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DANCES
OF INDIA
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Dance
traditions and styles of India.
Indian
dance can be divided into classical, folk, and modern types.
The classical tradition is at least 2,000 years old, and in
the course of history its influence has diffused throughout
much of Southeast Asia. India evolved a type of classical
dance drama that combines movement, gesture, singing, music,
and costumes. The dancer dances out the story by using
stylized gestures that are both highly symbolic and
emotionally suggestive. The stories that are enacted are based
on Hindu religion and mythology.
The classical dance drama is both aesthetically appealing and
highly psychological in its approach. It has attained world
recognition as one of the most exquisite forms of classical
dance.
Indian
folk dancing is highly varied, differing as it does from
region to region and from one ethnolinguistic group to
another. Dance is also an integral, even an indispensable,
element in many of the productions of India's vast
motion-picture industry.
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Bhangra:
most
popular folk dance of the Punjab (India and
Pakistan), performed on all festive occasions,
particularly at sowing and harvest celebrations. The
brightly dressed villagers dance vigorously in a
large circle, accompanied by powerful drumming and
also by clapping and singing.Dancers in pairs give
spontaneous solo displays that include virile jumps
and even acrobatics. Though at one time danced
primarily by men, it is now performed by the entire
community.
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Bharata
natya:
Sanskrit
BHARATA-NATYA ("Bharata's dancing"),
the principal of the main classical dance
styles of India, the others being kuchipudi, kathak,
kathakali, manipuri, and orissi. It is indigenous to
the Tamil Nadu (Madras) region and prevalent in
southern India. Bharata natya serves the expression
of Hindu religious themes and devotions, and its
techniques and terminology have been traced back to
ancient treatises such as the Natya-shastra (q.v.),
by the Brahman sage and priest Bharata. Bharata
natya was originally performed exclusively by female
temple dancers and was not brought to the stage for
public performance until about 1930.A program of
bharata natya usually lasts two hours without
interruption and includes a specific list of
procedures, all performed by one dancer, who does
not leave the stage or change costume. The
accompanying orchestra--composed of drums, drone,
and singer--occupies the back of the stage, led by
the guru, or teacher, of the dancer.
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In
pure style, bharata natya is classically clear in technique.
The feet beat out complicated counter rhythms; the legs are
bent in a characteristic low squat; arms, neck, and shoulders
are part of the movement. In the pantomime sections, the hands
tell thestory through conventional gesture language, while the
face expresses the mood. In the pure dance the hands are
restricted to 11 hand poses.
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kathak:
one
of the main forms of classical dance-drama of India,
other major ones being bharata-natya, kathakali,
manipuri, kuchipudi, and orissi. Kathak is
indigenous to northern India and developed under the
influence of both Hindu and Muslim cultures. Kathak
is characterized by intricate footwork and precise
rhythmic patterns that the dancer articulates by
controlling about 100 ankle bells. It takes its
movements from life, stylizes them, and adds the
complex rhythmic patterns. Kathak is danced by both
males and females; many of the dances convey moods
of love.
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kathakali:
one
of the main forms of classical
dance-drama of India, other major ones being
bharata-natya, kathak, manipuri, kuchipudi, and
orissi. It is indigenous to southwestern India (Kerala)
and is a dance-drama based on subject matter from
the Ramayana, the Mahabharata, and stories from
Shaiva literature. Enacted outdoors, the
presentation is an all-night function. During the
action, voices chant the story as mimed by dancers;
incidental dances, accompanied by ear-splitting
drumbeats, enrich the performance. Traditionally,
kathakali is performed exclusively by men and young
boys who play the parts of both males and females.
The dancers are dedicated to its practice throughout
their lives
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The
movement is vigorous and florid. Stylized gestures
and facial expressions follow the rules of
bharata-natya. Gestures are wide and
strong, the pointing of a finger being preceded by
a sweep of the body and a great circling of the
arms. Faces are made up to look like painted
masks. The costume consists of a full skirt, a
heavy jacket, numerous garlands and necklaces, and
a towering headdress.
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kuchipudi:
one
of six classical dance styles of India. Kuchipudi is
indigenous to the state of
Andhra Pradesh and differs from the other
five classical styles by the inclusion of singing.
Kuchipudi originated in the 17th century with the
creation by Sidhyendra
Yogi of the dance-drama
Bhama Kalapam, a story of Satyabhama, the
charming but jealous wife of the god Krishna. The
dance performance begins with the sprinkling of holy
water and the burning of incense. Other rituals are
performed, the goddesses of learning, wealth, and
energy are invoked, and the characters are
introduced, together with songs concerning
their function in the performance. All roles were
traditionally played by men. As an offering to
Krishna, every Brahman, or priest, of the village of
Kuchipudi is expected to perform the role of
Satyabhama at least once in his life
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manipuri:
one
of the six classical dance styles of
India, the others being bharata-natya,
kathak, kathakali, kuchipudi, and orissi.
It is indigenous to Manipur and is
characterized by a variety of forms that
are linked to folk tradition and ritual.
Themes are generally taken from episodes
in the life of Krishna, the pastoral god.
During the dance interpretations a
narrator may chant dialogue and
descriptive action, interspersed with
choral singing. Manipuri is smooth and
graceful and technically easier and more
limited than the other classic styles.
Although ankles are belled, the movement
of the dance does not accentuate them, the
steps being light and close to the floor.
A flowing sway of the body and a liquid
movement of the arms and hands
characterize the women's style; stronger
and more forceful movements are used by
men. The manipuri was popularized
throughout India when,
in 1917, the poet Rabindranath
Tagore saw demonstrations of the
art and brought back dance teachers to
serve in his Visva-Bharati University at
Santiniketan.
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Odissi:
one
of the principal classical dance styles of
India; others include bharata-natya,
kuchipudi, kathak, kathakali, and manipuri.
It is indigenous to Orissa, eastern India,
and follows the principles of the
Natya-shastra (q.v.). Its close
replication of poses found on classical
temple sculptures suggests great
antiquity. Orissi, related to
bharata-natya in its basic pattern,
emphasizes sinuous postures and is
enlivened by a variety of elevations and
jumps. It is predominantly a dance for
women.
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Rasalila:
folk
dance drama of northern India, mainly Uttar Pradesh, based on
scenes from the life of Krishna. Solo and group dancing are
combined with singing, chanted recitation, and instrumental
accompaniment.The audience joins in singing refrains and marks
the beat by clapping hands. The interaction of performers,
chanters, and audience determines the length of each
performance.
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INDIAN
MUSIC :
Music
o the “European ear is really without melody, yet possessing
a full seven-note scale.(Blavatsky.) The Monk Guido Aretinus
is credited as the originator and the first to use the
SEVENTH- NOTE SCALE in the thirteenth century. The Greeks knew
only six-notes. Where as in the Indian Purans a seven-note
scale seems to have existed.
In India the the origins of Music are traced to lord
Krishna and the Gopikas. The Gopis were transforme in to
sounds. Originally the ancient sages establishe in Sanskrit
only SIX RAGS that is scales, the names of which are
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1)
Sri Raga,
2)
Vasantha Raga,
3)
Panchama Raga,
4)
Bhairava Raga,
5)
Megha Raga,
6)
Nata-Narayana,
Each
Raga has five wives, and each wife with eight
children. Every Raga, every Ragini, and each
Raga-child has a name. Thus a singer in India has at
his disposal 276 different scales, with seven notes
in each.
Each note represents
some special sound of the animal kingdom and must
represent some emotion.
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The
following chart is taken from the Sanskrit Musical text book:
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Notes
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Name
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Animal
Sound
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Representing
moods/qualities of scale
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Sa
( Do)
Ri
( Re)
Ga
(Mi)
Ma
(Fa)
Pa
(Sol)
Dha
(La)
Ni
(Si)
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Shadja
Rishabha.
Gandhara.
Madhyama,
Panchama,
Dhaivata,
Nishada,
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Peacock
Bull
Goat.
Crane
Blackbird
Frog
Elephant.
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Heroism,
wonder, terror,
Heroism,Wonder,Terror
Compassion.
Humour,
Love.
Freedom
from care.
Disgust,
Alarm
Pity,Awarenessofstrength.
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