India Dance Notes








India as a Country
o Densely populated (1 billion+)
o Near China, Pakistan, Nepal, and Arabian Sea / Bay of Bengal
o Different climates – affect costumes, etc.
o Dance is a vital instrument of religion
 6 forms: Bharata Natyam, Kathakali, Odissi, Kathak, Kuchipudi, Manipuri
Role of Dance in India
o Ritual, fold, social, religion, entertainment
o Prevalent religious content
o Hinduism – religion of philosophical knowledge known as Santa Darma
“everlasting law of life”
Hindu Trinity
o 1. Shiva
o 2. Brahma
o 3. Vishnu
 Each god is vital to the themes of dance in regard to story, form, quality, and
purpose
Shiva
o God of creation and destruction
o Nataraja is the name that refers to Shiva when appearing as the “DANCER”
o The first dancer; “eternal cosmic dancer”
o The Hindus believe that it is through this dance that the world evolves
o The dance of Shiva/Natraja is masculine
o Tandava is the name given to this masculine or more abrupt and forceful form
which Shiva is the incarnation (Tandava is a quality of movement)
o Shiva’s consort is Parvati, who is the incarnation of feminine dance
o Lasya is the name of the quality of feminine or more gentle and lyrical dance
Brahma
o The one creator of all
o Brahma gave the Natya Shastra as the sacred text of dance to Bharata
 Natya Shastra is called the fifth veda or bible
o The old sage Bharata was the receptor of the sacred text and one of the dance
forms of India refers to his name
Vishnu
o The protecting god/sustainer
o Lakshmi, Visnu’s consort, performed the dance that distracted the demon
Additional Sacred Dancers
o Krishna “the blue god” is represented as playing the flute
 His dance and music help to transform the soul
o Krishna’s consort, or wife, is Radha
 The Ras dance was created in her honor
Literature of Dance in India
o Veda – bible of the Hindu faith
 The fifth Veda is called the Natya Shastra
 The Natya Shastra was written in Sanscrit








o Bharata – is often referred to as the “father” of Indian dance because of his treatise
the Natya Shastra
 It was ascribed in 1st century A.D. and includes instructions for
communication and expression of dance as directed by Brahma
o Abhinaya Dharpana was written by Nandikeshwara
 The term for the 4 independent but linked techniques of communication of
the dance came from this treatise
Abhinaya – 4 techniques
o Angik – body gestures
o Vachik – poetry, song, music, rhythm, recitation
o Aharya – costume, makeup, jewelry
o Satvick – physical manifestation of mental/emotional states
The Temple at Chidambaram
o Sculptures of dancing figures cover the facades of this ad other temples in India
o The carvings refer to the 108 karanas
o Karana – body posture/position as a unit of movement
o The karanas are presented in the Natya Shastra
The Surya Deul Temple
o Temple in India with many sculptures
o Temple honors Surya, god of the sun
Mudra – hand gestures (hastra mudra)
o There are several sets of codified hand gestures that are specific to different styles
 Asamyutta – single hand gestures
 Samyutta Hastas – double hand gestures
Rasa – sentiment, mood, emotion
o 9 moods guide the dance:
 Love, Heroism, Sadness, Wonder, Laughter, Fear, Disgust, Anger, Peace
Additional Training Elements
o Guru – teacher, guidance in movement and in spirit
o Rasa – moods or sentiments (9)
o Bhava – facial gesture of mood
o Bhangas – degrees of bend to the body
o Mudras – hand gestures
o Charis – leg movement and foot positions
Bharata Natyam
o Temple dances of South India are the direct link to the Natya Shastra and to the old
sage Bharata
o Typically female dancers perform this form in the temple setting
o Men perform male roles with women in the theatrical setting
o The women are called Devadasis (meaning servants or brides of god)
o Margam – the path or progression of the Bharata Natyam dance has 4 parts
 1. Flowering
 2. Melody, symbols
 3. Text, syllables
 4. Love songs
Components of Dance





o Nritta – pure/abstract
o Nritya – thematic
o Nayta – narrative
Bharata Natyam
o Devotional dance to Shiva in the temple setting
o Levels in space from low to high
o Changes in quality between gentle and fierce
o Sung syllables in the music
o Ankle bells as dance music, not just accompaniment
o Stamina needed for nearly an 8 minute solo
History
o The temple dance almost died out because the British tried to impose their own
culture on India. The dance was considered one of prostitutes
o Balasaraswati is a key figure in the revival of Indian dance (career lasted over 40
years)
o Rukmini Devi is another key figure in the revival and forward progress of Indian
dance
 Established Kalakshetra in 1936, the arts school where support and
education could be found for the performing artists of Bharata Natyam
 So highly regarded, offered the highest political position in India
REVIEW
o Literature – 2 texts
 Natya Shastra
 Abinaya Dharpana
o Margam – progression or path
o 3 components
o 4 techniques of Abinaya
o Mudras – hand gestures (single & double)
o Temple carvings (depict karanas, temple names)
o 9 moods
o Balasaraswati
o Rukmini Devi
o The political and social condition of the dance; the dance’s decline and recovery
Music
o Concepts
 Tala – rhythm
 Raga – melody
 Sruti – drone
 Kriti – song form
o Instruments
 Drums
 Shepherd’s flute
 Concert flute
 Veena (Reputed to be the oldest string instrument on record.)
Kathakali
o Dances originated in the area called the Malabar coast in SW India






o Dates to the 16th century and serves as a fusion of ancient cultures with period
religious and warrior stores
o Its origin is of royal patronage
Kathakali Dance
o Serves as a narrative about deities and warriors
o It is often a lengthy event held at night by torchlight
o It has a starting curtain that is quickly pulled away to signify the start of the
performance
o Kathakali also uses an elaborate set of gestures, which are different from those of
Bharata Natyam
o The performers are traditionally men with men even playing the female character
roles
Kathakali Costuming
o Bright colors are significant to the characters’ spirit and mood
o Facial prosthetics add size and dimension
o Bell shaped skirt is part of the costume
o The color of the makeup helps to define the central character of each figure
 Pale green face – refined, serene
 Green with red stripes or accents – evil, mischievous
 Black faces, often with red beards and white mustaches – raging temper
o There are different venues for the performance of Kathakali which influence its
appearance
o By day at a very public gathering it can be less formal
o By night in a more exclusive gathering it can be more reserved and depend more
on the hand gestures
Vallathol Narayana Menon
o The poet, Vallathol Narayana Menon, helped to revive the art of Kathakali by
opening a school for the instruction and preservation of the art
o 1930, Keralakalamandalam is established in Kerala to support the performing arts
and especially Kathakali
Kathak
o Dances of Northern India and Pakistan
o Origins date to the 16th century
o The people who established this form are called the Kathaks, “itinerant bards,”
who traveled and performed their story telling dances throughout the region.
o The stories were of value to the observers as the stories presented positive moral
and religious lessons
Kathak (continued)
o Kathak is rooted in the tradition of the nobles of the Mughal Empire
o This culture from central Asia brought the custom of dancing entertainment
o The orthodox Islam beliefs did not support a display of the female body
o Kathak evolved as a more dramatic form
Kathak Decline & Recovery
o Kathak went through a period of decline
o The recovery of the art of Kathak was largely due to the sponsorship by the
princely courts of Lucknow and Jaipur







o These Rajahs saw the value of preserving their culture and gave refuge to the
Kathak artists so that they could continue the tradition of dance, music, and story
telling
Dance Style & Costumes
o Longer costume covers more of the body
o Often there is a clear connection with musicians with a physical call and response
o Turns
o Hand and arm movement is much more abstract and mime takes on a stronger role
o The posture of this form is most often standing as the form contains many spins
and turns
o These turns are a key ingredient to the aesthetic and are emphasized by the
costume whether short or long
Manipuri
o Northeast India (from Nepal & China)
o Established in the 15th century as a central cultural force of religion
o 2 main parts
 Classical form
 Folk form
o The more classical form of Manipuri is limited to women dancers only (the women
play male roles)
Manipuri: Meaning of the Dance
o Focus is not as temple based as the Bharata Natyam but still involves stories of
deities
o The stories and themes often express varying moods found in nature
o The likeness of Krishna and Radha are prevalent when themes involve deities
 Side note: In Manipuri, Krishna does not have a blue face
Manipuri Dance Style & Costume
o Signature costume is a tubular skirt for women that hides the legs and gives a
floating quality
o Fold forms are especially strong in rhythm movement involves leaps
o Floating, gliding
o Less emphasis on hand gestures (no mudras)
o Face is calm and composed
Kuchipudi
o From the village of Kuchipudi in Southeastern India
o Date varies; start unknown; popular in the 16th century
o Siddhendra Yogi – founder
 Orphan whose promise to Lord Krishna became a dedication in dance and
music
o Art form became a tool for correcting injustice
Kuchipudi (continued)
o Historically this form was performed only by religious men of a high social status
o Dance dramas and popular solo performances are performed by both men and
women
o Kuchipudi is an example of blending Nritta, Nritya, and Natya
Kuchipudi Costumes & Dance



o Women’s costumes are similar to the Bharata Natya costumes
o Men’s costumes are linked historically and stylistically to those of male Kathakali
dancers but have evolved into often minimal versions without bell shaped skirts
o Tarangams – dances performed by the dancer balanced on the rim of a brass plate
 May also be done with the addition of a pitcher of water balanced on the
dancer’s head
Odissi
o Named after the area called Orissa in northeastern India
o Traditions were recorded in the temple rituals as early as the 2nd century B.C.
o Odissi was recorded in the 9th century A.D. as a children’s form. It evolved to
include adults in the next centuries
Odissi (continued)
o Suffered a long period of disarray. It was reorganized and preserved primarily by
several male dancers and gurus in the mid-twentieth century
o Fundamentally, Odissi serves as an act of worship in a sensuous manner… an
expression of love and affection for Krishna
Odissi Dance
o A trademark shape of Odissi is tribhanga or triple bend of the body
o Devadasis – same term as for Bharata Natyam female dancers was adopted later
o The story of “Draupadi”
 Draupadi in distress…. Victim of foolish gambling at the royal court
 Saved by Krishna, her body is covered by a gift of many yards of cloth