Featured Articles

Access an archive of scholarly articles on performing arts here. Users can post their own researched based articles and the best of entries will be featured in the "Showcase" which carries information of the winners of the month.

Article of the month !

ASHTANAYIKA IN THE POETRY OF SOORDAS
- Ojaswita Chaturvedi
Indian classical art forms are essentially spiritual in nature and thus provide a sacred platform for every individual. From ages of yore, Indian traditions have boasted of arts that directly relate to the supreme. Each and every aspect of the visual arts of India is fundamentally a spiritual concept and therefore our art forms are known to elevate the spectators and performers alike.
ASHTANAYIKA IN THE POETRY OF SOORDAS

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Article Scroll of Honour
The Unique Wholesomeness of Indian Music
- P.P.Kanthan

All over the world and since immemorial times, people have sought a sense of well being that comes out of perfect spiritual, mental, emotional and bodily health. An ancient Sanskrit adage says, “Survey Janah Sukhino Bhavantu,” which means let all people be happy. The British philosopher Locke once said, “A sound mind in a sound body is a short, but full description of a happy state in this world.”

The Unique Wholesomeness of Indian Music

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South Indian Cuisine
- Vidyalakshmi Venkataraman

A basic preview into the characteristic manner of preparing food in the southern regions of India is given here. South Indian cuisine includes those found in Andhra Pradesh, Karnataka, Kerala and Tamil Nadu, the four southern states of India.
South Indian Cuisine

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Hand gestures in dance & prayers
- Ojaswita Chaturvedi

Hand gestures have been an integral part of Indian culture from primeval times. Ranging from the daily conversations to the latest modern applications, hand gestures find a great vicinity in the life of every individual.
Hand gestures in dance & prayers

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Affect of Carnatic music on mind
- Srujana Vanguri

I knew that music has power but realized that the power is different for every form of music we listen to. Our mind reacts on the type of music we listen, in fact, more often and eventually, we start to react to what our mind says. It is something like  “Our mind controls us and Music controls our mind”. There were many researches made on many forms of music in the world which also includes Carnatic Music.

Affect of Carnatic music on mind

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Some learn and some never - Itihasa shows the way
- A.Sathyanarayanan

Being adamantly wrong is sure recipe for disaster. We see this trait in Duryodhana. He tortured himself to such hatred for the Pandavas that he did not enjoy his own life. Dhritarashtra advised: “Son, sorrow and death will be the sole result of hatred of kith and kin, especially when they are blameless.” The son rode roughshod by slamming it down.
Some learn and some never - Itihasa shows the way

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Towards a more sustainable education system
- Aurovrata Aurèle Venet

Learning by wrote seems to be the only way for our nation of aspiring youth.  Our schools since our British heritage have thought the vast majority of our children to learn their lessons by heart.
Towards a more sustainable education system

Learning by wrote seems to be the only way for our nation of aspiring youth.  Our schools since our British heritage have thought the vast majority of our children to learn their lessons by heart, to copy and regurgitate during exam time.  Our entire educational system is founded on the principle that success at exam is the only yardstick of achievement.  Prestigious colleges and higher education institutions perpetuate this notion with the requirement of passing ever more demanding entrance examinations, favouring and biasing the selection process towards the ability to learn by heart, to have a good memory and regurgitate that knowledge into a exam format answer.
Unfortunately, skills that demand innovation, creativity, entrepreneurship, problem solving and intuition are not best served by wrote learning.  The very skills that are in short supply in an increasingly competitive world, and which are needed to power our growing economy.  Furthermore, our educational system, in favouring memory skills is side-lining a whole range of rich resources that our country desperately needs.

Inspiration from age old teaching

A recent article in the New Indian Express, by Sumati Mehrishi highlight an age old tradition of Guru-Shishya.  It is a format of teaching and learning that has its root in the Vedic traditions, imparting a wide spectrum of experience-learning with a holistic approach that encompasses the body mind and soul.  It is also based on a learning by wrote principle, but the goal isn't that of exam results but rather the learning in itself, the path that is threaded   The techniques involves repetitive practice of techniques to achieve perfection, but in doing so it encourages the shishya (student-disciple) to discover his own inner aspiration.  This journey of self-discovery, perpetual and with no end is a labour of growth and evolution, whereby perfection of the art (knowledge) is not a question of technical exactness, but rather of expression through the technique.  The technique becomes a tool for expression of what is inside.  Perfection can be thus redefined as the eloquent use of the technique to give a voice to the soul.   It is ever evolving for the practitioner.  However, it becomes apparent that without mastery of the technique, the language spoken is a poor expression of the inner reality.

Towards a sustainable education

At the heart of the Guru-Shishya is a quest for knowledge, a thirst for comprehension.  The Guru disciplines the student into observing their own reality, and guides them to get an understanding through their own experience.
The teaching techniques employed in our schools are a corrupted version of this ancient tradition.  Our children are no longer guided to understand the world but rather to succeed at exams.  This is partly the fault of the system and partly the lack of inspiration shown by a new generation of teachers that are themselves products of this corrupted system of education.  There is a lot of unlearning to be done.  However, is it possible to source a new direction, can we find renewed inspiration in our ancient tradition?
Our schools need to teach technique rather than facts by wrote.  Learn how to learn so to speak, but unvail your own truths from your path.
Taking a page out of our Guru-Shishya tradition, we can explore a sustainable education with the following ingredients:

  • Teachers need to inspire students
  • students should have a deep, heartfelt respect for the source of knowledge
  • emphasis on learning rather than facts
  • students should be encouraged to develop a sense of curiosity, self-sustained learning ability
  • encourage questioning and debating.
  • encourage synthesis of knowledge, so that the student expresses their understanding in their own words
  • emphasis on continuous assessment rather than final examination

In the words of the Shishya:

“Any intense, integrated and spiritual sadhana awakens and expands consciousness. The energy from such a practice suffuses the art. The guru gives the vision and the eye to performance and art.”

-Aurovrata Aurèle Venet 

Web: Syllogic.in
Blog:   Syllogic Thinks!

You Don't Need To Know Music To Appreciate Music
- Hariharan Iyer

When I received an invitation to write from eAmbalam for their website on Indian classical music and dance, I felt both honoured and amused.
You Don't Need To Know Music To Appreciate Music

When I received an invitation to write from eAmbalam for their website on Indian classical music and dance, I felt both honoured and amused. The closest I have come to appreciating carnatic classical music is through the songs of the Tamil film Sindhu Bhairavi and the Telugu film Shankara Bharanam. And the closest I have come to playing any form of carnatic music is by dabbling my fingers on an old, creeky harmonium at my place, courtesy a few lessons from a teacher many years ago as a kid.

I wondered whether the promoters at eAmbalam had mistaken my innocent nods at one of the concerts in their premises to be my deep interest in the nuances of classical music. The truth is I was nodding out of sheer wonderment at the singer's ability to drag a few words and sentences in a rhythmic note of sorts, with the knowledgeable audience assembled there furiously engaged in appreciating the classical display of ragas.

My short cut to fame as a music lover comes from a curious and hidden place on Earth – the bathroom. I am a confirmed bathroom singer, and in the glorious solitude of the bathroom, with running water for support to lend whatever background score is possible, I too from time to time try my hand at singing the various film songs with Hindustani or Carnatic touch, far away from the glares and comments of critics. It is no irony that every human being's singing career flourishes in the confines of a bathroom, for both music and time spent amidst running water everyday are liberating experiences. No wonder, many of us simply break into our favourite song as soon as we relieve ourselves of the garments that thus far sanctified us by protecting our morality.

I have had an opportunity to attend a concert or two, and have always held in great reverence the classical performers who play something like the ghatam, or a nadaswaram, or twist their vocal chords to elicit from deep within them a rendition which holds you spellbound. An untrained singer like me has never understood the nuances of a raga – for me bhairavi is both the name of a girl as well as a raga; my knowledge of classical music ends there – yet, when I hear someone deliver it with panache, it provides a soothing effect which comes naturally, without even being able to comprehend the reason behind it.

Therein lies the real power of music delivered with a strong cultural base to it – which is what classical music is all about. The lyrics, singing methodology and play of instruments have a context based upon a story, being presented in a musical form. You need not intellectually comprehend its meaning, and can still end up appreciating it from a purely aesthetic perspective. If nothing, a well delivered recital performs the most basic function of relaxing your mental muscles, providing you with a few moments of relief from the humdrum unrhythmic responsibilities of life.

Being efficient at music requires the performer to be passionate about the chosen area. Even a music illiterate like me cannot escape the magic of a Kunnukudi Vaidyanathan on the violin, or a Chitti Babu on the veena, or an MS Subbalakshmi reciting Bhaja Govindam, because of their sheer involvement with the whole process of creating melodious sounds, making life itself seem like an orchestra. This just goes to show the immense power of classical, quality music to communciate, and provide an experience to the listener which transcends his own comprehension of its contents.

Truly, you don't need to know music to appreciate music. All you need is an ability to surrender your heart strings to the cords or chords – as the case may be – of an unlimited reservoir of creativity and intelligence bestowed on the world by the cosmos.

-Hariharan Iyer
http://www.bolharrybol.blogspot.in/

SATTHRĪYĀ
- Compiled by Indira Kadambi and Aarthy Natarajan

The Satthrīyā dance form was introduced in the 15th century A.D by the great Vaiṣhṇava saint and reformer of Assam, Mahāpuruṣha Śhaṅkaradheva as a powerful medium for propagation of the Vaiṣhṇava faith.
SATTHRĪYĀ

The Satthrīyā dance form was introduced in the 15th century A.D by the great Vaiṣhṇava saint and reformer of Assam, Mahāpuruṣha Śhaṅkaradheva as a powerful medium for propagation of the Vaiṣhṇava faith. The dance form evolved and expanded as a distinctive style of dance later on. Form of Assamese dance and drama has been, for centuries, nurtured and preserved with great commitment by the Satthras i.e. Vaiṣhṇava maths or monasteries. Because of its religious character and association with the Sattras, this dance style has been aptly named Satthrīyā.

History : Satthras are the Vaiṣhṇava monasteries in Assam . The saint poet Śhaṅkaradheva of the 15th century AD started this institution to bring harmony to the region of Assam through religion by creating forms of dance-dramas, music, painting and collective prayer. Śhaṅkaradheva introduced this dance form by incorporating different elements from various treatises, local folk dances and his own rare outlook. The dance forms which have come to stay are called Satthrīyā dances, sharing all the characteristics of a classical dance form. Today, although Satthrīyā Nrithya has emerged from within the confines of the satthras to much wider horizons, the satthras continue to use the dance form for ritualistic and other purposes for which it was originally created around 500 years ago.

It was in the second half of the 19th century, that Satthrīyā Nrithya emerged from the sanctum of Assam 's satthras. It moved from the monastery to the metropolitan stage. The satthras maintained certain rigid disciplines and austerities within their walls, and until the first half of the 19th century, this dance style was performed in a highly ritualistic manner by male dancers only. The classical rigidity, the strict adherence to certain principles, and the non-engagement of academic research on the dance form all contributed to the delayed recognition and acceptance of Satthrīyā Nrithya as one of the eight classical dance forms of India .

The core of Satthrīyā Nrithya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible and enjoyable manner. Traditionally, Satthrīyā was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Satthrīyā is performed on stage by men and women who are not members of the satthras, on themes not merely mythological.

Like the other seven schools of classical Indian dance, Satthrīyā Nrithya encompasses the principles required for a classical dance form: the treatises of dance and dramaturgy, like the Nāṭya Śhāsthra, Abhinaya Dharpaṇa and the Sangītha Rathnākara. There were two dance forms prevalent in Assam before the Vaiṣhṇava movement such as Ōjapali and Dhévadhāsi with many classical elements. Two varieties of Ōjapali dances are still prevalent in Assam . The dancers in a Ōjapali chorus not only sing and dance but also explain the narration with gestures and stylized movements.

Costumes: The dresses are usually made of pat, a type of silk produced in Assam , woven with intricate local motifs. The ornaments, too, are based on traditional Assamese designs. Specific characters in Satthrīyā dances have their own unique and special costumes. The sūthradhhāra is generally dressed in white: a turban (ready-made, of cloth, sometimes of paper today and fitted often with silvery ribbon stripes), a long-sleeved jama or shirt, and a fluffy skirt (ghuri) tied to the waist with a waist-band with flower designs on it (tangali). For ornaments he puts on silver bangles (gamkharu) studded with stones, a lace with a drum-like golden bead in the middle (matama ṇ i), dangling ear-ornaments of gold (unti), and brass anklets (nepur). The gāyan-bāyan singers and accompanists are similarly, but more modestly, attired. Krishna , Rāma and other male characters drape their legs with dhotis and combine this with colourfully embroidered jackets. The gopis and other female characters use bright skirts and shawls. For makeup, colours prepared from vegetable dyes are used, and in most cases characters can be identified by the colours they wear.

- Compiled by Indira Kadambi and Aarthy Natarajan   

OḌISSI
- Compiled by Indira Kadambi and Aarthy Natarajan

The classical dance practiced in Orissā is called Oḍissi.   It is the oldest surviving dance form in India on the basis of archaeological evidence.
OḌISSI

The classical dance practiced in Orissā is called Oḍissi.   It is the oldest surviving dance form in India on the basis of archaeological evidence.  

History : Oḍissi is claimed to be the earliest Indian dance on the basis of archaeological evidence. The earliest evidence is a stone edict from 2 nd Century B.C in the Rāni Gumphā caves of Orissā which describes a dancer dancing with her accompanists. These might even be prior to the Nāṭya Śhāsthra.

There is absolutely no reference to dance from the 2 nd century B.C to the 7th century A.D due to the Buddhist influence. It was during the reign of the Késari kings for 3 centuries from the 9 th century AD that the construction of temples became an important feature. Both music and dance became closely connected with rituals and worship. The O ḍ issi dance form has been preserved to this day by the Nāṭya Śhāsthra and Goṭipuā dancers.

Nāṭyaśhāsthra: Maharis were the female attendants of the temple. The earliest record of dancing girls in the temples is 10 th century A.D. In the temple of Jagannātha at Pūri, the dancing girls were appointed for the essential ritual service of the deity by Ananthavarma Choḍogaṅgadheva in the 11 th century. The Maharis were divided into several groups according to their services. The dancing girls were known as Nāchuni and others Bhīthara gāuni (female singers who sing inside the temple), Bāhara gāuni (female singers who sing outside the temple) and Gauḍasāni (those whose duty was to fan the god). There was another class of Maharis known as Samparadha Niyoga whose duty was to dance during ceremonial procession such as Ratha Yāthra, Chandhan Yāthra etc.

With the invasion of the Mughals and lack of royal patronage, the dance of the Maharis declined. The Maharis ceased to be respected as dhāsīs of the lord and came to be associated with being concubines. With the rule of the Marā ṭ hās in the 18 th century, the arts were revived.

Goipuā: Goṭi means single and Puā means boy. A dance which is performed by a single boy dancer in a female costume is known as goṭipuā dance. When the dance of the Maharis slowly declined, a class of boy dancers was created to carry on the tradition. The dance of goṭipuās was in the Oḍissi style but the technique, costume and presentation differed from that of Maharis. The most interesting part of the goṭipuā dancers is the Bandha Nruthya which is a dance with acrobatic poses and movements. Most of the Oḍissi gurus were goṭipuā dancers earlier.

Costumes: The costume and jewellery have been derived from the Abhinaya Chandrikā. The female dancers use a Paṭṭa Sāri which is worn tightly by having equal lengths of material on both sides and by tying a knot on the navel. The Kanchula (traditional blouse) and Nibibandha (an apron with frill tied in front) are used. The ornaments are silver based. The head gear and the large girdle are very important. The hair is generally knotted with flowers. The makeup includes the Gorachana, a creeper design on the forehead running above the eyebrows down to the cheeks.

- Compiled by Indira Kadambi and Aarthy Natarajan   

MOHINIĀṬṬAM
- Compiled by Indira Kadambi and Aarthy Natarajan

Mohiniāṭṭam is a dance form from Kerala in south-western India. The term Mohiniāṭṭam literally means 'Dance of the Enchantress'.
MOHINIĀṬṬAM

Mohiniāṭṭam is a dance form from Kerala in south-western India. The term Mohiniāṭṭam literally means 'Dance of the Enchantress'. Mohiniāṭṭam was performed in the temple precincts of Keraḷa. It developed from the Dhévadhāsi dance system just like Bharathanātyam, Kūchipūḍi and Oḍissi. The word 'Mohini' refers to a maiden who exerts desire or steals the heart of the onlooker. There is a well known story of Lord Viṣhṇu taking on the guise of 'Mohini' to enthrall people, once in the Kūrmavathāram to distract the asuras and once to slay Bhasmāsurā.

History: The earliest known textual reference to Mohiniāṭṭam can be found in the Vyāvaharamāla, a Sanskrit text written by Mazhamangalam Nambūdhiri in the 16th century. Another reference on Mohiniāṭṭam can be found in the Oṭṭanthuḷḷal (a semi-classical and semi-folk dramatic art form of Keraḷa) script Ghośhayāthrā, authored by Kunchan Nambiār in the 18th century. The male members of the affluent and powerful Nambūdhiri and Nāir families exploited the Mohiniāṭṭam dancers. Gradually the dance was considered inappropriate and there were few takers for it. There is a considerable amount of disagreement among scholars regarding the antiquity of Mohiniāṭṭam. Most of them agree that it was during Maharāja Swāthi Thirunāl‘s rule in the 16th century that Mohiniāṭṭam achieved its refined form. The Maharāja of Travancore was a great patron of the arts and encouraged artistes, singers, dancers from all over the country to come and perform in his court. Bharathanātyam which was brought into Keraḷa by the Tanjore Quartet influenced Mohiniāṭṭam. The Maharājā was a great bhaktha of Lord Padhmanābhha and composed innumerable kruthis, padhams and varṇams in Hindusthāni as well as Karnātic rāgās, in his praise. The Maharājā’s padhams are always a part of a Mohiniāṭṭam dancer’s repertoire.

It was in the 20th century that Mohiniāṭṭam flourished. When Mahākavi Va ḷḷ athōl set up his premiere institution for Kathakaḷi, the Keraḷa Kalāmaṇḍalam, he invited three famous Mohiniāṭṭam dancers, Kalpurathe Kunjukuṭṭi Ammā, Thoṭṭachéri Chinnamuammā and Kalyāṇi Kuṭṭi Ammā to teach Mohiniāṭṭam in his institution. Due to the relentless work of researchers, scholars, performers of Mohiniāṭṭam, the dance form has achieved its present classical standing. Scholar-poet and theater thespian Kāvālam Nārāyaṇa Paṇikkar came forward with new compositions and researched theories so as to prevent Mohiniāṭṭam from imitating the Bharathanātyam repertoire, by emphasizing on the aesthetics and ethnic influence of the art form.

Costume : The Mohiniāṭṭam costume is always white or off white with gold or red border. Today, different coloured borders are used. Some dancers tie their costumes in a way similar to that of Bharathanātyam. Usually, Mohiniāṭṭam dancers tie their hair in a bundle on the left side with white flowers, and a simple ornament tied on the bun. A choker and a long chain (kāśhumālā) adorn the neck of the dancer. For the ears the dancer wears a ‘thōḍu’ which is circular coin like earring with Jhimkis or dangling earrings. The waist belt is also used .The makeup is done with emphasis given to the eyes.

- Compiled by Indira Kadambi and Aarthy Natarajan   

MAṆIPŪRI
- Compiled by Indira Kadambi and Aarthy Natarajan

Maṇipūr is a small hilly state in the north-eastern part of India. People in Maṇipūr are religious. Hence, the costumes and art have a religious background. Maṇipūri is a very graceful form of dance.
MAṆIPŪRI

Maṇipūr is a small hilly state in the north-eastern part of India. People in Maṇipūr are religious. Hence, the costumes and art have a religious background. Maṇipūri is a very graceful form of dance. It has very little facial expressions, but its body movements are beautiful and graceful.

History : The favo urite dance of Maṇipūr is Lai Haroba which means festival of Gods. It is believed that this dance was performed by lord Śhiva and his consort Pārvathi. Legend says that once, Pārvathi and Śhiva were intoxicated with the music and dance of Rās līlā of Kriṣhṇa and Rādhhā. Śhiva with his consort re-created Rās līlā of his own and went off in search of a place to perform this new dance. Finally they came to a beautiful place which was submerged under water. Pārvathi and Śhiva performed this Rās līlā with a few Gandhharvas. As Śhiva danced the diamond on the serpent’s head fell and illuminated the area. The entire area was radiated because of the gem and was called Maṇipūr -the place of gems.

Originally Maṇipūri had traditional and ritualistic dances like the “Lai Harōba”. Later, in the 18 th Century, there was a great influence of Vaiṣhṇavism and the then ruler of Maṇipūr, Bhāgychandhrā composed the Rās Līlā. He composed three out of five types of līlās.

Costumes: The costumes of Manipūri dance depend on the type of dance. The costumes of the ritualistic dances are different from those of the Rās Līlā. The woman dancer wears a traditional Manipūri skirt and shirt with a head gear for the ritualistic dances. The most attractive costume is that of Rās Līlā. The peculiar feature is the flying skirt and the veil. Men wear plain dhothis for Pung Cholam and Kīrthan.

- Compiled by Indira Kadambi and Aarthy Natarajan   

KŪCHIPŪḌI
- Compiled by Indira Kadambi and Aarthy Natarajan

Kūchipūḍi is the classical dance form from the South-Eastern state of Āndhra Pradheśh. It derives its name from the village of Kuchélapuram , a small village about 65 kms from Vijayawāḍa.
KŪCHIPŪḌI

Kūchipūḍi is the classical dance form from the South-Eastern state of Āndhra Pradheśh. It derives its name from the village of Kuchélapuram , a small village about 65 kms from Vijayawāḍa. It is known for its graceful movements and its strong narrative dramatic character.

History : Kūchipūḍi has been derived from the Bhāgavatha Méḷas, a dance drama form. Bhāgavatha Méḷā and Kūchipūḍi are arts that came into existence in the 15 th-16 th century during the Bhakthi movement. The great Bhaktha Siddhéndhra Sāmi Yōgi settled in the village of Kuchélapuram and started teaching the art form. He instructed Brahmin boys in devotional dance dramas based on religious themes. These religious plays were presented as offerings to god in accordance to the traditions of the Nāṭya Śhāsthra. The performers were called Bhāgavathulus. Only men performed this dance form. Kūchipūḍi flourished as a dramatic form of dance for hundreds of years. It was held in high esteem by the rulers of the Deccan . For instance Thānā Śhāh in 1678 granted the lands around Kūchipūḍi to the Brahmins who performed the dance.

In the early 1900s Védhāntham Lakshmīnārāyaṇa Śhāsthri changed the dance form's stylistic direction. He moved from the little village of Kūchipūḍi, the birth place of this art form, to the larger metropolis Chennai a major center for art and culture in India. His talent and brilliance was immediately recognized. He introduced women to Kūchipūḍi and choreographed several solo dances, which have become part of the Kūchipūḍi repertoire today.

Apart from the stylistic differences between Kūchipūḍi and Bharathanātyam, there are certain types of dances that are unique to Kūchipūḍi. The Tharaṅgam in Kūchipūḍi is unique, for the dancer must dance on a brass plate, placing the feet on the raised edges. The dancer moves on the plate with as much balance as dancing on the ground. The dancer, besides dancing on a plate, carries oil lamps in each hand and balances a small vessel with water on his/her head. At the end of the performance, the dancer extinguishes the lamps and washes his/her hands with the water from the vessel.

Costumes: The Kūchipūḍi costumes and jewellery are very similar to those of Bharathanātyam.

- Compiled by Indira Kadambi and Aarthy Natarajan   

KATHAKAḶI
- Compiled by Indira Kadambi and Aarthy Natarajan

Kathakaḷi is a classical dance form of India that originates from Keraḷa, the south-western part of India .
KATHAKAḶI

Kathakaḷi is a classical dance form of India that originates from Keraḷa, the south-western part of India . It is a unique form of dance with a marvellous combination of elaborate gestures, picturesque costumes, grand make up and vigorous music. Kathakaḷi is a group presentation in which dancers take on various roles to present stories from Hindu mythology like the Rāmāyaṇa and the Mahābhāratha.

History: Kathakaḷi was derived from the ‘Chākiār Kūthu’, the earliest known art form of Keraḷa. Kathakaḷi had its birth in the 15 th century. It is an improved version of Krishnanāttam, a kind of dance drama composed by Mānavadhévan Rājā, the ruler of Calicut in 1657 AD.  Raja Vīra Keraḷa Varma, King of Kottārakara was the first to compose Kathaka ḷ i. He once requested Mānavadhévan to send his troupe of Kriṣhṇanāṭṭam dancers to perform for a royal wedding in his palace. This was turned down and Mānavadhévan added an insult by sarcastically commenting that the scholars down south were not capable of appreciating artistic and literary performances such as Kriṣhṇanāṭṭam. Out of sheer indignation the Rājā of Kottārakara designed a new type of dance called Rāmanāṭṭam dealing with the story of Rāma. This new style of dance developed and grew.  The next man to contribute to its development was the Rājā of Kō ṭṭ ayam who based his themes on the Mahābhāratha. He composed four Kathakaḷi plays, namely Bakha Vadham, Kālakeya Vadham, Krimira Vadham and Kalyā ṇ a Soungandhikam. This was further developed by the great Kārthika Thirunāḷ Maharājā of Travancore who composed seven plays namely, Subadhrā Hara ṇ am, Narakāsura Vadham, Gandharva Vijayam, Rājasūyam, Bakha Vadham, Pānchāli Swayamvaram and Kalyā ṇ a Sougandhikam. Similarly numerous contributions have been made by the scholars from the royal family of Travancore.

Kathakaḷi was fortunate to enjoy the patronization of the rulers of Kerala until mid 19 th Century. It received a severe setback when people began to consider the art form indecent. Credit goes to the great poet Mahākavi Vallathōl Narāyaṇa Menon for resuscitating Kathakaḷi. He established the Keraḷa Kalā Maṇḍalam, a center for arts and culture in 1930 with the aim to re-establish art forms like Kathakaḷi and Mōhiniāṭṭam.

 Makeup: Makeup in Kathakaḷi is elaborate and complex. The makeup artist is called the chuṭṭikāran. He takes at least three hours for this make up. The primary colours used for makeup are red, green, yellow, black and white. The nature of each character is reflected through the colours of their faces. For example, green reflects virtue, black shows evil, red shows ambition and ferocity, yellow reflects passiveness and white shows spirituality.

Costumes : A massive and intricate headgear is the most important part of Kathakaḷi costume. The headgear is prepared from light weight wood. It is embellished with mirrors, colourful stones and pieces of shiny metal plates. Loads of jewellery including anklets, bracelets, big rings and a huge chin cap complete the semblance of a Kathakaḷi dancer. Evil characters sport talons (big claw like nails) and beards to depict their beastly nature. All principal characters wear long sleeved jackets which are tied at the back. The lower part of the costume is a white skirt with a coloured border. Layers of skirts of vivid colours are also worn for buoyancy. Generally, women do not participate in Kathakaḷi. Men act as women. The female characters wear long sleeved white jackets, long skirts and a long cloth over their heads. The ornaments they wear include a large girdle with beautiful patterns for the waist, a white scarf around the neck, artificial hair, ankle bells and silver clips attached to the fingers.

- Compiled by Indira Kadambi and Aarthy Natarajan   

KATHAK
- Compiled by Indira Kadambi and Aarthy Natarajan

Kathak is one of the   eight   forms of   Indian classical dance and originated from   Utthar Pradeśh , India .
KATHAK

Kathak is one of the   eight   forms of   Indian classical dance and originated from   Utthar Pradeśh , India . This dance form traces its origins to the nomadic bards of ancient northern India , known as Kathaks, or storytellers. The term Kathak is derived from Kathā meaning story.

History : Kathā or story telling were a part of religious functions. The stories were narrated by a group called Kathakas or story tellers. References to the Kathakas are found in epics like the Mahābhāratha, Rāmāya ṇ ā and books like the Nā ṭ ya Śhāsthra. Kathakas interpreted stories through music and dance. A dance form called Rasa was performed by the Rasadhhārīs. They were a community of artists, who danced in praise of Lord Kri ṣ h ṇ a and Rādhhā. Those who performed Rāsa were called Rāsa Ma ṇḍ alis. This dance was accompanied by a type of music called Kīrthan. Those who performed Kīrthan were called Kīrthana Ma ṇḍ alis. Kathak is said to have evolved from Kīrthan music.

The Kathak style of dancing imbibed the broad principles laid down by the Nā ṭ ya Śhāsthra and also developed its own style over an extensive period. Under the influence of Vai ṣ h ṇ avism, Kathak adopted at its initial stage, the stories of Rādhhā and Kri ṣ h ṇ a, and narrated them through music, dance and drama. Later, when the Muslim rulers extended their patronage, it shifted from its original religious anchorage to a more secular character. The Muslim rulers adopted Kathak performances into their courts and the expectation of monetary rewards for performances worked as an incentive. In consequence the attitude of the connoisseur underwent a change. The artist’s attention was diverted more to giving expression to certain basic emotions rather than deeper aesthetic values. Ability in performance was judged by skilful execution of bodily movements rather than capacity to give expression to ideas. Kathak thus gradually became a source of amusement and lost its aesthetic appeal.

Dancers who were brought to India from the   Middle East , during the Mughal period,   spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Kathak absorbed the new input, adapting it until it became an integral part of its own vocabulary. Kathak also absorbed certain elements of classical Persian dance.

Kathak today, combines the court and romantic aspects as well as the temple and mythological aspects of its past. The 19 th century saw the birth of Lucknow gharānā. It was under the patronage of Wājid Ali Śhāh, the last Nawāb of Oudh, that this school attained maximum growth. Ṭ hākur Prasādh Maharāj a great exponent of this dance was appointed by Wājid Ali Śhāh as a court dancer. Pa ṇḍ it Birju Maharāj, the great-grandson of Ṭ hākur Prasādh Maharāj, is considered the chief representative of this style of Kathak.

Costume : The costumes used in Kathak are a mixture of Hindhu and Muslim cultures. The men wear a light pajāma and a waist coat or short Kurthīs. On the waist coat there is often a decorated chest belt full of gold and sparkles. Women wear a long pleated Kurthā over a pajāma, a brocaded cap and a duppatta. Sometimes they wear a long pleated skirt and a blouse with a duppatta. The dancer does not use heavy makeup. The dancer ties anklets on each foot.

- Compiled by Indira Kadambi and Aarthy Natarajan   

BHARATHANĀTYAM
- Compiled by Indira Kadambi and Aarthy Natarajan

Bharathanātyam is one of the oldest and most popular forms of classical dance in India . It is the dance of both the mind and soul. Its antiquity lies about 3000 years ago with a mythological as well as historical origin.
BHARATHANĀTYAM

Bharathanātyam is one of the oldest and most popular forms of classical dance in India . It is the dance of both the mind and soul. Its antiquity lies about 3000 years ago with a mythological as well as historical origin. It was originally known as Sadhir-ā ṭṭ am (court dance) and also Dhāsi-ā ṭṭ am (performed by the dhāsis or the servants of God).

The name Bharathanātyam is understood in two ways:

It is the dance (nātyam) that beautifully blends the three elements - ‘Bhā’ - Bhāva (expressions), ‘Rā’ - Rāga (musical melody) and ‘Thā’ Thā ḷ a (rhythm).

The name Bharatha might have been coined after Bharatha Muni, the great author of the "Nā ṭ ya Śhāsthra". Much of Indian dance and theatre is codified in this ancient treatise that is believed to have been written by Bharatha (200 BCE–200 CE).

Bharathanātyam is poetry in motion. Bharathanātyam is the classical dance form of South India and embodies music, dance, drama, poetry and mythology to create a complete and highly stylized artistic endeavor which in the end creates Rasa. Rasa is the aesthetic emotion that ultimately transforms the audience. Anything and everything can be conveyed through the rich text of this classical dance form within the aesthetic boundaries and within the codified structure. Bharathanātyam is characterized by strong rhythmic patterns, lyrical expressiveness and sculpture like poses reminiscent of the carvings found on many of the Hindu temples. Bharathanātyam is amongst the finest of our art treasures, the noblest of our inheritances.

History - Mythological

According to religious history, the gods and goddesses pleaded with Lord Brahma to create a Vedha which would make it simple for the common man to understand. Thus, Brahma created the fifth Vedha known as the Nā ṭ ya Vedha. It is believed that he took Pa ṭ hya (words) from the Rig Vedha, Abhinaya (gesture) from the Yajur Vedha, Gītham (music and chant) from the Sāma Vedha and Rasa (sentiment and emotional element) from Atharva ṇ a Vedha to form the Nā ṭ ya Vedha.

Thereafter, Lord Brahma gave it to sage Bharatha and asked him to popularize it on earth. Following the words of Lord Brahma, sage Bharatha wrote the Nā ṭ ya Śhāsthra (Science of Dramaturgy) a distinguished, comprehensive work on the science and technique of Indian drama, dance and music.

It is also believed that Goddess Pārvathi taught this dance form to U ṣ hā, daughter of Bā ṇ āsura, a demon. U ṣ hā, in turn, taught it to the Gopikās of the city Dwārakā, Lord Kri ṣ h ṇ a's birth place, and thus, Bharathanātyam was introduced into the world.

According to Indian mythology, Lord Śhiva is considered the supreme lord of dance. Bharathanātyam is performed by Lord Śhiva and his wife Goddess Pārvathi.

  • When it is performed by Lord Śhiva, it is known as the Thā ṇḍ avā and depicts the masculine form of dance incorporating vigorous, brisk movements.
  • The dance performed by Goddess Pārvathi is known as Lāsya, wherein the movements are gentle, graceful and sensual.

History - General

Sculptural evidence particularly in South India , and more especially Thamizh Nā ḍ u, (Tamilnadu) shows that the basic science and technique of Bharathanātyam was established around 5 th Century AD.

In Thamizhnā ḍ u, classical dance was known as Chinna Mé ḷ am, Sadhir or Kūthu. The evidence of dance can be found in ancient texts such as the Silappadhikāram and the Kūthanūl. The art of Bharathanātyam was patronized by kings and nobles in Thamizhnā ḍ u. Evidence shows that the great King Rāja Rāja Chō ḷ a (965-1014 AD) employed 400 danseuses to dance in the temple of Bruhadhīśhwara during the prayer ceremonies. Furthermore, dance sculptures were carved on the outer walls of many temples in South India . The 108 Kara ṇ as on the outer walls of Chidhambaram temple and the Madhanikā figures of the Bélūr temple are glorious examples of this.

Also, the Nāyaka kings (the commanders of Vijayanagara kings) such as Achuthappa Nāyaka (1592-1614) and his successors Raghunātha Nāyaka and Vijayarāghava Nāyaka (1614-1673) were great lovers and patrons of music and dance. The Marā ṭ hā kings of Tanjore (1741-1787) Prathāpa Sinha and Thu ḷ aji were great lovers and patrons of the art form. Mahādhéva A ṇṇ āvi and Subbarāya Na ṭṭ uvanār were great artists in the field of Bharathanātyam. It was Subbarāya Na ṭṭ uvanār’s sons Chinnayā, Ponnaiyyā, Śhivānandham and Va ḍ ivélu, otherwise known as the Tanjore Quartet or Thanjai Nālwar, who structured Bharathanātyam to its present day form.

During the reign of the Pallava and Chola Dynasties (4AD -12AD) the art of dancing flourished due to immense patronage. The intimate association of dance with religion as a ritual was established in the temples, and thus the Dhevadhāsi tradition came into form. Dhevadhāsis were female dancers who dedicated their lives to the temples. They were trained in the art of devotional dance and singing and were well-versed in languages, poetry and music. The dance they performed in the temples was known as Dhāsi-Ā ṭṭ am (a precursor to modern day Bharathanātyam). It was also given the name Sadhir, by the Marā ṭ hā rulers.

The ancient art of Bharathanātyam, earlier performed only before the Lord in the sanctum sanctorum, came out of the precincts of the temples and entered the palaces as the Kings wanted to witness the performances. As it was not customary for kings to mingle with the crowd, arrangements were made for the danseuse to perform in the palaces. Bright and able Dhevadhāsis were no longer respected members of the Indian social community by the end of the 19th century. Gradually, the painful position of Dhevadhāsis disappearing lead married women and girls from respectable families to learn dance.

There was a great wave of reformation in the beginning of the 20 th century. Few realized that the authentic lineage of classical dance, while temporarily shamed and driven underground during an unseemly commotion, was being preserved among certain artistically distinguished families. Several of the great teachers (na ṭṭ uvanārs), carried the knowledge and substance of the art, living neglected lives in remote villages. It was a difficult time for such people, and if not for the courageous and persistent efforts of a handful of supporters, the art form might well have been totally suppressed. Three artists stand out for their efforts in restoring the classical dance to its traditional place of honour in India – Bālasaraswathi, Uday Śhankar and Rukmini Dhévi Aru ṇ dale.

- Compiled by Indira Kadambi and Aarthy Natarajan   

Introduction
- Compiled by Indira Kadambi and Aarthy Natarajan

Classical dances of India are various art forms rooted in Nāṭya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Nāṭya Śhāsthra, of Bharatha Muni (400 BC).
Introduction

Classical dances of India are various art forms rooted in Nāṭya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Nāṭya Śhāsthra, of Bharatha Muni (400 BC).

Dance in India , is rooted in an age-old tradition. This vast sub-continent has given birth to varied forms of dance, each shaped by the influences of a particular period and environment. These pristine forms have been preserved through the centuries, to become part of our present culture, a living heritage which is both our pride and delight.

In Indian culture, dance, music, poetry, painting and sculpture are all considered sacred and designed to illuminate the path leading to the ultimate reality or god-realization.

Indian classical dance was separated into three categories. The dance forms, performed inside the temples in accordance to the rituals were called Āgama Narthanam. This was a spiritual form of dance. The intellectual form of dance was performed in courts. These dance forms were accompanied by classical music called Karnāṭakam. The Dharbāri Āṭṭam was meant for the commoners to educate them about religion, culture and social life. They were performed outside the temple precincts in the courtyards.

Nurtured in temples, princely courts and villages, dance today, has moved into the auditorium, bringing joy to many more people, in far-flung regions. Earlier, The Indian classical dances were called different names. The British colonial authorities called any performing art form found in India , "Indian dance”. The word "Śhāsthrīya" was coined by the Sangīth Nātak Academy . Śhāsthrīya means classical.

A very important feature of Indian classical dances is the use of the Mudhrā or hand gestures by the artists as a short-hand sign language to narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion. Many classical dances include facial expressions as an integral part of the dance form.

The main styles of dances in India are: the Bharathanātyam, Kathakaḷi, Kūchipūḍi, Mōhiniāṭṭam, Kathak, Oḍissi and Maṇipūri. The latest addition to the list of classical dances is Satthrīyā.

Dance form

State of origin

Bharathanātyam

Tamil Nāḍu, Karnataka

Kathak

North Indian States

Kathakaḷi

Keraḷa

Kūchipūḍi

Āndhra Pradheśh

Maṇipūri

Maṇipūri

Mōhiniāṭṭam

Keraḷa

Oḍissi

Orissā

Satthrīyā

Assām

Out of the eight styles, Bharathanātyam and Oḍissi are the only two dance styles that were danced in temples and have their origin in the Nātya Śhāsthra. Kathak originated as a temple dance. Some believe it evolved from Lord Kriṣhṇa's rās līlās. The style gradually changed during the Mughal period under the influence of Persian dance. Kathakaḷi, Mōhiniāṭṭam and Kūchipūḍi are recent and can be categorized under Dharbāri Āṭṭam. The Eastern styles of Maṇipūri and Satthrīyā are also of recent origins.

- Compiled by Indira Kadambi and Aarthy Natarajan   















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