The dancing culture in India is as old as its civilization. A very important aspect of the social fabric, dance is deeply rooted in various aspects of the culture and religion of this country. References to dancing are found in the Vedas, Upanishads, the epics of Ramayana and Mahabharata, in Buddhist literature, Jainism, and also in early texts like Natyashastra. Bards and dancers had special places in various royal courts.
Contemporary classical dance forms have evolved out of the musical play or sangeet-nataka performed from the 12th century to the 19th century. The Indian classical dances have two basic aspects - Tandava (movement & rhythm) and Lasya (grace, bhava & rasa).
The three main components are-
Bharatnatyam is the classical dance of the southern part of the Indian subcontinent, today's Tamil Nadu and Kerala. Its origin predates the Nandikeshwara's treatise on dance Abhinaya Darpana by many centuries and possibly millenniums. The Natyashastra refers to Bharata as a multi-talented genius who could expertly play a musical instrument, dance and also sing. It describes the three stages of life as studentship (brahmacharya), householders (grihastha) and finally an ascetic stage (vanaprastha).
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. In its usual form the dance is generally broken into seven main parts – Alarippu, Jatiswaran, Shabda, Varna, Pada, Thillana and Sloka. Bharatnatyam poses are depicted on the gopurams of the Chidambaram temple (Tamil Nadu).
Kathak of North India, with its strong roots, can be traced to the temples in the 11 th century when the dance form was offered as prayers to the deities. Also known as Natya Shastra, this dance is believed to have evolved from various religious themes that represented different human emotions. In the 16th century, it started to be performed by male dancers and thus received the name Kathak.
Under the Mughal emperors and their nobles, Kathak was performed in the court, where it acquired its present features and developed into a form of dance with a distinctive style. Under the patronage of Wajid Ali Shah, the last Nawab of Awadh, it grew into a major art form. Usually a solo performance, the dancer often pauses to recite verses followed by their execution through movement.
Ghaulakkulam, the palatial home of Kathakali in Kerala, gave birth to Koodiyattam and Krishnattam. These art forms are traditional ritualistic performances that have been evolving from time immemorial. They are independent in appeal, grammar and technique but influenced by Kathakali. The two are performed by recognised experts trained traditionally without any apparatus whatsoever.
The dancers enact the roles (kings, gods, demons etc.) of the stories with particular make-up and costume, the vocalists narrate the legend and the percussionists play the musical instruments. Different facial colours indicate different mental stages & character, e.g. green – nobility, black – wicked, red patches – combining royalty & evil. Hand gestures, facial expressions and eye movements are important.
Kuchipudi is the name of a village in the Krishna district of Andhra Pradesh which has a very long tradition of dance-drama. It was known under the generic name of Yakshagaana.
In 17th century Kuchipudi style of Yakshagaana was conceived by Siddhendra Yogi. He was steeped in the literary Yakshagaana tradition being guided by his guru Teerthanaaraayana Yogi who composed the Krishna-Leelatarangini, a kaavya in Sanskrit.
It is performed as dance drama i.e. performance in groups and also as solo items.
Costumes, ornaments and jewellery occupy an important place.
The solo items are Manduka Shabdam (story of frog maiden), Balgopala Taranga (dance on the edges of brass plate with a pitcher full of water on head) and Tala Chitra Nritya (drawing pictures with dancing toes).
Yamini Krishnamurthy and Raja Reddy are prominent dancers.
Mohiniyattam or dance of Mohini (an incarnation of Lord Vishnu) is the classical solo dance form of Kerala.
References of Mohiniyattam can be found in the texts Vyavaharamala written in 1709 by Mazhamagalam Narayanan Namputiri and in Ghoshayatra, written later by poet Kunjan Nambiar.
It was structured into the present day classical format by the Travancore Kings, Maharaja Kartika Tirunal and his successor Maharaja Swati Tirunal (18th-19th century)
Mostly a solo performance by girls with circular movements, delicate footsteps and subtle expressions.
Movements have been borrowed from Nangiar Koothu and female folk dances Kaikottikali and the Tiruvatirakali.
It has elements of Bharatanatyam (grace & elegance) and Kathakali (vigour) but is more erotic, lyrical and delicate.
Realistic make-up and simple dressing (in Kasavu saree of Kerala) are used.
The lyrics are in Manipravala (a medieval south Indian language combining Tamil-Malayalam and Sanskrit).
Sunanda Nair and Pallavi Krishnan are the notable artists.
The major subjects of performance are lores of incarnations of Lord Vishnu and verses of Jayadeva’s Gita Govinda.
A soft dance backed by soothing lyrics and is similar to Bharatanatyam in terms of the mudras and expressions.
Termed as ‘mobile sculpture’ it incorporates two major postures - Tribhanga (the body is deflected at the neck, torso and the knees) and Chowk (a position imitating a square).
Sonal Mansingh and Kelucharan Mohapatra are the eminent performers.
The Sattriya dance form was introduced in the 15th century A.D by the Vaishnava saint and reformer of Assam, Sankaradeva as a medium for propagation of the Vaishnava faith.
The dance form evolved and expanded as a distinctive style of dance later on.
Because of its religious character and association with the Sattras (Vaishnava maths or monasteries), this dance style has been named Sattriya.
Sattriya dance tradition is governed by strictly laid down principles in respect of hastamudras, footworks, aharyas, music etc.
This tradition, has two distinctly separate streams - the Bhaona-related repertoire starting from the Gayan-Bhayanar Nach to the Kharmanar Nach, secondly the dance numbers which are independent, such as Chali, Rajagharia Chali, Jhumura, Nadu Bhangi etc.
Among them the Chali is characterized by gracefulness and elegance, while the Jhumura is marked by vigor and majestic beauty.
The origin of Manipuri dance can be traced back to ancient times that go beyond recorded history.
The dance in Manipur is associated with rituals and traditional festivals, there are legendary references to the dances of Shiva and Parvati and other gods and goddesses who created the universe.
Lai Haraoba is the earliest form of dance which forms the basis of all stylised dances in Manipur.
The popular Rasleela dances of Manipur originated in the reign of 18th century King Bhagyachandra.
Manipur dance has a large repertoire, however, the most popular forms are the Ras, the Sankirtana and the Thang-Ta.
The Kirtan form of congregational singing accompanies the dance which is known as Sankirtana in Manipur.
