Indian classical dance

Last updated

An illustration of the Manipuri Raas Leela Dance (Meitei: Jagoi Raas, Raas Jagoi ), one of the officially recognised classical dance forms of India, depicted on a postage stamp from Armenia. Stamp of Armenia - 2018 - Colnect 806145 - Indian Dance Manipuri.jpeg
An illustration of the Manipuri Raas Leela Dance (Meitei : Jagoi Raas, Raas Jagoi), one of the officially recognised classical dance forms of India, depicted on a postage stamp from Armenia.

Indian classical dance, or Shastriya Nritya, is an umbrella term for different regionally-specific Indian classical dance traditions, rooted in predominantly Hindu musical theatre performance, [1] [2] [3] the theory and practice of which can be traced to the Sanskrit text Natya Shastra . [4] [5] [6] The number of Indian classical dance styles ranges from six to eight to twelve, or more, depending on the source and scholar; [7] [8] the main organisation for Indian arts preservation, the Sangeet Natak Academy recognizes eight: Bharatanatyam , Kathak , Kuchipudi , Odissi , Kathakali , Sattriya , Manipuri and Mohiniyattam . [9] Additionally, the Indian Ministry of Culture includes Chhau in its list, recognising nine total styles. [10] Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. [11] [3] Each dance tradition originates and comes from a different state and/or region of India; for example, Bharatanatyam is from Tamil Nadu in the south of India, Odissi is from the east coast state of Odisha, and Manipuri is from the northeastern state of Manipur. The music associated with these different dance performances consists many compositions in Hindi, Malayalam, Meitei (Manipuri), Sanskrit, Tamil, Odia, Telugu, and many other Indian-Subcontinent languages; they represent a unity of core ideas, and a diversity of styles, costumes and expression.

Contents

Summary

Indian classical dancing started around 200 BCE in India, as a joyful and celebratory activity, often in devotion to Hindu deities. Many of the performances are choreographed to retell stories of the gods and other historical accounts. All styles of Indian classical dance are vibrant, expressive and spiritual. Dance performances usually take place at festivals, universities, various cultural events, and more. The dancers who perform these styles are usually professionals who have devoted years of study and practice in their respective style of Indian classical dance. In performances, the dancers move to the beat of the song or music that is playing; in some styles, such as Kathak, bells are worn around the ankles at times for added rhythmic effect when the feet are stomped. The dancer takes the role of the character that they are portraying in the performance, the composition being specific, and become emotionally connected with the story and the audience. [12]

When dancers perform classical Indian dancing they wear traditional clothes including sarees, lenghas, and kurtas. Usually, women are the main performers in Indian classical dancing, though men are not absent from the tradition. The costume for women usually consists of a long, colorful, handmade gown (worn without shoes), with an intricately embroidered pattern(s) and beading on it. For accessories, there is the use of much ornate jewelry, such as necklaces, rings, earrings, nose-rings, bracelets and anklets, sometimes with bells attached which ring each time the dancer stomps their foot in rhythm. The costume also includes a head-piece or some form of scarf, depending on the style. The women usually wear considerable amounts of facial makeup, not only to be noticeable from the audience, but to fully embody their character. [13]

Types of classical dances

The Natya Shastra is the foundational treatise for classical dances of India, [4] [14] and this text is attributed to the ancient scholar Bharata Muni. [6] [15] [16] Its first complete compilation is dated to between 200 BCE and 200 CE, [17] [18] but estimates vary between 500 BCE and 500 CE. [19] The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. [17] [20] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances. [17] [21] Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues and the essence of scriptures. [22] [23]

Performance arts and culture

Let Nātya (drama and dance) be the fifth vedic scripture.
Combined with an epic story,
tending to virtue, wealth, joy and spiritual freedom,
it must contain the significance of every scripture,
and forward every art.

— Nātyaśāstra 1.14–15 [22] [24]

While the Natya Shastra is the revered ancient text in the Hindu tradition, there are numerous other ancient and medieval Sanskrit dance-drama related texts that further discuss and expand on the classical repertoire of performance arts, such as the Abhinaya Darpana , Abhinava Bharati, Natya Darpana, Bhava Prakasa and many others. [25] [26] [27] The term "classical" (Sanskrit: "Shastriya") denotes the ancient Indian Shastra-based performing arts.

The text Natya Shastra describes religious arts as a form as margi, or a "spiritual traditional path" that liberates the soul, while the folk entertainment is called desi, or a "regional popular practice". [28] [29] [30]

Indian classical dances are traditionally performed as an expressive drama-dance form of religious performance art, [3] related to Vaishnavism, Shaivism, Shaktism, pan-Hindu Epics and the Vedic literature, or a folksy entertainment that includes story-telling from Sanskrit or regional language plays. [31] As a religious art, they are either performed inside the sanctum of a Hindu temple, or near it. [1] [2] Folksy entertainment may also be performed in temple grounds or any fairground, typically in a rural setting by travelling troupes of artists; alternatively, they have been performed inside the halls of royal courts or public squares during festivals. [32]

However, this is not the case for Kathak, Manipuri and Chhau as it has their own uniqueness. Kathak can be also performed on courtyards of mosques and had Muslim elements while Manipuri had the huyen langlon genre which focuses on combat. [33] [34] [35] [36] Like Manipuri, Chhau also had elements on combat.

Dance forms

The Natya Shastra mentions four Pravrittis (traditions, genres) of ancient dance-drama in vogue when it was composed – Avanti (Ujjain, central), Dakshinatya (south), Panchali (north, west) and Odra-Magadhi (east). [37]

Sources differ in their list of Indian classical dance forms. [38] [39] Encyclopædia Britannica mentions six dances. [40] The Sangeet Natak Akademi has given recognition to eight Indian dances. [41] The Indian government's Ministry of Culture includes nine dance forms. [42] Scholars such as Drid Williams and others include Yakshagana and Bhagavata Mela to the nine classical Indian dances in the Sangeet Natak Akademi list. [3] [11]

The classical dance forms recognised by the Sangeet Natak Akademi and the Ministry of Culture are: [41] [43]

Eight classical dances recognised by the Sangeet Natak Akademi and the Ministry of Culture

Other dances also recognised by the Ministry of Culture

Images

Some famous Indian classical dancers are :

Shared aspects

All major classical Indian dance forms include in repertoire, three categories of performance in the Natya Shastra. These are Nritta, Nritya and Natya: [44]

All classical dances of India used similar symbolism and rules of gestures in abhinaya (acting). The roots of abhinaya are found in the Natyashastra text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. [50] A performance art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music. [50] Drama in this ancient Sanskrit text, this is an art to engage every aspect of life, to glorify and gift a state of joyful consciousness. [51]

The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. [52] In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance:

See also

Footnotes

  1. ↑ Encyclopædia Britannica excludes Mohiniyattam from the list of the Indian classical dances.
  2. ↑ Encyclopædia Britannica excludes Sattriya from the list of the Indian classical dances.

Related Research Articles

<i>Bharatanatyam</i> Major form of Indian classical dance

Bharatanatyam is an Indian classical dance form that originated in Tamil Nadu. It is a classical dance form recognized by the Sangeet Natak Akademi, and expresses South Indian religious themes and spiritual ideas, particularly of Shaivism and in general of Hinduism and Jainism.

<i>Kathakali</i> Classical Indian dance

Kathakali is a traditional form of classical Indian dance, and one of the most complex forms of Indian theatre. It is a "story play" genre of art, but one distinguished by the elaborately colourful make-up and costumes of the traditional male actor-dancers. It is native to the Malayalam-speaking southwestern region of Kerala and is almost entirely practiced by Malayali people.

<i>Kuchipudi</i> Indian classical dance

Kuchipudi is one of the eight major Indian classical dances. It originates from a village named Kuchipudi in the Indian state of Andhra Pradesh. Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text of Natya Shastra. It developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India.

<i>Odissi</i> Classical dance of India

Odissi, also referred to as Orissi in old literature, is a major ancient Indian classical dance that originated in the temples of Odisha – an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism through songs written and composed according to the ragas & talas of Odissi music by ancient poets of the state. Odissi performances have also expressed ideas of other traditions such as those related to Hindu deities Shiva and Surya, as well as Hindu goddesses (Shaktism).

<i>Kathak</i> Indian classical dance form originated in North India

Kathak is one of the eight major forms of Indian classical dance. Its origin is attributed to the traveling bards in ancient northern India known as Kathakar ("storyteller"), who communicated stories from the Hindu epics and mythology through dance, songs and music. Its name derives from the Sanskrit word katha which means "story", and kathakar which means "the one who tells a story", or "to do with stories".

<i>Natya Shastra</i> Sanskrit text on the performing arts

The Nāṭya Śāstra is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.

<i>Sattriya</i> One of the classical dances of India

Sattriya, or Sattriya Nritya, is a major Indian classical dance. It was initially created as part of Bhaona which are performances of Ankiya Nat, one-act plays, originally created by Sankardev, a 15th-16th century polymath from Assam. These dances are part of the living traditions today of Sattra, which are communities of live-in devotees belonging to the Ekasarana Dharma, a Hindu sect established by Sankardev.

Arts and architecture in India have had their course shaped by a synthesis of indigenous and foreign influences that have consequently shaped the course of the arts of the rest of Asia, since ancient times. Arts refer to paintings, architecture, literature, music, dance, languages and cinema. In early India, most of the arts were derived Vedic influences. After the birth of contemporary Hinduism, Jainism, Buddhism, and Sikhism arts flourished under the patronage of kings and emperors. The coming of Islam spawned a whole new era of Indian architecture and art. Finally the British brought their own Gothic and Roman influences and fused it with the Indian style. They have a culture infusion in their art.

<i>Mohiniyattam</i> Classical dance of India

Mohiniyattam is an Indian classical dance form originating from the state of Kerala. The dance gets its name from Mohini – the female enchantress avatar of the Hindu deity Vishnu, who helps the devas prevail over the asuras using her feminine charm.

<span class="mw-page-title-main">Dance in India</span> Classical to folk dance arts of India

Dance in India comprises numerous styles of dances, generally classified as classical or folk. As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country.

<i>Chhau</i> dance Indian semi classical martial dance originating in East India

Chhau, also spelled Chhou, is a semi classical Indian dance with martial and folk traditions. It is found in three styles named after the location where they are performed, i.e. the Purulia Chhau of West Bengal, the Seraikella Chhau of Jharkhand and the Mayurbhanj Chhau of Odisha.

<span class="mw-page-title-main">Manipuri dance</span> Classical dance of India

Manipuri dance, also referred to as the Manipuri Raas Leela, is a jagoi and is one of the major Indian classical dance forms, originating from the state of Manipur. It is one of the greatest cultural achievements of the traditional Vaishnavism adhering Meitei people of Manipur. Owing to the Meitei civilization, the classical dance form, first formally developed by Meitei Hindu king Ching Thang Khomba of the Kingdom of Manipur, is considered to be the highest spiritual expression of the worship of Hindu deity Krishna. Owing to its huge influences on the diverse cultural heritages across the Indian subcontinent, it is recognised by the Sangeet Natak Akademi of the Ministry of Culture of the Government of India as one of the few primary classical dance forms of the Republic of India, and is honoured with the Sangeet Natak Akademi Award for Manipuri annually. It is referred to as the "national dance" during the Armenia-India joint issue of postage stamps, as a part of the Armenia-India international relations.

<span class="mw-page-title-main">Tandava</span> Divine dance performed by the Hindu god Shiva

Tandava, also known as Tāṇḍava Natyam, is a divine dance performed by Hindu god Shiva. Shiva is depicted as dancing the Tandava in his form of Nataraja.

<span class="mw-page-title-main">Sangeet Natak Akademi</span> Indian national level academy for performing arts

Sangeet Natak Akademi is the national level academy for performing arts set up by the Government of India.

In Indian aesthetics, a rasa literally means "juice, essence or taste". It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described. It refers to the emotional flavors/essence crafted into the work by the writer or a performer and relished by a 'sensitive spectator' or sahṛidaya, literally one who "has heart", and can connect to the work with emotion, without dryness.

<span class="mw-page-title-main">Classical Indian musical theatre</span>

Classical Indian musical theatre is a sacred art of the Hindu temple culture. It is performed in different styles.

Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically.

Bhagavata Mela is a classical Indian dance that is performed in Tamil Nadu, particularly the Thanjavur area. It is choreographed as an annual Vaishnavism tradition in Melattur and nearby regions, and celebrated as a dance-drama performance art. The dance art has roots in a historic migration of practitioners of Kuchipudi, another Indian classical dance art, from Andhra Pradesh to the kingdom of Tanjavur.

<span class="mw-page-title-main">Nritya</span> Sanskrit word for Indian dance form

Nritya, also referred to as nritta, natana or natya, is "dance, act on the stage, act, gesticulate, play" in the Indian traditions. It is sometimes subdivided into two forms: nritta or pure dance, where expressionless movements of a dancer play out the rhythms and phrases of the music; and nritya or expressive dance, where the dancer includes facial expression and body language to portray mood and ideas with the rhythmic movements.

<span class="mw-page-title-main">Dances of Manipur</span> Dances performed in Manipur, India

There are many different dance styles from Manipur, a state in northeastern India bordering with Myanmar (Burma), Assam, Nagaland and Mizoram. Manipuri dances encompasses both classical and folk dance forms. The Raas Leela is one of the major Indian classical dance forms. The folk dance forms are mainly attributed to ancient Meitei deities such as Umang Lai and performed during Lai Haraoba, and also the dances of the different tribal communities of Manipur.

References

  1. 1 2 Julius Lipner (2012). Hindus: Their Religious Beliefs and Practices. Routledge. p. 206. ISBN   978-1-135-24061-5., Quote: "It would be appropriate here to comment on Hindu classical dance. This developed in a religious context and was given high profile as part of temple worship. There are several regional and other styles as well as source texts, but the point we wish to stress is the participative nature of such dance. In form and content, the heart of dance as worship in Hinduism has always been 'expression' (abhinaya), i.e. the enacting of various themes".
  2. 1 2 Jean Holm; John Bowker (1994). Worship. Bloomsbury Academic. p. 85. ISBN   978-1-85567-111-9., Quote: Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the Vedic literature, (...)".
  3. 1 2 3 4 Frank Burch Brown (2013). The Oxford Handbook of Religion and the Arts. Oxford University Press. pp. 195–196. ISBN   978-0-19-972103-0., Quote: All of the dances considered to be part of the Indian classical canon (Bharata Natyam, Chhau, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi, Sattriya, and Yakshagana) trace their roots to religious practices (...) the Indian diaspora has led to the translocation of Hindu dances to Europe, North America and the world."
  4. 1 2 James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: N-Z . The Rosen Publishing Group. pp.  467. ISBN   978-0-8239-3180-4., Quote: "the Natyashastra remains the ultimate authority for any dance form that claims to be 'classical' dance, rather than 'folk' dance".
  5. ↑ Ragini Devi 1990, pp. 60–68.
  6. 1 2 Mohan Khokar (1984). Traditions of Indian classical dance. Clarion Books. pp. 57–58. ISBN   9780391032750.
  7. ↑ "6 Classical Dances of India | Britannica".
  8. ↑ Sarwal, Amit; Walker, David (2015). "Staging a Cultural Collaboration: Louise Lightfoot and Ananda Shivaram". Dance Chronicle. 38 (3): 305–335. doi:10.1080/01472526.2015.1088286. S2CID   166744945.
  9. ↑ Bishnupriya Dutt; Urmimala Sarkar Munsi (2010). Engendering Performance: Indian Women Performers in Search of an Identity. SAGE Publications. p. 216. ISBN   978-81-321-0612-8.
  10. ↑ "Dance | Ministry of Culture, Government of India".
  11. 1 2 Williams 2004, pp. 83–84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Sattriya, Chhau, Manipuri, Yaksagana and Bhagavata Mela.
  12. ↑ Aryan Singh A guide To Indias History
  13. ↑ Aryan Singh A guide to Indias History
  14. ↑ Tanvi Bajaj; Swasti Shrimali Vohra (2015). Performing Arts and Therapeutic Implications. Routledge. pp. 6–7. ISBN   978-1-317-32572-7.
  15. ↑ Schramm, Harold (1968). "Musical Theatre in India". Asian Music. 1 (1). University of Texas Press: 31–40. doi:10.2307/834008. JSTOR   834008.
  16. ↑ Coorlawala, Uttara Asha (1993). "The Toronto conference on "new directions in Indian dance"". Dance Chronicle. 16 (3). Routledge: 391–396. doi:10.1080/01472529308569140.
  17. 1 2 3 Natalia Lidova 2014.
  18. ↑ Tarla Mehta 1995, pp. xxiv, 19–20.
  19. ↑ Wallace Dace 1963, p. 249.
  20. ↑ Emmie Te Nijenhuis 1974, pp. 1–25.
  21. ↑ Kapila Vatsyayan 2001.
  22. 1 2 Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p. 4.; Also see chapter 36
  23. ↑ Guy L. Beck (2012). Sonic Liturgy: Ritual and Music in Hindu Tradition. University of South Carolina Press. pp. 138–139. ISBN   978-1-61117-108-2. Quote: "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".
  24. ↑ "Natyashastra" (PDF). Sanskrit Documents.
  25. ↑ Tarla Mehta 1995, pp. xxix, 131–137.
  26. ↑ Mandakranta Bose (2012). Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition. Springer. pp. 13–32, 108–112. ISBN   978-94-011-3594-8.
  27. ↑ Ragini Devi 1990, pp. 18–37.
  28. ↑ Reginald Massey 2004, p. 32.
  29. ↑ Ragini Devi 1990, pp. 67, context: 60-68.
  30. ↑ Thera Mahanama-sthavira (1999). Mahavamsa: The Great Chronicle of Sri Lanka. Jain Publishing. pp. 40–41. ISBN   978-0-89581-906-2.
  31. ↑ Ragini Devi 1990, pp. 25–30, 67–68, 166.
  32. ↑ Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993, pp. 3, 34–36, 47, 171–173, 215, 327–329.
  33. ↑ "Kathak Dance Puts Hinduism and Islam in the Same Circle".
  34. ↑ Chowdhurie, Tapati (13 May 2016). "Gem of a journey". The Hindu.
  35. ↑ "Manipuri Dance: A Journey" (PDF). esamskriti.com.
  36. ↑ "Manipuri dance elbowed out by Bharat Natyam, Odissi, Kathak".
  37. ↑ Sunil Kothari; Avinash Pasricha (1990). Odissi, Indian classical dance art. Marg Publications. pp. 5–6. ISBN   978-81-85026-13-8.
  38. ↑ "Indian Classical Dance". One India. 2009-04-19. Archived from the original on 2009-04-17. Retrieved 2010-06-11.
  39. ↑ Narayan, Shovana (2005). Indian classical dances: "ekam sat vipraah bahudaa vadanti". Shubhi Publications. p. 5. ISBN   9781845571696.
  40. ↑ Encyclopædia Britannica. dance (performing arts) : Indian classical dance. Retrieved 03-11-2010.
  41. 1 2 SNA || Awards & Honours
  42. 1 2 "Dance". Indiaculture.nic.in. Retrieved 2022-05-27.
  43. ↑ "Dance | Ministry of Culture, Government of India". indiaculture.nic.in.
  44. 1 2 3 4 Meduri, Avanthi (1988). "Bharatha Natyam-What Are You?". Asian Theatre Journal. 5 (1). University of Hawaii Press: 3–4. doi:10.2307/1124019. JSTOR   1124019.
  45. 1 2 Ellen Koskoff (2008). The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia. Routledge. p. 955. ISBN   978-0-415-99404-0.
  46. 1 2 Janet Descutner (2010). Asian Dance. Infobase. pp. 45–46. ISBN   978-1-4381-3078-1.
  47. ↑ Kavitha Jayakrishnan (2011), Dancing Architecture: the parallel evolution of Bharatanātyam and South Indian Architecture, MA Thesis, Awarded by University of Waterloo, Canada, page 25
  48. ↑ Reginald Massey 2004, pp. 33–38, 83–84, 207–214.
  49. ↑ Bruno Nettl; Ruth M. Stone; James Porter; et al. (1998). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Routledge. pp. 516–521. ISBN   978-0-8240-4946-1.
  50. 1 2 Tarla Mehta 1995, p. 3.
  51. ↑ Tarla Mehta 1995, p. 5.
  52. 1 2 3 Tanvi Bajaj; Swasti Shrimali Vohra (2015). Performing Arts and Therapeutic Implications. Routledge. pp. 82–84. ISBN   978-1-317-32572-7.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.