INDIAN DANCES

History of Dance I

Dance in India

The geographical area of the Indian subcontinent stands out for the great variety and contrasts
in the most diverse aspects of its life: racial, geographical, climatological, religious, cultural and
linguistic; and this diversity is reflected in its many dance styles, ranging from classical to
folkloric and contemporary.

Still, there is a unifying element based on spirituality, tradition, culture and other qualities.

Indian culture enjoys a continuity of five thousand years, with its cultural treasures coexisting
with the present.

It has been said that dance is the synthesis of all the arts, because in it expression, movement,
sounds, shapes, colors, emotions, feelings are found, and all of this gives rise to the experience
of aesthetic joy.

The Indian spirit is so rooted in its dances that through them you can perceive its thought and
wisdom that came to influence all of Asia.

Origins of Dance

According to mythology, the ancient Rishis having received the four Vedas as divine
revelations, the Brahmins kept their wisdom so that only they could enjoy that knowledge.
Faced with this situation, Brahma or the creative aspect of God, decided to offer the world the
fifth Veda. He took the themes of recitation from the Rig-Veda (book of hymns), from the
Sama-Veda (book of melodies) he took music, from the Yajur-Veda (book of sacrifices) he took
the abhinaya or art of expression, and From the Atharva-Veda (book of spiritual offices) he
took bhava (emotions) and rasa (feelings), and finally from the essence of all the Natya-Veda
was born, its content encompassing everything related to drama, dance and music, and other
related arts and possessing the same potential of the other four Vedas. Numerous evidence
tells us of the existence of dance from very ancient times, as demonstrated by the figure of a
dancer found in the ruins of Mohenjo-daro, belonging to a culture about five thousand years
ago. In the caves of Udayagiri and Khandagiri, in Orissa, we find other figures referring to
dancers dating from the 2nd century BC. , carved into the rock representing dance scenes.

There are three groups into which Indian dances can be classified: tribal, popular and classical.
Tribal Dances

For members of indigenous tribes, dance is more than an expression of physical or emotional
exuberance, more than just a form of entertainment. They dance their religion. Their success
in hunting and victory in war, fertility in women and the production of the land, pacification of
the natural elements and the elimination of a pestilence, protection against the devil and the
fruition of love. Dance is creator, preserver, administrator and guardian. Both the dancer and
the spectator participate in this type of dance. It is a choral dance and for both sexes.

Popular Folk Dances

India is particularly rich in specific folklore forms. Each area has its own special varieties,
whether martial, seasonal, ritual, sacrificial, celebratory, educational or talismanic. This may
vary from locality to locality, but they all share a common heritage of myths and symbols.
Some of the folkloric forms of India are Chauu dance of Bihar, Garba of Gujarat and Bhangra of
Punjab and Banjara of Andhra Pradesh. In India, dance and music penetrate all aspects of life
and bring color , rejoicing and joy to a number of festivals and ceremonies. In fact, dance and
music are inextricably linked to any type of festivity. Folk dances remain a spontaneous
expression of the joy of the inhabitants with their costumes, colors, music and regional styles.

The religious aspect is left aside, except in those dances that are part of the festivities.

Simple people generally dance in rustic clothes and silver ornaments to the rhythm of music.
The maidens dance and sing accompanied by the choir.

Popular dances not only have their source in the daily life of the people. They also describe the
physical conditions of the place that influence its development. Nature discreetly shapes these
dances.

The dances are never monotonous. The regional color in dresses and ornaments, in songs and
instruments are different in each place, making them rich and varied. Popular dances are an
important means of uniting people, a fact that favors the acceptance of dance within Indian
culture.

Classic dances

The classical tradition is an ancient and sophisticated art form that spans several hundred
years. It has its origin in the temples and is performed by the devadasis (temple dancers). The
authors are the Vedas (Indian priests). They claim a divine revelation, attributing the origin of
the dance to Siva Nataraja, the lord of the dance.

Classical styles have been related to mythology, philosophy, spiritual beliefs of Hindu culture
and, in more recent times, with Islamic tradition.

Classical dance has its roots in Bharata's Natya Shastra (written around 400 BC), the oldest
known treatise on dramaturgy, of which music and dance are indispensable elements. This
Sanskrit treatise is divided into thirty-eight chapters, which describe the conventions of
theatre, drama, poetry, song and music. It includes rules on topics as diverse as the ideal
buildings to perform these arts, the rules of prosody and diction, character types, the way of
representing feelings, and the movements of each member. Sixty-seven mudrâ (hand
positions) and thirty-six eye movements are described in detail.

From the 2nd to the 8th century AD There was a marked diversification. Gradually, dance was
dissociated from drama and different classical styles were born, which reflected the particular
traditions of the region in which they were born. However, all classical styles share the basic
elements of nritta (the rhythmic elements), nritya (the combination of rhythm with
expression), and natya (the dramatic element).

Nritta is the rhythmic movement of the body in dance, pure dance. This does not express any
emotion. Nritya is usually expressed through the eyes, hands and facial movements. The nritya
combined with the nritta make up the usual dance programs. The nritya includes the abhinaya,
which represents rasa (feeling) and bhava (mood). To appreciate natya or dance drama, one
has to understand and appreciate Indian legends.

All dance forms emphasize the teaching of navarasa or the nine moods or feelings: hasya
(happiness), krodha (anger), bhibasta (aversion), bhaya (fear), shoka (pity). , viram (courage),
karuna (compassion), adbhuta (amazement) and shanta (serenity).

All dance forms follow the same hand gestures or mudras for each of the emotions. The
dances differ where the local genius has adapted them to their local demands and needs.

There are also two categories of movements that all dancers should be able to perform,
regardless of their gender: the tandava is the masculine and vigorous aspect of the dance and
the lasya represents the elegant and feminine side. All styles are performed barefoot. For
some, ghungroos (ankle bells) are used to increase the pace of their steps. Mudras (hand
gestures), stylized movements of the face and eyes, and complex rhythmic patterns constitute
other characteristics of this dance.

India displays a number of classical dance forms, each of which can be found in different parts
of the country, and each form represents the culture and distinctive traits of a particular region
or group of people. But, despite the regional variants, they have all continued with the same
basic rules and regulations that appear in the Natya Shastra. There are style differences that
give each their own unique quality.

Most Indian dances take their themes from rich Indian mythology and folk legends. Hindu gods
and goddesses such as Vishnu and Lakshmi, Rama and Sita, Krishna and Radha are all
represented in Indian classical dances. Each dance form also draws inspiration from stories
that represent the life, ethics and beliefs of the Indian people.

The main varieties of classical dances are:

Bharata Natyam
It is the oldest of the classical styles of traditional Hindu dance. The term Bharata Natyam
means “Dance of Bharata” (author of the Natya Shastra). The word Bharata is composed of the
syllables:

“bha” (bhava): emotions

“ra” (raga): melody

“ta” (tala): rhythm

It is practiced in the Tanjore region, in the south of the peninsula. Originally, it was performed
by devadasis (sacred temple dancers) in the temples of Tamil Nadu. Currently it is performed
by a male or female soloist. Its execution is very difficult and requires significant technical
knowledge and its study requires long and painful training. The coded movements must be
executed with great precision.

Contains a stimulating flow of continuous percussion. Space and movement are perceived
along precise geometric lines, accentuated by fragile footwork.

In Bharata Natyam there is Nritta (pure technique), Nritya (dance with expression) and Natya
(drama). Its themes are from Vaishnava literature, with Bhakti or devotional sentiment
prevailing.

The technique of this dance is well defined: the bases of Nritta are the adavus or dance steps,
which combine movements of the feet, legs and arms, with positions of the torso and head,
and certain hand gestures. They are divided into groups, each of which is composed of a
specific class of steps that can be performed in various ways, which are simply variations of the
same type of movement, and are practiced in three speeds of time: single, double and
quadruple. Each group of adavus is performed with the accompaniment of a series of syllables
that characterize it, and distinguish one from the other.

In the jatis and tirmanas, various adavus are combined in choreographic positions, which are
accompanied by sholukattus (rhythmic syllables). In Bharata Natyam and other dances, the
araimandi posture, in the Tamil language, and the ardhamandala, in Sanskrit, are widely used,
which in Western ballet means demi-plié. Most adavus are performed in demi-plié, with the
toes and knees open to the sides.

Contact with bare feet is characteristic of Indian dance. And the rhythm hits the sole, the mid-
pointe and the heels.

The expressive aspect is very systematized, adjusting to the rules established by the “Abhinaya
Darpana”, which lists nine head movements, four neck movements, and eight types of looks, in
addition to 28 gestures of one hand individually and 23 of both hands. , and the combinations
between them. With all these elements the dancer expresses a song, tells a story or represents
certain characters.

REPERTOIRE
Generally, this dance is made up of seven typical parts:

Ganapati Vandana: The program begins with a chant of invocation to Ganesha, who removes
obstacles and must be worshiped first. The dancer then goes on stage and begins the first
dance:

Alaripu: Invocational dance that represents the flowering of the body and devotion to God. It is
the one that uses the least nritta or pure technique, beginning with delicate movements of the
eyes and neck, then of the shoulders and arms, and finally of the legs and feet. They are
accompanied by the sound of mridanga (drum) and the recitation of rhythmic syllables.

Jatiswaram: Nritta dance, in which complicated and varied combinations of steps are
performed, accompanied by a piece of music, jatiswaram, from which it takes its name, and
which is made up of jatis (measurements in time) and swarams (musical scales). ).

Shabdam: Dance that introduces the expression or Nritya. It begins with a brief attainment of
Nritta, followed by the performance of a poem or song that the dancer interprets with
gestures. It is generally in honor of a god, king or hero, and does not express deep emotions
and feelings.

Varnam: Central dance, of greatest interest and complication of the repertoire, in addition to
the longest duration. It is a combination of Nritta and Abhinaya, in which the dancer gives her
best. Generally the central theme is the heroine's desire to win the love of her lover, who
embodies an aspect of God. She expresses the depth of her feelings. It consists of parts of
abhinaya interspersed with parts of nritta. Nritta is represented by the tirmanas in which a
combination of adavus is performed in a specific rhythm accompanied by sholukatos (rhythmic
syllables of the drum), which are recited by the nattuvangam (master who conducts the
orchestra), while marking the rhythm with the talam (small cymbals). These choreographic
compositions have a defined ending that is repeated three times. In the abhinaya the face and
hands express the meaning of the poem, the feet mark the rhythm of the drum. The dance
ends with charanam, rich in devotional feelings and brilliant nritta.

Abhinaya: Lyrical section made up of several pieces dedicated to the expressive aspect such as:
Padams, Javalis, Kirtanams, Ashtapadis, etc. In some of them stories or legends are told, others
are situations or emotional states of the various Nayikas or classic heroines, or a mystical
poem is interpreted.

Tillana: Nritta dance with a rich variety of movements that begin slowly and accelerate in
rhythm to culminate in a brilliant finale. With Tillana, the program usually ends.

The music is Carnatic, with musical instruments such as: mridanga or elongated drum played
on both sides, flute, violin, and vina. A singer performs the vocal music parts and the
nattuvangam leads the orchestra, setting the rhythm with two small cymbals called talam.
The clothing is varied, the most traditional being a short sari, worn over thin pants and a choli
or short blouse. An ankle-length saree worn in a specific way is also worn.

The jewelery is in traditional Tanjore style and includes head ornaments, earrings, bracelets
and belt. The hair is styled in a long braid that falls down the back, decorated with intertwined
flowers. Gungurus or bells are placed on the ankles.

Kathakali

It is the most important of the classical styles of traditional Hindu dance, emerging in Kerala, a
region in the southwest of India, more than a thousand years ago. The dances that gave rise to
Kathakali are the Tirayattam dances, tantric rituals in honor of the goddess Bhagavati; the
Pambu Thullal dances, of snake worship ceremonies; the martial arts of the Nayars; Chakiar
Koothu and Kudiyattam, representatives of the oldest histrionic art.

The term Kathakali is composed of the Sanskrit word “katha” (story) and the Dravidian “kali”
(drama or play), denoting its Aryan Dravidian origins.

Kathakali literature has its own style, being very subordinate to the expressive theme,
combining poetry (in Sanskrit) and prose (in Malayalam). The arguments are mainly from the
Epics and the Puranas, with great Vaishnava influence.

This style has: Nritta (technical dance), Nritya (with expression) and Natya (drama). The
Tandava (virile) aspect predominates. It requires great mastery of the body's muscles, agility
and strength. They stand out for rectangular postures, large jumps and broad, vigorous
movements. The second position in demi-plié is very open with the feet well separated from
each other, which are supported by the outside of the soles of the feet. Its expressive aspect is
highly developed and is considered the culmination of dramatic art in dance. The hand
gestures are of unmatched richness, and are divided into: Prakritik or natural, Pratirupi or
imitative, and Prasarupi or amplified.

In abhinaya the following are used: 9 movements of the head, 9 of the neck, 9 of the eyeball, 9
of the eyelids, 7 of the eyebrows, 6 of the cheeks, 6 of the nose, 6 of the mouth, 6 of the chin,
and 8 gazes. In addition to 24 Asamyuta hastas and 40 Samyuta hastas, from which hundreds
of combinations are derived by which to express all kinds of things. Thus Navarasa or the nine
basic feelings are interpreted in an incredible way.

The characters can be of three types: satvic (virtuous), rajasic (passionate), and tamasic (vile
and destructive). To accentuate the characters, they use (colored) makeup, specific designs
and ornaments, which symbolize various qualities.

There are 5 kinds of characterizations in makeup:

Pacha: with faces in green, representing good qualities, where gods, divine incarnations,
heroes, noble kings and virtuous beings are found.
Kathi: with a red and green face, with a small white ball attached to the tip of her nose and
another on her forehead. Evil and savage characters, such as Ravana, Duryodhana, Kamsa, etc.

Tadi: with white, red or black beards, which symbolize various natures, and can be Veluppu
Tadi, white in color, worn by good and noble characters such as Hanuman; Chokanna Tadi or
red beard, of vicious and violent characters, like Dussasana or rakhasas; and Karuppu Tadi or
black beards, of hunting and jungle characters, such as Siva disguised as a hunter.

Kari: black faces and clothes, representing primitive beings, ogres and inhabitants of lower
worlds.

Minukku: with natural makeup, painting her face yellow-pink, wearing caste marks on her
forehead. It is used by female characters, rishis, brahmins, etc.

There are also characterizations for certain characters, including Narasimha, the incarnation of
Visnu as a lion-man. We also find the custom of dyeing the eyeball red, applying the juice of
the Chunda flower, which gives rise to a strange appearance. Another accessory is the use by
male characters of the Chutti or facial border, which is placed on both sides of the face,
covering the chin, framing the contour of the lower part of the face. It is made from rice paste
and lime juice.

The ornaments or crowns are made of wood painted with bright colors and gold, and
decorated with stones. There are two types:

Kiritan, used by several male characters.

Mudi, reserved for gods, divine incarnations and some beings of great nobility and spirituality.

Clothing:

The upper part is generally composed of a long-sleeved jacket, covered with necklaces, several
white scarves or bands (Uttariyam) fall from the neck to below the waist, among which there is
a red one with mirrors at its ends, where the artist looks at himself from time to time,
complemented with earrings and other decorations.

The lower part is covered with wide, highly armed pleated skirts, usually white, that reach
almost to the ankles, adorned with colored edges, being in some special cases, the skirts in
dark tones. The female characters also wear a white skirt with colored edges, with a drop and
on which a golden belt is placed.

All the dancers wear bells on their ankles.

The music has regional influences, but its ragas and talas are related to those of Carnatic or
classical music of South India. The singing style of this style is called Sopana, generally
performed in slow tempos, except in violent scenes, to allow the dancers to comfortably
perform the abhinaya. The orchestra is composed of percussion instruments: Manddalam
(elongated drum played on both sides), Chenda (cylindrical drum played with sticks), Chengala
(metal gong played with a single stick), Elathalam, cymbals, and two singers who They stand
behind the dancers. Sometimes conch shells are played.

Training begins around the age of eight and lasts about ten, from then on they can perform in
public.

The typical place for representation is the temple patio, or in some suitable place, but
outdoors, where many people can accommodate. The show begins when two men enter with
a brightly colored rectangular cloth, each on each side of the stage. Two dancers arrive and
perform a devotional dance called Thodayana. Next, the Pacha (virtuous) character, and
another female character, perform a nritta dance called Purapaddu. The singers perform a
passage from the “Gita Govinda” and the musicians play various percussion rhythms, known as
Melapaddam, which when it ends, the work begins with arguments generally from the
“Mahabharata”, the “Ramayana” or stories from the Puranas, where finds the eternal struggle
between good and evil. With the triumph of virtue, nobility, and goodness, the function
concludes.

During the Kathakali theater performances, various dances are presented, some called
Kalasam, in the Tandava or virile style, and others full of sensuality and grace, called Sari
Nritya.

Mohini Attam

Classical dance style from Kerala, inspired by one of the characters from Hindu mythology,
Mohini, whose personality made her name synonymous with irresistible feminine charm. Just
as Kathakali was originally performed by men, this dance is exclusively for women and
presented in solo form.

Some temples in this region, from the Chera dynasty, have statues of poses of this dance, such
as in the Suchindaram temple (Kaniyakumari). In Kerala the devadasis were known as tevadichi
or servants of God, some Malayalam and others Tamil. It is quite possible that the devadasis
system came from Tamilnadu (Madras) and spread throughout the region.

His technique is based on Natyasastra, with some elements of Bharata Natyam and Kathakali,
but with his own style with an accent on the Lasya aspect.

His Nritta is based on adavus, with its own rhythmic syllables identifying each one of them.
These syllables, in Malayalam, are called vayttari, and according to them, the adavus are
divided into: Taganam, Jaganam, Dhaganam and Sammisram.

The basic position of the feet is with the toes facing out and 6 cm apart. between the heels.
There are five leg positions based on the level of knee flexion:

Samamandalam: right legs.

Aramandalam: demi-plié.

Mulumandalam: grand-plié.
Mukkalmandalam: between aramandalam and mulumandalam.

Kalmandalam: between samamandalam and aramandalam.

The movement of the torso, the way the steps are executed, and the elegance, harmony and
spontaneity with which this dance is performed stand out.

In hand gestures he conforms to the rules of “Hastalakshana Deepika”. The abhinaya aspect
requires great sensitivity on the part of the dancer and great acting skills, since it is about
giving an atmosphere of enchantment, where the eyes play an important role, since it has a
great power of suggestion and through which subtle expressions can be made. emotions.

REPERTOIRE

Cholukettu: invocation dance, worship is paid to a God. Composed of adavus, accompanied by

the recitation of vayttaris (rhythmic syllables) and a shloka that is performed in abhinaya.

Jatiswaram: nritta dance in which jatis (rhythmic syllables) and swaras (musical notes) are
combined.

Varnam: nritta and abhinaya combine with brilliance and depth.

Padams: related space to emphasize the interpretive aspect.

Tillana: nritta dance.

Shloka: praise to the deities.

Saptan: so called because it is the seventh dance, composed of nritta and nritya.

In dances in which a story is told, the dancer is not simply a narrator, but must interpret each
of the characters in the work, no matter how opposite their characteristics may be. It is
traditional that when performing the abhinaya, the phrases of the song are repeated several
times so that the dancer expresses their meaning in various ways.

The music is classical South Indian. The singing part is usually in Malayalam. The orchestra is
made up of instruments such as: mridanga, flute, violin and edakai (string instrument), the
nattuvangam or conductor, and a singer.

The attire short blouse, white saree with colored border fastened with a golden belt called
udayanam. The hair is styled in a bun on one side of the top of the head, adorned with flowers
and ornaments.

In this style, the Lasya or feminine aspect predominates, but with great sensuality interpreted
in just the right measure.

Odissi
This style is native to the region of Orissa, located on the east coast of central India, on the
shores of the Bay of Bengal.

Various aspects influenced the artistic evolution of Orissa, mainly four religious cults: Jain,
Buddhist, Sivaist and Vaishnava, which, together with the Dravidian culture of southern India
and the northern Aryan, contributed to enriching the traditions.

There is evidence that two thousand years ago, dance was already part of the social and
religious life of the region. In the Udayagiri caves there are carved figures of dancers in various
situations along with celestial beings in choreographic movements, all of which dates back to
the end of the pre-Christian era, when the Jain religion flourished.

Inscriptions from the 10th century certify the existence of devadasis dedicated to the temples
of Orissa, and given the number of temples, one can imagine the number of musicians and
dancers there.

One of the favorite themes of Odissi dance are the passages from Jayadeva's “Gita Govinda”
(second ms. XII). The poetry is permeated with rasa shringara (passionate love), and the
emotional states are greatly described.

In addition to the maharis, who were of vital importance in the evolution of dance in Orissa,
the gotipuas emerged around the 17th century, children and young people who danced in
female clothing in places close to the sanctuaries, but always outside of them.

As it was prohibited during the English occupation, a good part of the tradition was lost,
although choreographers have gradually recovered it thanks to historical manuscripts and
images from the temples.

After the independence of India (1945), Odissi, like other dances, resurfaced in all the fullness
of its beauty. There were many people who contributed to its resurgence:

Your technique

In this style we find the Lasya and Tandava aspects combined, but with a predominance of
Lasya, since the type of movement they perform gives rise to elegance and femininity.

Nritta and abhinaya follow the rules of ancient traditional texts. A 15th century writing refers
to this dance as Odra Nrutya, describing in detail its various aspects. The Natyasatra and the
Abhinaya Darpana have also been sources of inspiration for the Odissi style. Abhinaya is as
varied as Nritta. The movements of the head, neck and eyes follow the rules of “Abhinaya
Darpana”.

The bases of his technique are:

Bhangis: body postures.

Padabhedas: positions of the feet, which also include the positions of the legs.

Chalis: steps and ways of walking.

Bhumis: ways in which the dancer moves and moves around the stage.

Belis: varied movements combined with body poses.

Brahmaris: turns or pirouettes, performed in different postures.

Utplavanas: jumps.

Hastas: hand gestures. In abhinaya they are used as a means of expression to communicate
ideas, words or feelings. In nritta they are used for aesthetic effect.

There are two characteristic postures of this style:

Tribhangi: based on the classical concept of Hindu sculpture. One foot is placed in front and
the other further back, with the knees bent and open to the sides, as well as the balls of the
feet (similar to the fourth position of demi-plié). The hip of the back leg moves outward and
the head tilts to that same side. One hand rests on the displaced hip and the other on the thigh
of the leg in front. Three angles are formed: one at the knees, another at the waist and the
third at the neck.

Chouka: feet apart with toes to the sides and knees bent (similar to the second demi-plié
position). The arms are extended to the sides, parallel to the shoulders, and from the elbows
to the hands they are projected forward with the palms facing down.

REPERTOIRE

MANGALA CHARAM: is composed of several parts:

Bhumipranam: along with the drum and rhythmic syllables, the dancer enters the stage with
flowers in her hands and when she reaches the center she advances, placing them on the
ground, followed by another variation that ends with her hands touching the earth as a sign of
respect.

Vandana: invocation to a deity on a Sanskrit shloka.

Pranam Nritya: God, guru and audience are greeted.

BATU NRITYA: dance of great technical virtuosity, in honor of Batu Bhairava, an aspect of Siva,
where complicated combinations of steps, sculptural poses are performed, and actions of
playing musical instruments such as: vina, drums, flute and cymbals are represented. It
continues with variations accompanied by recitation of ukutas or rhythmic syllables.

PALLAVI: dance of pure technique, but in some there is a brief interpretation of abhinaya,
either at the beginning, or interspersed with nritta. At first the movements are slow and
become progressively faster. The melody and rhythm are known by the name of the raga in
which they are composed.

ABHINAYA: through facial and hand gestures, beautiful poses are performed, interpreting the
meaning of a song in Sanskrit or Oria language.
MOKSHA NATA: Moksha means liberation from the sorrows of this world and art is one of the
ways to obtain it. Dance with variations of nritta, accompanied by rhythmic syllables. It runs in
quick time and marks the end of the program.

DASAVATAR: This dance of nritta and nritya is sometimes included. It is based on the “Gita
Govinda” and its theme is the ten incarnations of Visnu.

Aharya is one of the aspects of abhinaya mentioned in treatises on dance and drama and
refers to the clothing, ornaments and makeup of the performers. The “Abhinaya Chandrika”
(text specialized in Odissi), describes the clothing and rules to be followed by both maharis and
gotipuas. The dancers wear a brightly colored silk sari with traditional Orissa prints, worn in a
special way, accompanied by a choli or short blouse. The ornaments can be: necklaces,
earrings, headgear, bracelets and belts, all in silver. The hairstyle is with a bun at the back of
the head, decorated with flowers, with a small plume at the top, which represents the tower
of a temple.

Kuchipudi

Dance style from Andhra Pradesh, surrounded by the states of Orissa, Madhya Pradesh,
Maharashtra, Karnataka and Tamilnadu.

Siddhendra wrote the play “Bhama Kalapam”, composing the music, poetry and choreography.
The devadasis wanted to perform it but he refused, thinking that they would degrade its
mystical essence with their sensuality, so he decided to choose young Brahmin boys and train
them to perform the play. He settled in a village called Kuchipudi, from which this art takes its
name.

The subjects that they had to learn in the hard training were: the Vedas, Sastras, music, dance,
literature, painting, sculpture, Sanskrit and Telugu languages, making theatrical clothing,
ornaments, etc. Currently the training lasts seven years, and depending on their abilities they
will play roles of major or lesser importance.

Kuchipudi follows the precepts of the “Natyasastra” and the “Abhinaya Darpana”. The four
aspects of abhinaya are clearly outlined and developed.

Angika abhinaya comprises expressive gestures, movements, steps and poses, as means of
expression.

Vachika abhinaya comprises singing, recitation and music. It is expressed in addition to dance,
through voice.

Aharya abhinaya comprises clothing, ornaments, makeup, etc.

Satvika abhinaya comprises physical manifestations caused by intense emotions.

There are also Nritta (pure technical dance), Nritya (with expression) and Natya (drama dance
with a plot and in which each dancer plays a character). Nritta is mainly composed of adavus,
jatis and tirmanas. Poses with bent knees and feet outward are widely used. There are steps
with the big toes linked. Numerous nritta-hastas or hand gestures are used to accompany
technical dance steps, whose purpose is purely aesthetic.

Nritta dances are introduced as decorative pieces, with a harmonious combination of

abhinaya. There are also pieces in slow tempos that allow for deep emotions such as
Kshetrajna shlokas, varnams or padams.

Currently it is presented in recitals, by men and women, in the form of solos with various nritta
and nritya dances. Generally the program includes:

REPERTOIRE

Puja Nritya or Rangapuja: The dancer splashes water, offers incense and flowers.

Kautvamu: jati (rhythmic expressions) and lyrics follow one another in terms of praises sung to
a deity.

Yatiswaram: Pure dance with complicated steps and poses and rhythmic variations.

Shabdam: tells a story of worship of a king or a god.

Kirtanam: piece by holy poets, with a predominance of abhinaya.

Ashtapadi: with passages from Jayadeva's “Gita Govinda”.

Sivalila Natyam: Episodes of Siva in different aspects.

Dasavatara, Tillana, Padam, Javali, Sim Hanandini, Shloka, Tarangam…

First, a character enters the scene whose mission is to silence the audience, then the musicians
and the nattuvangam enter and an invocation is sung, then the plot of the play is explained.
Each artist who plays a character introduces himself with a short dance that describes his
personality, which is called daruvu.

The most recurrent themes are from Hindu mythology, and works such as:

“Bhama Kalapam” by Siddhendra Yogi. “Golla Kalapam” from Bhagavata Ramaya. “Prahlada
Charitam” by Tirumala Narayanacharyalu.

Kathak

It has its origin in northern India and in the traditional tales of this region. It later flourished in
the Hindu and Mongolian courts. Its origin is sacred in nature.

Formerly there existed in that region a community of storytellers called Kathakas, with stories
based on the Puranas, the Mahabharata or the Ramayana. To give greater display to their
stories, they used mimicry composed of hand and facial gestures and some harmonious body
movements, which over time became a personal style of dance.

During the Bhakti cult, various communities of devotional artists took up stories from the tenth
book of the “Bhagavata Purana”, which deals with the childhood and youth of Krishna. This
fact, associated with the music of Kirtan and Drupad gave Kathak a new impetus.

Kathak was the dance most influenced by the Mughal lifestyle, becoming the favorite
entertainment of kings and nobles, who promoted Kathak by protecting the artists.

The court of Lucknow, Muslim, and that of Jaipur, Hindu, were very important taking their
names from two of their schools. The mystical feeling was transformed into romanticism of
great technical virtuosity and with respect to music there were also changes: Thumri, Gazal
and Dadra gave new nuances to Kathak.

The Lucknow Gharana is said to have started forming during the reign of Assaf-Ud-Daula
(1775-1798), but was consolidated during the time of Nawab Wajid Ali Shah (1847-1856). Two
talented Kathak dancers and teachers named Durga Prasad and Thakur Prasad arrived in Oudh.
Two sons of Durga Prasad: Binda Din and Kalka Prasad came to serve the Lucknow court as
dancers and dance teachers, and enriched the style. Binda Din systematized the technique and
incorporated rhythmic syllables. His descendants continued to enrich and develop the school.
It is characterized by richness and depth of expression.

His technique:

It is rich in nritya (dance with expression) and nritta (technical dance), where the emphasis is
generally placed. The most common characteristics are: upright body posture, feet in a
samapada (parallel forward), straight legs, knees without or slight bending in certain steps. The
most brilliant movements are the high-speed turns or chakkars. The Parhant stands out, where
the dancer recites combinations of Nritta, the bols or corresponding rhythmic syllables, before
the audience. A delicate neck movement called dora is used, as well as suggestive eyebrow
movements.

REPERTOIRE:

That: the dancer begins to dance with movements of his arms, wrists, neck, and expressive
glances, with eyebrow gestures, while following the rhythm of That with his feet.

Amad: prologue piece, with various combinations of steps, accompanied by tabla bowls and
pakhawaj.

Torah: Nritta composition at a fast pace, with complicated turns and steps.

Tukra: similar to the previous one but shorter, accompanied by tabla bowls. In both the Torahs
and the Tukra it is usual to end with Tihai, a short rhythmic variation that is repeated three
times.

Parana: quick-achieving composition with pakhawaj bowls.

Paramelu: accompanied by dance bols (natwari bols), tabla, pakhawaj and other percussion
instruments, including sounds such as birdsong or horses trotting. It is one of the most popular
pieces.

Tarana: a piece in which syllables are sung instead of words, which are performed in a
rhythmic piece in a certain raga.

Tatkar: the dancer sets the rhythm by hitting the soles of his feet, leaving all attention
concentrated on them, since the rest of the body hardly moves. The pace is increasing in
speed. It is very important that the dancer finishes his performance, with perfect
synchronization, in the sam of the basic cycle.

Nritya is the part in which bhava is exposed, of great richness, whose themes range from the
Hindu tradition itself (devotional themes or its classical literature) and others related to the
more romantic Mughal culture. Some Nritya dances are:

Vandana: Invocation dance dedicated to a deity such as Ganesha, Siva, Saraswati, etc.

Stuti: prayer or prayer, also devotional dance, performed in a certain rhythm. In the time of
the Mughals and Nawabs, these two dances were replaced by Salami or greetings full of
elegance and courtesy.

Kavitas: poetry recited in a rhythmic manner in which bols are introduced. While gestures of
the face and hands express the meaning of the poem, the feet set the rhythm.

Gats: short compositions in Lasya (feminine aspect). They begin with a turn to the right and
another to the left called paltas.

Gats Bhava: Also with turns to the right and left, followed by a brief story by means of
abhinaya, usually related to Krishna and the gopies.

Gungat: various ways in which a lady lifts the veil that covers her head.

Among the devotional pieces we find: bhajans, kirtans, ashtapadis, drupads, etc. Many of these
works belong to famous saint or mystic poets like Mirabai, Vidyapati, Surdas, etc.

Important teachers were Binda Din and Kalka Prasad, authors of some pieces such as bhajans,
padas and thumris.

Thumris are ideal compositions for performing abhinaya. Each phrase is repeated and the
dancer can express it in different ways. Abhinaya in Kathak is performed in two ways:

- Natyadharmi, or symbolic and imaginative.

- Lokadharmi, or realistic, where aspects of everyday life are shown.

The themes are romantic and shringara, it is the predominant feeling. In the past, this part was
performed with the dancer on the floor moving the upper part of the body; today dancers can
be found standing.
Dadra: suitable for the abhinaya, its name derives from tala, where it is armed.

Ghazal: sung in the Urdu language, whose themes poetically describe various feelings, mainly
love.

Clothing:

Of Hindu tradition:

- For women, it consists of a churidar or tight-fitting pajamas, a wide ankle-length skirt, a

blouse and a veil that covers the upper part of the body.

- Dhotis are worn for men.

- Those of Mughal tradition or noble Rajputs are used by both sexes.

Manipuri

Dance from northeast India, called Manipur, a word that means “city of jewels.” This style has
no restrictions for its performers, but anyone who wants to dance can dance it. Each village in
Manipur has its temple, each with the Nat Mandap or dance hall. Two cultures exerted their
influence at different times. The Maitis existed, since Vedic times, with traditions of folk
dances and rituals highlighting the drama of “Lai Haroba”, performed at the annual religious
festivals in front of the Thangjing temple (Moirang village). The “Lai Haroba” (happiness of the
gods) has as its central theme the creation of the world and human beings, a combination of
ritual and artistic spectacle, dedicated to the gods of the villages. The loves of Khamba and
Thoibi, considered as incarnations of Siva and Parvati, whose story is narrated in the epic
“Moirang Parva”, are also frequently represented.

Numerous dancers participate in these ancient dance dramas, including the inhabitants of the
towns themselves, and led by the Maibas and Maibis, who are priests and priestesses who are
dance masters.

This style owes its origin to King Rajarshi Bhagyachandra, to whom the dance treatise “Govinda
Sangita Lila Vilas” is attributed. It is said that after being defeated in a battle by the Burmese,
he took refuge in the court of the kingdom of Assam, whose king wanted to get rid of his guest
for fear that the Burmese would attack him. So he ordered him to tame a wild elephant. The
maharaja prayed to Krishna who, in a dream, told him to approach the elephant with a garland
of tulsi, the sacred plant. He tamed the elephant and returned to Manipur, reconquering it.
And he built a temple in honor of Krishna and consecrated his daughter Lairobi to him. He had
another dream the day before the inauguration of the temple, dancing with Lairobi, who was
dressed as Radha. Hundreds of gopies dressed in strange costumes surrounded him dancing in
ecstasy.
It is said that this was the revelation of the “Ras Lila” dance, along with its music and clothing.
This became very popular considering the dance itself, the process of spiritual evolution. There
are several types of Ras Lilas, some of them are performed at certain times for certain
celebrations.

- Vasanta Ras: celebrated with the arrival of spring.

- Maha Ras: celebrated in November or the month of Kartika.

- Kunja Ras: during the time of Dussera.

- Nitya Ras: at any time of the year.

Your technique

Among the steps and combinations, the following stand out:

Chali: traditional and fundamental composition, in which the dancer moves with graceful
movements in different directions and in circles. Composed in a rhythm of 8 matras, and is
used as the end of the Bhangi Pareng, on some occasions.

Bhangi Pareng: choreographic combination, in which there are different bhangas (positions
with body flexions) connected to each other by gatibhangas (steps or movements executed in
certain rhythms, passing from one position to another). It is performed during Ras Lila with 5
classes, two in Tandava (virile) and three in Lasya (feminine), both being well defined.

Lasya: Brindavan Bhangi Pareng, Khurumba Bhangi Pareng and Achonga Bhangi Pareng.

Tandava: Goshtha Bhangi Pareng and Goshtha Brindavan Bhangi Pareng.

We find the three aspects of the art of dance:

- Punglol-jagoi: Nritta or technical dance in various rhythms.

- Mottauva: Nritya or dance with expression.

- Lila: Natya or danced drama.

No bells are worn on the ankles during Lasya and the feet tread lightly, unlike other classical
dance styles. The Ardhamandali position is also not used, but both the feet and knees are kept
together, gently bent. In certain movements the body rises or falls, sometimes remaining semi-
sitting. It is characterized by its turns and half turns, with significant handling of the wrists and
hands, whose fingers close and open delicately followed by a serene gaze.

The Tandava form abounds in jumps, rapid movements and steps of great agility and energy.
Among these male dances, Kartal Cholam or cymbal dance and Pung Cholam or drum dance
stand out. In both, the dancer accompanies himself, marking the rhythm with the cymbals or
the drum, while performing difficult steps, reaching the point of acrobatics.

The art of expression is abstract, since the predominant abhinaya in this style is the so-called
Angika abhinaya, in which the entire body is used to express a feeling or an idea. The hand
gestures (only suggestive) accompany the rest of the body movements, while the face remains
serene. The intention is to suggest a concept by sketching it, and leaving the rest to the
viewer's imagination. In other styles, to express a flower or a bird, it is done with hand
gestures, in Manipuri, it is done with the whole body, adopting the qualities of the thing or
idea that is intended to be indicated.

The rasa shringara, as in other styles, occupies a predominant place, mainly in the Ras Lilas in
connection with Krishna, Radha and the gopies.

Currently, the term “Manipuri” covers several types of dances, from the very ancient ones like
the “Lai Haroba”, plus the Vaishnavas with the “Ras Lilas”, and other choreographic
expressions. They are presented in the most varied forms: solos, duets, small and large groups,
ballets, dance dramas and operas.

Music

Singing has great importance. The rhythmic part is very rich, creating a favorable atmosphere
in all its parts. The main musical instruments are: pung (drum), dholak, cymbals, flute, pena
(violin made from a coconut), mandira, conch, etc.

The dressing

Very varied since it adapts to the different dances within this dance:

- The female costume: it is the most original and representative of this style. It consists of an
ankle-length skirt, the lower part of which is armed and embroidered with small mirrors, on
which is placed an overskirt made of transparent white fabric whose edge is armed in a wavy
shape, all complemented by a golden blouse and a belt. The hair is styled in a bun on top of
the head, adorned with flowers and jewels, and covered with a veil.

- The male costume: it is simpler, generally consisting of a dhoti, complemented with various
accessories and ornaments, depending on the dance for which they are used.

The topics

- Bhagavat Purana, with the glorification of the Krishna Lila.

- The teachings of Chaitanya, exalting the Bhakti cult.

- The mystical poetry of Jayadeva, Vidyapati, Chandidas, among others.