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Education Marks Proper Humanity

Tuesday, December 22, 2020

Indian Classical Dance Form- Manipuri

Manipuri Dance

Manipuri dance form finds its fairy-tale emergence in the heavenly dance of Shiva and Parvati in the valley of Manipur along with the local 'Gandharvas'. 

The dance gained prestige with the advent of Vaishnavism in the 15th century. Krishna became the dominant theme of this dance form. It is performed generally by females.

In modern times, Raja Bhag Chandra of Manipur in the 18th century tried to save Manipuri dance. Rabindranath Tagore brought back the dance form into the limelight when he introduced it in Shantiniketan, West Bengal.


Some of the attributes of Manipuri dance are as follows:


  • The faces are shielded with a thin veil and facial expression is of lesser importance.


  • The dance integrates both Tandava and Lasya, emphasis is laid on the latter.

  • The female wears unique long skirts. The focus is mainly on relax and gracious movements of hand and knee positions.

  • Nagabandha mudra, in which the body is coupled through curves in the shape of 'eight = 8' is an important posture in Manipuri dance form.

  • Ras Leela = Radha Krishna's love story is a recurring theme of the Manipuri dance recital.

  • The drum - pung - is a complex element of the recital. Flute, Karthal = wooden clapper, dhol, etc, also, accompany the music. The composition of Jayadeva and Chandidas is used extensively.


Famous proponents: Jhaveri sister - Nayana, Suvarna, Ranjana, and Darsana, Guru Bipin Singha, N Madhavi Devi, etc.


Fig: Manipuri Dance (Raas-Leela)
Fig: Nagabandha Mudra





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Monday, December 21, 2020

Indian Classical Dance Form- Mohiniattam

Mohiniattam

Mohiniattam or the Dance of a magician, 'Mohini' = beautiful woman & 'attam' =  dance, is originally a solo dance performance by women that was further developed by Vadivelu in the 19th century and gained notability under the rulers of Travancore in the present State of Kerala.

The patronage of Swathi Thirunal (the Travancore ruler in the 19th century) is notable. After it had fallen to obscurity (twilight), the famous Malayali poet V.N.Menon revived it along with Kalyani Amma.


Some of the features of Mohiniattam are:

  •  Mohiniattam combines the grace and elegance of Bharatnatyam with the rigor of Kathakali. There is a marked absence of amazing footsteps and the footwork is gentle.

  • Mohiniattam generally describes the story of the feminine dance of Vishnu.

  • It has its own Nritta and Nritya features like that of other classical dances.

  • The Lasya aspect (beauty & grace) of dance is dominant in a Mohiniattam recital. Hence, it is mainly performed by female dancers.


  • The costume is of exceptional significance in Mohiniattam, with white and off-white being the principal colors and the presence of gold-colored brocade designs. There is no elaborate facial make-up. The dancer wears a leather strap with bells (Ghungroo) on her ankles.


  • 'Atavakul or Atavus' is a collection of 40 basic dance movements.

  • Musical instruments used are cymbals (chime), veena, drums, flute, etc.

Famous proponents: Sunanda Nair, Kalamandalam Keshemavathy, Madhuri Amma, Jayaprabha Menon, etc.

Fig: Mohiniattam






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Sunday, December 20, 2020

Indian Classical Dance Form- Kuchipudi

Kuchipudi

In the first instance performed by the group of actors going from village to village, known as Kusselavas, Kuchipudi derives its name from the village Kusselavapuri or Kuchelapuram in Andhra Pradesh.

In the 17th century, Siddhendra Yogi ratified and systematized the tradition. He authorized "Bhama Kalapam" and many other plays.

With the exposure of Vaishnavism, the dance form became a monopoly of the male Brahmins and began to be performed at temples. Stories of Bhagvat Purana became a central theme of the recitals, and the dancers came to be known as Bhagvathalus. The dance form gained greatness under the patronage of the Vijayanagar and Golconda rulers

However, it endured confined to the villages and remained obscure till the advent of the 20th century, when Balasaraswati and Ragini Devi revived this dance form. Lakshminarayan Sastri, in the early 20th century, brought in new practices such as solo recitals and female participation.


Some of the features of Kuchipudi dance are:

  • Most of the Kuchipudi recitals are based on stories of Bhagwata Purana but have an earthly theme. There is a predominance of Shringara ras.
  • Each vital character introduces itself on the stage with a "daaru", which is a small composition of dance and song, specifically choreographed for the revelation of each character. 
  • In a Kuchipudi recital, the dancer may Integrate the role of a singer into himself/herself as well. Hence, it becomes a dance-drama performance.
  • Both Lasya and Tandava elements are paramount in the Kuchipudi dance form.
  • Apart from the group the executions, there are some popular solo elements in Kuchipudi as well.
  • A Kuchipudi recital is generally escorted by Carnatic music. Violin and Mridgangam being the principal instruments. The recital is in the Telugu language.

The dance involves all three components of the classical dancers: Nritta, Natya, and Nritya. It is similar to Bharatnatyam but has its own attributes.


The performance has:

  • Sollakath or Patakshara: The Nritta part, where the movement (gesture) of the body is made.
  • Kavutvams: The Nritya part involves extensive acrobatics. It may also be performed as Nritta.

Apart from group performances, there are some admirable solo elements in Kuchipudi as well. Some of them are:
  • Tarangam: The dancer represents 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.
  • Jala Chitra Nrityam: In this element, the dancer draws a picture on the floor with his or her toes while dancing.

Famous exponents: Radha Reddy, Raja Reddy, Yamini Krishnamurthy, Indrani Rahman, etc.

Fig: Kuchipudi (Tarangam) 
 

Fig: Kuchipudi


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Indian Classical Dance Form- Kathakali

Kathakali

In the temples of Kerala, two evidence of dance-drama, Ramanattam, and Krishnattam evolved under the patronage of feudal lords, narrating episodes from Ramayana and Mahabharata

These folk traditions later became the source of Kathakali, which derived its name from the words 'Katha'= drama. It is Intently related to Koodiyattam = Sanskrit drama tradition and, other ancient material-arts performance also. It is a marvelous combination of music, dance, and drama.

However, with the breakdown of the feudal setup, Kathakali began declining as an art form. It was resuscitated in the 1930s by the famous Malayali poet V.N. Menon under the patronage of Mukunda Raja.


Some of the features of Kathakali dance are:

  • There is nominal use of props in the Kathakali recital. However, every elaborate facial makes up along with headgear is used for different characters.

Different colors have their own significance:

  • Green: It indicates nobility, divinity, and virtue.
  • Red: It patches beside the nose indicate royalty.
  • Black: Its colors are used to indicate evil and wickedness.
  • Yellow: Its colors are for saints and women.
  • Completely Red painted face: It indicates evil.
  • Whitebeard: It indicates begins with higher consciousness and divinity.


  • Most of the Kathakali recitals are a grand representation of the everlasting conflict between good and evil. It draws its themes from the stories narrated in the chronicle and the Puranas. It is called the 'ballad of the east'.

  • The language used for Kathakali songs is Manipravlam, i.e., a mixture of Malayalam and Sanskrit.

  • Music is important to fairly convey the entire drama to the viewers. Different compositions of music are used during the performance to give the depth of the drama.

  • Gesticulation is perhaps the crown jewel of the entire dance-drama. Kathakali is extraordinary in the depiction of the rasas through movements of the eye and eyebrows, through which the story is conveyed. Nine important facial expressions called 'Navarasas' are taught to convey contrasting emotions. Extensive hand gestures are also used. Therefore, this dance form calls for strenuous training.

  • Kathakali is mostly performed in open-air theaters covered with rough mats or temple premises with lush green trees of Kerala providing a backdrop. A brass lamp is used for lighting.

  • The advent of dawn, accompanied by a sustained sound of drums, chhenda, and maddala marks the beginning and end of a Kathakali recital.

Famous exponents: Guru Kunchu Kurup, Gopi Nath, Kottakal Sivaraman, Rita Ganguly, etc.

Fig: Kathakali



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Thursday, December 17, 2020

Indian Classical Dance Form- Bharatanatyam

Bharatanatyam

Oldest among all classical dance forms, Bharatnatyam derives its name from Bharata Muni and 'Natyam' = dance (in Tamil). However, other scholars have attributed the name 'Bharata' to 'Bhava', 'Raga', and 'Taal'.

The genesis of this dance form can be traced back to 'Sadir'- the solo dance performance of the temple dancers or 'devadasis' in Tamil Nadu, hence it was also referred to as 'Dashiattam'.

With the devaluation of the Devadasi system, the art too became nearly extinct. However, the efforts of E. Krishna Iyer, an eminent freedom fighter, revived this dance form. Formerly this dance form was performed by solo female dancers; it has since become increasingly popular among male and group artists as well. 

Rukmani Devi Arundale, another famous proponent of Bharatnatyam, is remembered for giving global recognition to the dance.


In the early 19th century, four dance teachers of Thanjavur defined the elements of a Bharatnatyam recital. They are:

  • Alarippu: It is an invocatory piece of performance that includes basic dance postures and is escorted by rhythmic syllables. It is meant to seek the blessings of God.

  • Jatiswaram: It is the Nritta module and is lacking expressions, it includes the different poses and movements.

  • Shabdam: It the dramatic element with expressed words, which incorporates the abhinaya in the song. It is generally in praise of the prestige (glory) of God.

  • Varnam: It is the Nritya component. It is an amalgam of dance and emotions and is the most important part of the whole performance. It is synchronized with tall and Raag, to express the story.

  • Padam: It cites a mastery over the abhinaya (expression) of the spiritual message, by the artist. Music becomes light, dance becomes emotional.


  • Thillana: It is the conducting stage of the performance, and comprises pure dance (Nritta) with exuberant movement and intricate rhythmic variations.


The four Thanjavur teachers, known as the 'Tanjore quartet', are Chinnaiah, Ponniah, Vadivelu, and Sivanandam. Under them, Bharatnatyal also came to be known as 'Tanjore Natyam'.

  • Bharatnatyam is often referred to as the 'fire dance', as it is the illustration of fire in the human body. Most of the movements in Bharatnatyam resembles that of a dancing flame.

  • In this dance form, equal significance is given to both the Tandava and Lasya aspects of dance, with major emphasis on 'mudras'.

  • One of the foremost mudras is 'Katakamukha Hasta' in which three fingers are joined to symbolize 'Om'.

Fig: Katakamukha hasta
  • In Bharatnatyam recital, the knees are mostly bent and the weight is equally distributed over both the feet.

  • It is also distinguished by the 'Ekcharya lasyam' style in which one dancer plays many different roles.

Famous proponents (apostle): Yamini Krishnamurthy, Lakshmi Viswanathan, Padma Subramaniam, Mrinalini Sarabhai, Mallika Sarabhai, etc.

      

Fig: Bharatnatyam stance                        






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Wednesday, December 16, 2020

Folk Dances of India - Indian Art & Culture

Folk Dances of India

The multitude of folklore, legends, and myth pervasive in various parts of India, combined with local song and dance traditions, results in a rich mix of composite art. The dance forms are generally spontaneous, crude, and performed by the masses without any formal training. The simplicity gives the art form an inherent beauty. However, these art forms have remained confined to a certain set of people or at a particular locality, to whom the knowledge has been passed down ages. Some of the customary folk dances of India are:

1.Chhau:

  • The word Chhau emerges from "Chhaya" meaning shadow. 
  • It is a form of mask dance that uses vigorous & energetic martial movements to narrate mythological stories.
  • Some chronicles also use natural themes such as Sarpa nritya (serpent dance) or Mayur nritya (peacock dance).
  • Mayurbhanj Chhau artists do not wear masks.
  • In 2010, UNESCO stamped Chhau in the Representative List of Intangible Cultural Heritage of Humanity.
  • Saraikella Chahau- in Jharkhand
  • Mayurbhanj Chhau - in Odisha
  • Purulia Chhau - in West Bengal.
Fig: Chhau dance


2.Garba:

  • It is a popular folk dance of Gujarat, which is held at the time of Navaratri.
  • It refers to "Garbha deep" - an earthen pot with holes, in which a lamp is lit and women dance around it in circular movements with rhythmic clapping.
Fig: Garba dance


3. Dandiya Raas:

  • It is an energetic, lively dance form in which polished sticks or dandiya are used.
  • It represents a mock fight (sham fight) between Durga & Mahishasura.
Fig: Dandiya Raas dance


4. Tarangamel:

  • It is the folk dance of Goa that celebrates the youthfulness (zestfulness) of the region.
  • It is performed during Dussehra & Holi.
  • The use of rainbow-like costumes with multi-colored flags and streamers make is a visual spectacle.


5. Ghoomar or Gangore:

  • It is a traditional folk dance performed by the women of the Bhil tribe in Rajasthan.
  • It is characterized by pirouetting (whirling) movements of the women, which brings into prominence the multi-colored vibrancies of the flowering Ghaghra.
Fig: Ghoomar dance


6. Kalbelia:

  • It is a sensuous folk dance performed by the women of the Kalbelia community of Rajasthan.
  • "Been" = wind instruments played by snake charmers, is the popular musical instrument of this dance form.
  • In 2010, UNESCO has inscribed these songs & dances in the Representative List of the Intangible Cultural Heritage of Humanity.
Fig: Kalbelia (Snake) dance


7. Chabra:

  • It is a popular dance of Himachal Pradesh, performed during the Dussehra festival.
Fig: Chabra dance

8. Bhangra/Giddha:

  • It is a highly energetic folk dance of Punjab.
  • It is accompanied by infectious and catchy drum beats, which is a popular form of celebration during the festive season.
  • Giddha is the female counterpart of the male Bhangra.
Fig: Bhangra & Giddha dance


9.Dadra:

  • It is the semi-classical form of the dance form popular in Uttar Pradesh, which is accompanied by the music of the same style.
  • It is extremely popular among the courtesans of the Lucknow region.
Fig: Dadra dance


10. Jwara:

  • It is the harvest dance popular in the Bundelkhand, Madhya Pradesh region.
  • It includes balancing a basket full of jawar on the head and is accompanied by heavy instrumental music.
Fig: Jawara dance


11. Matki:

  • It is performed by the women of the Malwa region on the occasions of the wedding and another festival.
  • It is mainly performed Solo while balancing several earthen pots on the head.
  • Aada & Khada Nach are popular variants of the Matki dance.
Fig: Matki dance


12. Gaur Muria (Bison Horn):

  • It is an important ritualistic dance form of the Muria tribes who live in Bastar, Chattisgarh region.
  • The dance imitates the movements of a bison and is performed in the group by both men and women.
Fig: Gaur maria(Bison horn) dance


13. Alkap:

  • It is a rural dance-drama performance prevalent in the Rajmahal hills of Jharkhand and Murshidabad & Malda regions of West Bengal.
  • It is performed by the troops of 10-12 dancers, accompanied by one or two lead singers known as gayens.
  • The troops perform popular folklore and mythological stories, win which the dance is interspersed with comical sketches known as kap.
  • The dance is associated with the Gajan festival of Shiva.
Fig: Alkap dance


14. Birha:

  • It along with its variant, Bidesia, is a popular form of entertainment in rural Bihar.
  • It is a portrayal of the pin of the women, whose partners are away from the home.
  • However, this dance form is practiced solely by males, who play the role of the female characters as well.
Fig: Birha dance


15. Paika:

  • It is a martial folk dance performed in the southern parts of Odisha.
  • The dancers are armed with wooden spears & shields and show their skills and agility in infantry like formations.
  • It has a martial art character.
  • The wood Paika signifies - battle.
Fig: Paika dance


16. Bagurumba:

  • Bagurumba is a folk dance performed by the Bodo tribe of Assam and is related to nature & the environment.
  • Musical instruments that accompany Bagurumba performance are Sifung, Kham, Serja, etc.
Fig: Bagurumba dance


17. Jat-Jatin:

  • It is popular in the parts of Bihar, especially in the regions of Mithila.
  • This dance form is unique in its representation of the tender love and quarrel of a married couple.
Fig: Jat-Jatin dance


18. Jhumair:

  • It is a popular harvest dance, performed by the tribal people of Jharkhand and Odisha.
  • It has two variations: Janani Jhumair- performed by women and, Mardana Jhumair- performed by men.
  • It is the major attraction at many fairs & festivals.
Fig: Jhumair dance


19. Danda Jatra:

  • The Danda Nata or Danda Jatra is one of the oldest folk art of India, mainly popular in Odisha.
  • It is a unique blend of dance, drama & music.
  • It mainly narrates stories and lore about Shiva.
  • The theme is generally social harmony & brotherhood.
Fig: Danda Jatra


20. Bihu:

  • It is a popular dance of Assam, performed in a group by both men and women.
  • The dancers are dressed in colorful traditional dressed to celebrate the pomp and gaiety.
  • The dance performance includes group formations, rapid hand movements, and brisk footsteps.
Fig: Bihu dance


21. Thang Ta:

  • It is an exclusive dance form of Manipur.
  • Thang = sword, and Ta = spear.
  • 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 defend.
Fig: Thang-Ta martial art 


22. Rangma:

  • It is the war dance of the Nagas
  • They dressed in colorful costumes, jewelry, and colorful headgears.
  • The dancers enact mock war formations and traditions. 
Fig: Rangma dance


23. Singhi Chham:

  • The Singhi Chham is a popular mask dance of Sikkim.
  • The dancers are dressed in furry lion costumes symbolizing the snow lion and pay tribute to Khang-Chen Dzong Pa (Kanchenjunga Peak).
Fig: Singhi Chham dance


24. Kummi:

  • Kummi is a popular folk dance in the region of Tamilnadu & Kerala.
  • The dance is performed by the women, standing in a circular formation.
  • A unique feature of the dance performance in the absence of any accompanying music. The beats are generated by the rhythmic clapping.
  • The dance is generally performed during Pongal and, other religious festivals.
  • Kolattam & Pinnal Kolattam are close variants of this dance form.
Fig: Kummi dance


25. Mayilattam (Peacock Dance):

  • Mayilattam is the folk dance of Kerala and Tamilnadu in which young girls are dressed as peacocks, with colorful headgears, beaks, and feathers.
  • Similar dances include Kaalai (bull dance), Karadi Attam (bear dance), Aali Attam (demon dance) & Pampu Attam (snake dance). 
Fig: Mayilattam (Peacock) dance


26. Butta Bommalu (Basket toys):

  • It is a popular dance form of the West Godavari, Andhra Pradesh.
  • The dancers wear masks of the different characters, resembling toy-like shapes, and entertain through delicate movements & non-verbal music.
Fig: Butta Bommula dance


27. Kaikottikali:

  • It is a popular temple dance of Kerala.
  • It is performed by both men & women at the time of Onam to celebrate the rich harvest.
  • Airukali & Tattamakali are similar forms of this dance.
Fig: Kaikottikali dance


28. Padayani:

  • It is a martial dance performed in the Bhagvati temples of Southern Kerala.
  •  
  • It means rows of infantry, and it is a very rich and colorful affair

  • The dancers were huge masks known as kolams and present interpretations of divine and semi-divine narratives.
  • Some of the popular characters are Bhairavi, Kalan (God of Death), Yakshi, and Pakshi, etc.
  • It is performed to worship Goddess Kali. 
Fig: Padayani dance


29. Kolkali-Parichakali:

  • It is a popular martial art dance in the areas of Southern Kerala & Lakshadweep.
  • Kol = stick, Paricha = shield. 
  • The dancers use mock weapons made of wood and enact fight sequences.
  • The performance starts at a slow pace, but slowly builds up the tempo, and reaches a climax in a frenzy.
Fig: Kolkali-Parichakali dance


30. Pata Kunitha:

  • It is a popular dance form in Mysore, Mandya districts, Bengaluru.
  • It is a religious dance performed by men who use long bamboo poles decorated with colorful ribbons, known as pata.
  • The colorful exuberance makes it a visual spectacle and is extremely popular among the masses of all religions.
Fig: Pata Kunitha dance


31. Chakyar Koothu:

  • It is an art form of Kerala
  • It is a solo performance, where the performer dresses as a snake.
  • It is a combination of prose & poetry and is the narration in Malayalam.
  •  It has been traditionally performed by the Chakyar community = priest caste.
  • The performer wears colorful headgear, a large mustache, and red spots all over his body.
Fig: Chkyar-kothu dance


32. Jhoomer:

  • It is performed by tribal Sikhs in Punjab and adjoining areas during the harvest season.
  • It is performed in a circle.
  • Movements of arms are the most important part, on the tune of the drums.
  • Costumes are the same as in Bhangra. It was carried to India by the traders from Balochistan.
Fig: Jhoomer dance


33. Karma Naach:

  • It is performed during the tribal festival of "Karma" utilizing tribes of Eastern India, especially in the Chota Nagpur Plateau.
  • Dancers form circle and dance with arms around each other's waist.
Fig: Karma dance


34. Raut Naach:

  • It is performed in Chhattisgarh by the Yadav community, especially during the festival of Diwali.
Fig: Raut Nacha


35. Dumhal:

  • It is performed in Jammu & Kashmir by the Wattal tribe.
  • It involves colorful costumes with a tall conical hat for men.
  • Performers dance and sing to the drum beats.
Fig: Dumhal dance


36. Fugdi:

  • It is performed in the Konkan region of Maharashtra & Goa during festivals by women.
  • The dance is varied formations, in circles or rows
  • It has many sub-types as per local customs.
Fig: Fugdi dance


37. Cheraw:

  • It is the fork dance of Mizoram and is performed using bamboo sticks.
  • It is likely to have a foreign origin.
  • Men tap long pairs of bamboo in rhythmic beats, and girls dance to the beats of bamboo.
Fig: Cheraw dance


38. Dalkhai:

  • It is mostly performed during the Dussehra in Odisha.
  • It is performed by the tribes and many musical instruments are used.
  • Events from Ramayana & Mahabharata, stories of Lord Krishna, etc. are represented.
Fig: Dalkhai dance


39. Hulivesha:

  • It is performed in Karnataka.
  • It involves male dancers painted like the tiger who dance and portray an angry tiger to honor Goddess Durga whose favorite animal is the tiger.
  • It is performed during the Navaratri festival.
Fig: Hulivesha dance


40. Tippani:

  • It is originated in the region of Gujarat.
  • It is performed by women who beat the floors with tippani (two long wooden sticks joined by square wooden or iron black) on the beats of a folk song.
Fig: Tippani dance


41. Garadi:

  • It is a famous folk dance of Puducherry and is performed to celebrate the victory of Lord Rama over Ravana.
  • The dancers distinguished as "Vanars" = Monkey, celebrate this victory. 
  • Dancers wear 10 "Anjalis" = iron rings on each of their legs.
Fig: Garadi dance


42. Terah Tali:

  • It is performed by the "Kamar" tribe of Rajasthan.
  • Women sit on the ground while performing Tera Tali and cymbals (Manjiras) are tied to different parts of the body of a performer, which is quite unique.
Fig: Terah Tali dance


43. Hojagiri:

  • It is a famous folk dance of Tripura.
  • It involves the movement of only the lower half of the body by a group of four to six women or young girls.
  • It is performed during Lakshmi puja.
  • The female dancers balance earthen pitchers as well as other props while dancing.
Fig: Hojahgiri dance






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