and Vadivelu documented the dance forms contributing to Bharatanatyam’s status as a performing art. Even today, their music compositions are used for the performances. Today Bharatanatyam is one among the popular classical dance forms in India and is widely performed by both male and female dancers. Instruments used in Bharatanatyam are Mridangam, Violin, Veena, Flute and Talam (Nattuvangam/cymbals). Meenakshi Sundaram Pillai, born on September 22, 1869 was a renowned musician and scholar. He followed a different style known as the Pandanallur school of Bharatanatyam which is known for its broad sweeping movements, framing of Teeramanams with beautiful Adavus. Some of his renowned students are Thiruvalputhur Rajalakshmi, Jeevaratnam, Pandanallur Jayalakhmi, Chokalingam Pillai, Kandappa and his son, Muttaiah. Rukmini Devi, born on 28thFebruary 1904 comes from a rich background of culture and learning, brought great changes in the field of Bhartanatyam by correcting the theory of dance and music. She also contributed in designing the costumes artistically and choosing exquisite jewellery and ornaments. She laid emphasis on selection of padams and highlighted the spiritual aspect of the contents. 2.2 The term Kathak is believed to be derived from the word katha, meaning "the art of storytelling." This dance form originated in north India. Kathak dance assumed the form of courtly entertainment during the period of Persian and Muslim rule in India. During that period, dancing girls and courtesans emerged to entertain the palaces and courts. Influence of the medieval traditions imparted a Hindu – Muslim texture in this dance form. The form and characteristics of Kathak underwent several changes which are also reflected in the costume of Kathak dance. During the nineteenth century Kathak rose to a status of classical art form and also started to be considered as a form of entertainment among the kings and feudal lords. In the later years Gharanas or schools of Kathak emerged. Famous among them are the Gharana and Gharana. Jaipur Gharana emphasized on the technical mastery of pure dance. The Lucknow Gharana emphasized on dramatic and sensuous expression. Main focus in Kathak dance is on the footwork and is performed by both men and women. A Kathak dancer is free to alter the sequence of steps to suit his or her skill and style of dancing. The instruments used in Kathak are Pakwaj, , Harmonium, Sarengi and Talam(cymbals). Brijmohan Mishra, born on 4th February 1938, is the leading Kathak exponent of the Lucknow Gharana. He has choreographed several new Kathak dances, thus, taking the dance form to newer heights. He also founded Kalashram. , born in the year 1942, is a famous Kathak dancer. She was trained under Hiralalji and Girvar Dayal and Pandit Sunder Prasad of the Jaipur Gharana. Later she was trained under and of Lucknow Gharana. Uma’s greatest achievement is the creation of a fusion of both. 2.3 Kathakali is considered as one of the oldest theatre forms in the world. It is a dance - which originated in Kerala, the southernmost state of India. The performances are based on , where each performer enacts a character. Mainly the themes for performance are based on the epics Mahabharatha and . One of the most interesting aspects of this dance – drama is the use of elaborate make-up code for each character according to their nature. The noble male characters of great kings and the divine hero, use green makeup on their face whereas characters who are of evil nature like

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the demon king, are allotted a similar green make-up with red marks on the cheeks. A red make-up with red beard is allotted to extremely angry or excessively evil characters whereas forest dwellers such as hunters are allotted black make-up on face. Women and ascetics are represented with yellowish faces. A highly developed language of hand gestures is the main highlight of this dance-drama. The instruments used in Kathakali performance are , Maddalam, Cymbals and Ela taalam. Usually, two singers provide the vocal accompaniment in ‘Sopanam’ style of singing. Kalamandalam Kesavan Namboodiri, born on Jan 1, 1955 in Kolpuram Illam, Kuruvattoor, was an exponent in Kathakali. He learned Kathakali from 1972 to 1985 from . He has also been trained in Thekkan Kathakali (South Kerala style) under the guidance of Mankombu Sivasankara Pillai and Kalamandalam Rajasekharan. Kalamandalam , born in 1937 in the village of Kothachira, was initiated in Kathakali training by Guru T.Ravunni Nair. established himself as an outstanding Kathakali performer by playing all major Kathakali roles and he excelled as Bhima, Arjuna and Nala. 2.4 The term Kuchipudi is originated from the name of a village in the Indian state of Andhra Pradesh, “Kuchelapuram”. The origin of Kuchipudi can be traced back to an age old dance- drama form namely ‘Bhagavatmela’ which was practiced by the residing there. The credit of differentiating Kuchipudi from the Bhagavtmela goes to a great scholar and poet, Siddhendra . From the 1960s, Kuchipudi as a form started to be performed on stages. The main aspect which differentiates Kuchipudi from other classical dance forms is the faster movements. It shares many common elements with Bharatanatyam and is performed in both classical Carnatic music and classical Hindustani music. ‘’ , ‘Jatiswaram’, ‘Shabdam’ , ‘Tarangam’ , ‘Keertanam’ and ’ ‘Tillana’ are included in solo Kuchipudi performances. The instruments used during Kuchipudi performance are Mridangam, Violin, Veena, Flute and Talam (Nattuvangam/ cymbals). & Reddy, the world-renowned dancing couple has given a new dimension to the age-old art of Kuchipudi without losing the traditional poetry or dramatic sensibility. The dancing duo, are one among the most sought after Kuchipudi choreographers in the country. They made the dance form more presentable and acceptable to the modern cosmopolitan audiences across the world. In the year 1976, they established Natya Tarangini, an institute regarded as a temple for learning Kuchipudi dance. 2.5 Manipuri This dance form originated and got its name from the place called , which is a state in India now. Manipuri dance is a part of people’s daily life. The people there perform Manipuri dance as part of their rituals such as wedding or paying homage to the ancestors. They believe that Gods drained a lake in the beautiful countryside in order to find a place to dance. Manipuri, as seen today is evolved from Lai Haroba which is a ritualistic dance depicting the Creation. Unlike Lai Haroba, Manipuri dance expanded and gained popularity. This dance has solo and group performances. The important feature of the Manipuri repertoire are the Sankirtana which is based on the devotion to Krishna and Radha, and the Raas Leela which is based on the cosmic dance of Krishna and the cowherd maidens. The costumes for female performers include beautifully embroidered skirts, long and flared from the waist, and the veils. The male performers are allotted Krishna’s costume with the tall peacock feather crown which highlights the radiant appearance of this dance. Another attraction of this dance form is Pung Cholam or drum dance, in which dancers play on the drum known as Pung while dancing to a fast rhythm. The instruments used in Manipuri dance performances are Pung and Cymbals. Guru Bipin Singha was born on August 24, 1918 in a Bishnupriya Manipuri family. He chose the solo pieces from the dance and re-choreographed them for the stage. He

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was a pioneer in introducing solo dance performances in the Manipuri style. He founded Manipuri Nartanalaya in , Manipur and in collaboration with his disciples Jhaveri Sisters and Kalavati Devi. Prof. Sruti Bandopadhay is a well known performer-scholar in the dance field of India and is one among the leading exponents of Manipuri Dance. She has performed in several national and international festivals. The number of productions which she choreographed brought her acclaim and honour. 2.6 The origin of Odissi can be traced back to ancient northern India. The name Oddisi refers to the dance form of the Indian state of . The 20th century revival resulted in the present form of Odissi. Gradually, Odissi has become one among the most popular classical dance forms in India. Two major facets of Odissi are: Nritta or non-representational dance, in which body movements are used to create ornamental patterns; and Abhinaya, or facial expressions. The favourite theme for interpretation is divine love tales of Radha and the cowherd God Krishna. Ashtapadis, poem of eight couplets, from ’s Gita Govindam is used as typical recital of Odissi. The technique in performing Odissi includes repeated use of the tribhangi where body is bent in three places. The music of Odissi is in Odia language. Instruments use in Odissi is Pakwaj, Table, Harmonium, Flute and Cymbals. Aadya Kaktikar is a disciple of Madhumita Raut and has undergone two decades of rigorous training under the Odissi exponents Guru and Madhumita Raut at The Mayadhar Raut School of Odissi Dance at . She has performed extensively as a solo performer and is currently engaged in reviving the traditional Odissi dance items. Aditi Bandyopadhyay is a dancer, performer, choreographer and teacher of Odissi dance. Aditi has presented 176 solo dance recitals and has choreographed several dance productions. 2.7 The origin of Sattriya dance can be traced back to the 15th century when the saint poet, Shankar started an institution to bring harmony to the region of through , creating forms of dance-dramas, music, painting and collective prayer. The dance forms which came to existence during that period are called Sattriya dances which carry all the features of a classical dance form. These dances are performed in the , the prayer hall of the sattra by the celibate monks as part of their living tradition. Costume is of white colour which are usually made of pat, a type of silk produced in Assam. The numbers like “Sutradhari,” “Chali,” “Jhumura” are part of Sattriya dance. The music is provided by -drum, patital, boratal-cymbals along with songs. Now-a-days this dance form is presented on the metropolitan stages both as solo and group performance. 2.8 Mohiniyattam is a classical dance form originated in the south Indian state of Kerala. The term Mohiniyattam is coined by combining two words, “” meaning woman and “Attam” meaning graceful body movement. Though the dance form was originated in the sixteenth century AD, it was popularized in the nineteenth century by Swati Thirunal, Maharaja of the State of and Vadivelu, one among the Tanjavur Quartet. The dance form includes elegant movement of hips and gentle movement of body. The vocal music of Mohiniyattam is known as chollu which is written in a combination of and . Raju, who was born in Palakkad district of Kerala, is an exponent of Mohiniyattam. She was trained under various famous and started giving performances from the age of four. She has received various awards for her performances. She was critically acclaimed for her solo and group choreographies.

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Sunanda Nair, who was born in Mumbai is a famous Mohiniyattam dancer trained under Mohinyattam exponent Dr. . She is the first Master’s degree holder from Nalanda Kala Mahavidyalay. She has choreographed several Mohiniyattam performances. She is providing training in Mohiniyattam and Bharatanatyam and also the founder director of Srutilaya Institute of Fine Arts. 3.0 Folk Dances of India Dumhal: This dance is performed by the men of the Wattal tribe of Kashmir. The costume includes long colourful robes and conical caps. The performers move in a procession in the beginning and the dance is performed in circles. A drum and vocal singing are the accompanying music for this dance. : Bhangra is a which originated in . Bhangra is performed on the day of Baisakhi to celebrate the success of the harvest. People sing and play the drum. : Garba is a popular folk dance of the Indian state of . This is performed during the occasions of , Sharad , , and such other festive occasions. Ladies sing and dance around the goddess clapping rhythmically. : Ghoomar is a famous community dance performed by women in . Ghoomar is performed on different occasions like fairs & festivals. The costume includes Ghaghra, a long skirt of the Rajasthani women which are rich in embroidery work and mirror- work. : is a folk dance from the Indian state of Assam which is mainly performed during the festival of Bihu. This folk dance is performed by both men and women. The main features of Bihu are brisk dance steps, rapid hand movement and a rhythmic swaying of the hips. Traditional Assamese clothing like , Gamocha and Chadar, Mekhala are used in this folk dance. Pulikali: Pulikali is a colourful folk art from Kerala, the southernmost state of India. It is mainly performed during the occasion of , by trained artists. It is a 200 year old folk art form which revolves around the theme of tiger hunting. : Karakattam is an ancient folk dance which is popular in the state of Tamil Nadu. The performers balance a pot on their head and dance to praise , the rain goddess. This folk dance is categorized into two types- Aatta Karakam, where decorated pots are balanced on head while dancing, and Sakthi Karakam, which is performed only in temples as a spiritual offering. : Veeranatyam is a popular folk dance form which originated in the southern Indian state of Andhra Pradesh. The term Veeranatyam means ‘Dance of the Brave’. The folk dance is performed as a tribute to Lord and Goddess Veerabhadra. Veeranatyam includes lot of vigorous movements. Burning flames lit to the tridents are pierced into the bodies of the dancers. : Dalkhai is a folk dance originated in the state of Odisha which is mostly performed by young women of some tribes of during seasonal festivals. The dance includes vigorous movements and is accompanied by a set of particular musical instruments, played by men. The Chaiti Ghorha a version of Dalkhai, is danced by a fishermen community. . Raut Nacha: Raut Nacha is the folk dance form originated in the state of Chattisgarh. It is performed in order to showcase a region's heritage during the festive season of . The costumes of the performers are also allotted as per their tradition. This folk dance is mainly based on the battle theme, which was between the King Khansa and the people of community. And this folk dance celebrates the victory over evils of the ancient time. Gendi: Gendi is a folk dance originated in the state of . The dance is mainly performed by Gond children and is popular in the Vindhyas and the Satpura ranges.

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Gendi is danced during rainy season. The dancers balance on the Gendi(stilts), perform it in water or on marshy surface. The main attraction of this folk art is the dance in pyramid formation at the end of each session. 4.0 Summary Both dance and music has always been an important part of Indian life. The range of musical and dance culture in India extends from simple folk melodies to one of the most well- developed ‘systems’ of classical dance and music in the world. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances. Folk dances are numerous in number and style, and vary according to the local tradition of the respective region, ethnic or geographic area. Music and dance play a major role in the development of tourism in India and promotion of Indian culture in a wider way. These classical and folk music and dances have become major cultural tourism products in India, attracting large number of tourist to the country.

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