Sattras are the Vaishnava monasteries in Assam. The saint poet Shankar Deva of the 15th century AD started this institution to bring harmony to the region of Assam through religion, creating forms of dance-dramas, music, painting and collective prayer. The dance forms which have come to stay are called Sattriya dances, sharing all the characteristics of a classical dance form.
As a living tradition these dances are performed in the namghar, the prayer hall of the sattra by the celibate monks. Dressed in white costumes and turbans, head gears, they include kho lplaying, performing dance, creating soundscapes, floor patterns and choreographic designs. The numbers like "Sutradhari," "Chali," "Jhumura" partake of nritta, pure dance, nritya, expressional dance and dance-drama elements. The music is provided by khol-drum, patital, boratal-cymbals along with songs. The repertoire of Sattriya is vast. Now young female dancers also study these dances and they have come out of the sattra. They are presented on the metropolitan stages, with typical music of Assam, costumes and literary compositions viz borgeet. Both solo and group numbers enrich its presentation.
28 Jun 2013
odissi
Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India, this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.
The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style adapted to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles.
Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme.
The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and her Lord.
The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing.
The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style adapted to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles.
Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme.
The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and her Lord.
The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing.
mohiniattam
The dance form of Mohiniattam was nurtured in the region of Kerala in southwestern India. The name Mohiniattam literally means 'Dance of the Enchantress,' and it does have a mesmerizing quality. The white and gold costume, arresting hairstyle and the highly graceful movements in medium tempo, contribute to this aesthetic effect.
Mohiniattam is characterized by swaying movements of the upper body with legs placed in a stance similar to the plie position. The eyes play an important role in accenting the direction of the movement.
Mention of Mohiniattam is found in some eighteenth century texts, but the practical aspect of the style was revived in the reign of Maharaja Swati Tirunal, a 19th century ruler who was a great patron of the arts. Under Swati Tirunal, Mohiniattam crystallized as a solo dance tradition with musical compositions set to the Carnatic style of music and a distinct repertoire. Later, in the twentieth century, the great poet Vallathol established the Kerala Kalamandalam to promote the arts of Mohiniattam and Kathakali. Here, further research was done and Mohiniattam was codified and revived.
Over the past few decades, the repertoire of Mohiniattam has been developed and expanded by dedicated performers who have ensured that this beautiful dance style retains a distinct identity among the classical dance styles of India. Apart from mythology, Mohiniattam contains a range of themes from nature.
Mohiniattam is characterized by swaying movements of the upper body with legs placed in a stance similar to the plie position. The eyes play an important role in accenting the direction of the movement.
Mention of Mohiniattam is found in some eighteenth century texts, but the practical aspect of the style was revived in the reign of Maharaja Swati Tirunal, a 19th century ruler who was a great patron of the arts. Under Swati Tirunal, Mohiniattam crystallized as a solo dance tradition with musical compositions set to the Carnatic style of music and a distinct repertoire. Later, in the twentieth century, the great poet Vallathol established the Kerala Kalamandalam to promote the arts of Mohiniattam and Kathakali. Here, further research was done and Mohiniattam was codified and revived.
Over the past few decades, the repertoire of Mohiniattam has been developed and expanded by dedicated performers who have ensured that this beautiful dance style retains a distinct identity among the classical dance styles of India. Apart from mythology, Mohiniattam contains a range of themes from nature.
Modern Dance
Modern Dance in India has a relatively short history. Since the perception of 'modern' or 'contemporary' can vary from dancer to dancer, this dance form cannot be defined as easily as the classical dance styles of India. It is also not codified in a detailed manner, as are the classical styles.
Uday Shankar, who was born in the early years of the 20th century, is widely accepted as the Father of Modern Dance in India. This great dancer had a very wide vision, and he appreciated the wonderful variety and scope of expression afforded by the different classical and folk dances extant in the country.
His search for a personal expression led him to incorporate different dance styles, such as Bharata Natyam and Kathakali into his choreographic productions. He established an idyllic institution in the hills of Kumaon, where he invited teachers from different genres to train his troupe in order to groom their bodies to a state where they could produce a varied, rich and contemporary dance vocabulary. Uday Shankar was an idealist as well as a wonderful showman. He was a catalyst in the renaissance of interest in Indian arts during the 1930s and '40s, and he introduced audiences in the West to Indian dance and music through the performances of his troupe.
Some of Uday Shankar's famous works include the innovative ballet, 'Labour and Machinery' and a path breaking film, 'Kalpana,' on the theme of dance.
The institute established by Uday Shankar is now defunct, but his legacy survives in the work of his children and his many disciples, who have their own troupes and students. Today, in addition to the line established by Uday Shankar, there are other practitioners of Modern Dance in India who belong to other schools.
More recently, Dr Manjushree Chaki-Sarkar created a dance idiom which she called Nava Nrityam. With her daughter Ranjabati Sarkar and their troupe based in Calcutta she did a great deal of research and codification of the dance style and presented a large number of choreographic productions. The untimely death of Ranjabati and of her mother Manjushree Chaki-Sarkar was a tragic loss for the world of contemporary dance.
With growing interaction between dance practitioners all over the country and the world, and awareness of important contemporary issues, many classical dancers have also stepped into the realm of contemporary dance through exploration of one or many dance styles. Often martial arts such as Kalaraipayattu of Kerala and Chhau of eastern India are incorporated into dance choreography, lending greater vigour and variety to the artistic expression.
Uday Shankar, who was born in the early years of the 20th century, is widely accepted as the Father of Modern Dance in India. This great dancer had a very wide vision, and he appreciated the wonderful variety and scope of expression afforded by the different classical and folk dances extant in the country.
His search for a personal expression led him to incorporate different dance styles, such as Bharata Natyam and Kathakali into his choreographic productions. He established an idyllic institution in the hills of Kumaon, where he invited teachers from different genres to train his troupe in order to groom their bodies to a state where they could produce a varied, rich and contemporary dance vocabulary. Uday Shankar was an idealist as well as a wonderful showman. He was a catalyst in the renaissance of interest in Indian arts during the 1930s and '40s, and he introduced audiences in the West to Indian dance and music through the performances of his troupe.
Some of Uday Shankar's famous works include the innovative ballet, 'Labour and Machinery' and a path breaking film, 'Kalpana,' on the theme of dance.
The institute established by Uday Shankar is now defunct, but his legacy survives in the work of his children and his many disciples, who have their own troupes and students. Today, in addition to the line established by Uday Shankar, there are other practitioners of Modern Dance in India who belong to other schools.
More recently, Dr Manjushree Chaki-Sarkar created a dance idiom which she called Nava Nrityam. With her daughter Ranjabati Sarkar and their troupe based in Calcutta she did a great deal of research and codification of the dance style and presented a large number of choreographic productions. The untimely death of Ranjabati and of her mother Manjushree Chaki-Sarkar was a tragic loss for the world of contemporary dance.
With growing interaction between dance practitioners all over the country and the world, and awareness of important contemporary issues, many classical dancers have also stepped into the realm of contemporary dance through exploration of one or many dance styles. Often martial arts such as Kalaraipayattu of Kerala and Chhau of eastern India are incorporated into dance choreography, lending greater vigour and variety to the artistic expression.
Manipuri
Manipuri is one of the most beautiful dance styles of India. Nurtured in the mountainous region of the northeast, it takes its name from the name of the area, Manipur, which is now a state. Manipur literally means a jewel of a land, and the state is set like a gem in the verdant hills. The legend goes that the gods drained a lake in the beautiful countryside in order to find a place to dance. No wonder then, that dance is an inherent part of the rituals of daily life, such as weddings and homage to ancestors.
The Lai Haroba, a ritualistic dance depicting the Creation, is considered the precursor of Manipuri as seen today. The Lai Haroba is still an important living tradition, while Manipuri has expanded and gained popularity as a performing art in group and solo presentations.
Among the important constituents of the Manipuri repertoire are the Sankirtana and the Raas Leela, based on the devotional theme of Krishna and Radha. The Raas Leela depicts the cosmic dance of Krishna and the cowherd maidens. The beautiful embroidered skirts of the dancers, long and flared from the waist, and the transluscent veils, along with Krishna's costume with the tall peacock feather crown, add to the radiant appearance of this dance, as the performers sway and twirl to an ascending tempo.
Another vibrant feature of Manipuri is the Pung Cholam or Drum dance, in which dancers play on the drum known as Pung while dancing with thrilling leaps and turns to a fast rhythm.
The Lai Haroba, a ritualistic dance depicting the Creation, is considered the precursor of Manipuri as seen today. The Lai Haroba is still an important living tradition, while Manipuri has expanded and gained popularity as a performing art in group and solo presentations.
Among the important constituents of the Manipuri repertoire are the Sankirtana and the Raas Leela, based on the devotional theme of Krishna and Radha. The Raas Leela depicts the cosmic dance of Krishna and the cowherd maidens. The beautiful embroidered skirts of the dancers, long and flared from the waist, and the transluscent veils, along with Krishna's costume with the tall peacock feather crown, add to the radiant appearance of this dance, as the performers sway and twirl to an ascending tempo.
Another vibrant feature of Manipuri is the Pung Cholam or Drum dance, in which dancers play on the drum known as Pung while dancing with thrilling leaps and turns to a fast rhythm.
Kuchipudi
Sculptural evidence from all parts of India and the surrounding region points to a rich tradition of dance and music that flourished over a thousand years ago. All over ancient India, it would seem, dance and music were seen not merely as ways to celebrate but also as offerings of worship and thanksgiving to the Divine. Over the course of time, the dance forms practiced in the different parts of the country were codified and developed distinct identities according to the geographic, socio-economic, and political conditions of each region.
The dance form Kuchipudi developed in what is now known as the state of Andhra Pradesh in southern India. Kuchipudi derives its name from the village Kuchelapuram, where it was nurtured by great scholars and artists who built up the repertoire and refined the dance technique.
The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylized mime, using hand gestures and subtle facial expression, is combined with more realistic acting, occasionally including dialogues spoken by the dancers. In this blend of performance techniques, Kuchipudi is unique among the Indian classical dance styles. Kuchipudi today is performed either as a solo or a group presentation, but historically it was performed as a dance drama, with several dancers taking different roles. The themes are mostly derived form the scriptures and mythology, and the portrayal of certain characters is a central motif of this dance form. One example is Satyabhama, the colourful second consort of Lord Krishna. Another unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns with dexterity, while sometimes also balancing a pot of water on the head.
Kuchipudi is accompanied by Carnatic music. A typical orchestra for a Kuchipudi recital includes the mridangam, flute and violin. A vocalist sings the lyrics, and the nattuvanar conducts the orchestra and recites the rhythmic patterns.
The dance form Kuchipudi developed in what is now known as the state of Andhra Pradesh in southern India. Kuchipudi derives its name from the village Kuchelapuram, where it was nurtured by great scholars and artists who built up the repertoire and refined the dance technique.
The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylized mime, using hand gestures and subtle facial expression, is combined with more realistic acting, occasionally including dialogues spoken by the dancers. In this blend of performance techniques, Kuchipudi is unique among the Indian classical dance styles. Kuchipudi today is performed either as a solo or a group presentation, but historically it was performed as a dance drama, with several dancers taking different roles. The themes are mostly derived form the scriptures and mythology, and the portrayal of certain characters is a central motif of this dance form. One example is Satyabhama, the colourful second consort of Lord Krishna. Another unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns with dexterity, while sometimes also balancing a pot of water on the head.
Kuchipudi is accompanied by Carnatic music. A typical orchestra for a Kuchipudi recital includes the mridangam, flute and violin. A vocalist sings the lyrics, and the nattuvanar conducts the orchestra and recites the rhythmic patterns.
Koodiyattam
Koodiyattam, the Sanskrit theatre tradition of Kerala, India has been declared as among the 'Masterpiece of the Oral and Intangible Heritage of Humanity' by UNESCO.
It is for the first time that UNESCO has selected art forms from across the world to bestow recognition as part of its effort to safeguard expressions of oral heritage and traditional culture.
Koodiyattam was selected from among 32 entries from all over the world. Dating back to 2,000 years, `Koodiyattam' is a unique theatre tradition which survived in Kerala from an ancient past. It deals with the plays of eminent Sanskrit dramatists such as Bhasa, Harsha, Kalidasa, Maendravikrama and Saktibhadra. While following the performative principles of the larger Indian aesthetic tradition, `Koodiyattam' has its own distinctive characteristics that are firmly rooted in the culture of Kerala.
It is for the first time that UNESCO has selected art forms from across the world to bestow recognition as part of its effort to safeguard expressions of oral heritage and traditional culture.
Koodiyattam was selected from among 32 entries from all over the world. Dating back to 2,000 years, `Koodiyattam' is a unique theatre tradition which survived in Kerala from an ancient past. It deals with the plays of eminent Sanskrit dramatists such as Bhasa, Harsha, Kalidasa, Maendravikrama and Saktibhadra. While following the performative principles of the larger Indian aesthetic tradition, `Koodiyattam' has its own distinctive characteristics that are firmly rooted in the culture of Kerala.
Kathak
This dance form traces its origins to the the nomadic bards of ancient northern India, known as Kathaks, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. With the advent of Mughal culture, Kathak became a sophisticated chamber art. Patronized by art loving rulers, the practitioners of Kathak worked at refining its dramatic and rhythmic aspects, delighting elite audiences with their mastery over rhythm and the stylized mime.
The technique of Kathak today is characterized by fast rhythmic footwork set to complex time cycles. The footwork is matched by the accompanying percussion instruments such as tabla and pakhawaj, and the dancer and percussionists often indulge in a virtuoso display of rhythmic wizardry.The dance movements include numerous pirouettes executed at lightning speed and ending in statuesque poses. The interpretative portion, based on tales of Radha and Krishna and other mythological lore, contains subtle gestures and facial expressions. Lucknow, Banaras and Jaipur are recognized as the three schools, or gharanas, where this art was nurtured and where the interpretative and rhythmic aspects were refined to a high standard.
The technique of Kathak today is characterized by fast rhythmic footwork set to complex time cycles. The footwork is matched by the accompanying percussion instruments such as tabla and pakhawaj, and the dancer and percussionists often indulge in a virtuoso display of rhythmic wizardry.The dance movements include numerous pirouettes executed at lightning speed and ending in statuesque poses. The interpretative portion, based on tales of Radha and Krishna and other mythological lore, contains subtle gestures and facial expressions. Lucknow, Banaras and Jaipur are recognized as the three schools, or gharanas, where this art was nurtured and where the interpretative and rhythmic aspects were refined to a high standard.
chhau
The Chhau dance is indigenous to the eastern part of India. It originated as a martial art and contains vigourous movements and leaps. During the eighteenth and nineteenth centuries, many of the princely rulers of the Orissa region took a keen interest in the development of this art. They maintained troupes that performed on special occasions and festivals.
Some Chhau dances use large stylized masks. The depiction of birds and animals is a distinctive feature. There are also heroic dances with sword, bow or shield, with which dancers demonstrate their dexterity. In keeping with the martial origins of Chhau, some of the themes include the depiction of mythological heroes, such as Parashurama, Mahadev, Indrajit and others, from the Mahabharata and Ramayana epics. Over the course of time, female characters and more diverse themes were added.
There are three recognized schools or styles of Chhau. These are the Seraikella, Purulia and Mayurbhanj varieties. Mayurbhanj Chhau dancers do not wear masks. In recent times, Mayurbhanj Chhau has become popular as a medium of choreography, with its wide range of postures and movements that adapt well to modern as well as traditional treatment.
Some Chhau dances use large stylized masks. The depiction of birds and animals is a distinctive feature. There are also heroic dances with sword, bow or shield, with which dancers demonstrate their dexterity. In keeping with the martial origins of Chhau, some of the themes include the depiction of mythological heroes, such as Parashurama, Mahadev, Indrajit and others, from the Mahabharata and Ramayana epics. Over the course of time, female characters and more diverse themes were added.
There are three recognized schools or styles of Chhau. These are the Seraikella, Purulia and Mayurbhanj varieties. Mayurbhanj Chhau dancers do not wear masks. In recent times, Mayurbhanj Chhau has become popular as a medium of choreography, with its wide range of postures and movements that adapt well to modern as well as traditional treatment.
KATHAKALI
Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and theMahabharata.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.
The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.
The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.
The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.
A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.
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One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.
The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.
The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.
The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.
A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.
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16 Jun 2013
Slokas specific to Classical dance
Slokas or verses which are full of wisdom are central and common to the traditional way of life; that is, life as per the Vedas. Thus it is only natural that we find many verses that pertain to the art of dance. Below I have presented only two, but these are very widely known throughout India and although appropriate to dance, they can fit in happily to all aspects of life.
In Bharata Natyam, as in many other dance forms there is an oft-repeated sloka:
Guru Vishnu
Guru Devo Maheswaraha
Guru Sakshaad Parambrahma
Tasmay Shri Guruveh Namaha
Vachikam Sarva Vangmayam
Aharyam Chandra-Taradi Tvam Namaha
Sattvikam Shivam
The sloka can roughly be translated to mean
I bow to you, the ultimate Lord/Guru:
*
You, whose limbs are the Universe,
You, the Originator of all speech,
You, whose adornments are the moon and stars,
You are The Truth.
The following sloka is:
Hastana Artha Pradakshayat
Chakshubhyam Darshayat Bhavom
Padabhyam Tala Acherait
*
Yato Hasta Stato Drushti
Yato Drushti Stato Manaha
Yato Manaha Stato Bhavom
Yato Bhavom Stato Rasaha
This means:
Let your hands bring out the meaning
Your glance should be full of expression
While your feet maintain the rhythm
*
Where the hand goes, there the eyes should follow
Where the eyes are, the mind should follow
Where the mind is, there the expression should be brought out
Where the expression is, there the rasa or flavour will be experienced (by the audience).
Elements of Indian Dance
Abhinaya:
Abhinaya is common to all Classical Indian dances. Abhinaya is the expressional aspect of dance, or nritya . In contrast to this, Nritta is composed of only pure dance and will feature striking and aesthetic poses, but will have no expressional meaning and symbolism.
Abhinaya has been analysed in the Natya Shastra and has been categorised into four types:
· Angika - or physical, using movements of every part of the body to convey meaning, with hastamudras (hand gestures), mandis (postures) and even the walk of the dancer.
· Vachikabhinaya - or vocal/verbal, used formally today by members of the orchestra or supporting, non-dancing cast.
· Aharyabhinaya - or external, expression, mood and background as conveyed by costume, make-up, accessories and sets.
· Satvikabhinaya - or psychological, shown by the eyes in particular and as a whole by the entire being of the performer, who feels the mood, the character and the emotion as emanating from the self, not as an act or practical presentation.
Abhinaya has been analysed in the Natya Shastra and has been categorised into four types:
· Angika - or physical, using movements of every part of the body to convey meaning, with hastamudras (hand gestures), mandis (postures) and even the walk of the dancer.
· Vachikabhinaya - or vocal/verbal, used formally today by members of the orchestra or supporting, non-dancing cast.
· Aharyabhinaya - or external, expression, mood and background as conveyed by costume, make-up, accessories and sets.
· Satvikabhinaya - or psychological, shown by the eyes in particular and as a whole by the entire being of the performer, who feels the mood, the character and the emotion as emanating from the self, not as an act or practical presentation.
The Navrasas:
In addition, the navarasas, or nine emotions, give all dance a completeness that allows the dancer and the rasikas (audience) to experience the full beauty and meaning of the lyrics and the movements they are portrayed by.
These emotions are expressed in the eyes, the face, subtle muscle shifts and the body as a whole. They are:
hasya (happiness),
krodha (anger),
bhibasta (disgust),
bhayanaka (fear),
shoka (sorrow),
veera (courage),
karuna (compassion),
adbhuta (wonder) and
shanta (serenity).
The origins of Indian Dance: The Natya Shastra
The Nayta Shastra is the principal work of dramatic theory in the Sanskrit drama of classical India. It was written by the sage Bharata Muni. It is a set of precepts on the writing and performance of dance, music and theatre. While the Natyasastra primarily deals with stagecraft, it has come to influence music, dance, and literature as well. Thus, an argument can be made that the Natyasastra is the foundation of the fine arts in India.
The Natya Shastra was created in the beginning of Treta Yug by Brahma on the request of Indra and other devas as an object of diversion (Kridaniyaka). As the lower castes (Shudras) were not entitled to listen to the four Vedas (Sama, Yajur, Rig and Atharav), Brahma created the Natya Shastra as the fifth Veda which was open to all, irrespective of caste and creed.
Prior to the creation of the Natya Veda, Brahma entered a yogic trance in which he recalled the four Vedas. He drew the recitative (Paathya) from the Rig, songs (Geeta) from the Sama, histronic representation (Abhinaya) from the Yajur and sentiments (Rasa) from the Atharv.
These aspects are the four main constituents of the Natya Veda.
When the Natya Veda was ready, the Gods expressed their inability to practise it, and Brahma passed it to Bharata Muni and his one hundred sons who were asked to practise it.
The dance was first seen at the Flag Festival of Indra to celebrate the victory of the Devas against the Daahavas.
Shiva learnt the Tandava (masculine) form of the dance, whereas Parvati, his consort learnt the Lasya (feminine) form.
The Natya Shastra
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