Dance in India
|Part of a series on the|
Dance in India comprises the varied styles of dances in the country. As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country.Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past.
Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India has influence not only over the dances in the whole South Asia, but on the dancing forms of South East Asia as well. Dances in Indian films are often noted for their idiosyncrasies, and hold a significant presence in popular culture of the Indian subcontinent.[not in citation given]
Origin of Dance in India
In Hindu mythology, dance is believed to have been conceived by Brahma. Brahma inspired the sage Bharata Muni to write the Natya Shastra, a treatise on performing arts, from which a codified practice of dance and drama emerged. He used pathya (words) from the Rigveda, abhinaya (gestures) from the Yajurveda, geet (music) from the Samaveda and rasa (emotions) from the Atharvaveda to form the Natyaveda (body of knowledge about dance). The best-known of Hindu deities—Shiva, Kali and Krishna—are typically represented dancing. Shiva's cosmic dance, tandava, Kali's dance of creation and destruction and Krishna's dance with the gopikas (cow-herd girls)—Rasa Lila—are popular motifs in Hindu mythology.
In ancient India, there were no dedicated auditorium halls or theaters, and dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times. Classical dance forms such as Bharata Natyam use mudras or hand gestures also to retell episodes of mythological tales such as the slaying of Kaliya by Krishna.
India offers a number of classical Indian dance forms, each of which can be traced to different parts of the country. Classical and folk dance forms also emerged from Indian traditions, epics and mythology. There are many Indian folk dances such as Bhangra, Bihu, Ghumura Dance, Sambalpuri, Chhau and Garba and special dances observed in regional festivals such as Lohri and Navratri.
Classical dance in India has developed a type of dance-drama that is a form of a total theater. The dancer acts out a story almost exclusively through gestures. Most of the classical dances enact stories from Hindu mythology. Each form represents the culture and ethos of a particular region or a group of people.
The criteria for being considered as classical is the style's adherence to the guidelines laid down in Natyashastra, which explains the Indian art of acting. The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North India), Kathakali (Kerala), Kuchipudi (Andhra Pradesh), Manipuri (Manipur), Mohiniyattam (Kerala), Odissi (Odisha), and Sattriya (Assam).
The tradition of dance has been codified in the Natyashastra and a performance is considered accomplished if it manages to evoke a rasa by invoking a particular bhava (emotion). Classical dance is distinguished from folk dance because it has been regulated by the rules of the Natyashastra and all classical dances are performed only in accordance with them.
Dating back to 1000 BCE, Bharatanatyam is a classical dance form the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music. Its inspirations come from the sculptures of the ancient temple of Chidambaram. It was codified and documented as a performing art in the 19th century by four brothers known as the Thanjavur Quartet whose musical compositions for dance form the bulk of the Bharatanatya repertoire even today.
Kathakali (katha, “story”; kali, “performance”) is a highly stylized classical dance-drama form which originated from Kerala in the 17th century. This classical dance form is particularly noticed for dancer's elaborate costume, towering head gear, billowing skirts, and long silver nails. Recent developments in Kathakali over the years include improved looks, refined gestures and added themes besides more ornate singing and precise drumming. Kathakali is performed regularly at festivals in temples, at cultural shows for connoisseurs and also at international events, occasionally in fusion dance experiments.
Originating from north Indian states, In ancient Indian temples brahmin priests(pandits) used to narrate the stories of gods and goddesses through dance, they were known as ((kathakar)) and the dance came to be known as "kathak". Kathak traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement. From the 16th century onwards it absorbed certain features of Persian dance and Central Asian dance which were imported by the royal courts of the Mughal era. There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Benares, Jaipur and Lucknow.
Odissi, also known as Orissi (Oriya: ଓଡ଼ିଶୀ oṛiśī, Devnagari:ओड़िसी), is one of the eight classical dance forms of India. It originates from the state of Odisha, in eastern India. It is the oldest surviving dance form of India on the basis of archaeological evidences. there are mainly three books of Odissi.The classic treatise of Indian dance, Natya Shastra, refers to it as Odra-Magadhi. 1st century BCE bas-reliefs in the hills of Udaygiri (near Bhubaneshwar) testify to its antiquity. It was suppressed under the British Raj, but has been reconstructed since India gained independence. It is particularly distinguished from other classical Indian dance forms by the importance it places upon the Tribhangi (literally: three parts break), the independent movement of head, chest and pelvis and upon the basic square stance known as Chauka or Chouka that symbolizes Lord Jagannath. This dance is characterized by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abhanga, Atibhanga and Tribhanga.
Sattriya, or Sattriya Nritya (Assamese: সত্ৰীয়া নৃত্য), is one among eight principal classical Indian dance traditions. Where as some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the founder of Vaishnavism in Assam , the great saint Srimanta Sankardeva, in 15th century Assam. Satriya dance performance at Guwahati Rabindra Bhawan
Sankardeva created Sattriya Nritya as an accompaniment to the Ankia Naat (a form of Assamese one-act plays devised by him), which were usually performed in the sattras, as Assam's monasteries are called. As the tradition developed and grew within the sattras, the dance form came to be called Sattriya Nritya. Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago.It also has recently become one of the Indian Classical Dances.
Folk and tribal dance forms
Folk dances and plays in India retain significance rural areas as the expression of the daily work and rituals of village communities. These dances have their roots in religious and seasonal festivals that have become a background for such celebrations. They are mostly performed in groups.
Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra defines group dances of women as a preliminary dance performed in prelude to a drama.
Folk dances can be located according to the regions of their origin. Every state has its own folk dance forms like Bedara Vesha, Dollu Kunitha in Karnataka, Garba, Gagari (dance), Ghodakhund in Gujarat, Kalbelia, Ghoomar, Rasiya in Rajasthan, Neyopa, Bacha Nagma in Jammu and Kashmir, Bhangra & Giddha in Punjab, Bihu dance in Assam, Sambalpuri Dance in Western Odisha and likewise for each state and smaller regions in it.
Contemporary dance in India encompasses a wide range of dance activities currently performed in India. It includes choreography for Indian cinema, modern Indian ballet and experiments with existing classical and folk forms of dance by various artists.
Uday Shankar and Shobana Jeyasingh are accredited as the pioneers of modern Indian dance. He was not trained in any classical dance form but developed his own style based on his study of Rajput and Mughal paintings. Other well known proponents of modern dance in India include Ram Gopal, Mrinalini Sarabhai and Chandralekha. Poet Rabindranath Tagore developed a dance genre popularly known as Rabindra Nritya Natya—dance-dramas composed by him. These dance dramas and dances set on Rabindra sangeet (songs written by Tagore) are popular in Bengali culture.
Dance in films
Dance and song sequences have been an integral component of films across the country. With the introduction of sound to cinema in the film Alam Ara in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films.
Dance in early Hindi films was primarily modelled on classical Indian dance styles and particularly those of historic North Indian courtesans (tawaif), or folk dancers. Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film. Typically, the hero or heroine performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song. It is popular for a hero and heroine to dance and sing a pas de deux (a French ballet term, meaning "dance of two") in beautiful natural surroundings or architecturally grand settings, referred to as a "picturisation". Indian films have often used what are now called "item numbers" where a glamorous female figure performs a cameo. The choreography for such item numbers varies depending on the film's genre and situation. The film actress and dancer Helen was famous for her cabaret numbers. The influence of the dance sequences of films on popular culture is significant, with amateur dancers often copying such dancing moves during celebratory events and performances, such as during wedding parties or other urbanized festivals.
Often in movies, the actors don't sing the songs themselves that they dance too, but have another artist sing in the background. For an actor to sing in the song is unlikely but not rare. The dances in Bollywood can range from slow dancing, to a more upbeat hip hop style dance. The dancing itself is a fusion of all dance forms. It could be Indian classical, Indian folk dance, belly dancing, jazz, hip hop and everything else you can imagine.
Traditionally, dance as a profession or a hobby was discouraged among upper classes and higher castes in India. It was looked upon as a lowly activity and women from reputed households were prohibited from practising any dance form. Hence, in forms like Bhavai and Gotipua, men would take up the roles of female characters.
Rukmini Devi Arundale revived the classical dance form Bharata Natyam and in its modern avatar, it became an acceptable subject of training for women.Shiamak Davar, a noted Indian choreographer, started the Shiamak Davar Institute for Performing Arts in 1985 and it has over 25,000 members.
Some traditions of the Indian classical dance are practiced in the whole Indian subcontinent, including Pakistan and Bangladesh, with which India shares several other cultural traits. Indian mythologies play significant part in dance forms of countries in South East Asia, an example being the performances based on Ramayana in Javanese dances.
- McCormick, Charlie T.; White, Kim Kennedy (13 December 2010). Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. ABC-CLIO. p. 705. ISBN 978-1-59884-241-8. Retrieved 29 February 2012.
- McFee, Graham (1994). The concept of dance education. Routledge. pp. 127–128. ISBN 978-0-415-08376-8. Retrieved 29 February 2012.
- Devi, Ragini (1990). Dance dialects of India. Motilal Banarsidass Publ. p. 234. ISBN 81-208-0674-3, 9788120806740 Check
- Sinha, Aakriti (2006). Let's know dances of India (1st ed. ed.). New Delhi: Star Publications. ISBN 81-7650-097-6.
- (Narayan p.10)
- Constance, John; Ryan, James D. (2007). Encyclopedia of Hinduism (Illustrated ed.). Infobase Publishing. p. 552. ISBN 0-8160-5458-4, 9780816054589 Check
|isbn=value (help). Retrieved 6 February 2012.
- "India Heritage, A living portrait of India". History of Classical Dances. Retrieved 2 February 2012.
- "Folk dances of Bihar - Bihargatha". Bihargatha.in. Retrieved 2012-02-24.
- Sangeet natak, Volume 39. University of Michigan: Sangeet Natak Akademi. 2005.
- Leela Samson, Jagdish Joshi. "History And Myths of Indian Classical Dances". Retrieved 22 May 2012.
- Sinha, Aakriti (2006). Let's know dances of India (1st ed. ed.). New Delhi: Star Publications. ISBN 81-7650-097-6.
- Kapoor, Sukhbir Singh (March 1989). Sikh festivals. Rourke Enterprises. p. 44. ISBN 978-0-86592-984-5. Retrieved 28 February 2012.
- Singh, Kumar Suresh; Lal, Rajendra Behari; Anthropological Survey of India (2003). Gujarat. Popular Prakashan. p. 24. ISBN 978-81-7991-104-4. Retrieved 28 February 2012.
- "BBC Religions - Hinduism - Navratri".
- Gopal, Sangita; Moorti, Sujata (2008). Global Bollywood: travels of Hindi song and dance (Illustrated ed.). U of Minnesota Press. p. 249. ISBN 0-8166-4579-5, 9780816645794 Check
|isbn=value (help). Retrieved 6 February 2012.
- editor; Ramchandani, vice president Dale Hoiberg; editor South Asia, Indu (2000). A to C (Abd Allah ibn al-Abbas to Cypress). New Delhi: Encyclopædia Britannica (India). p. 13. ISBN 0-85229-760-2.
- Chander, Prakash (1 January 2003). India: past & present. APH Publishing. p. 131. ISBN 978-81-7648-455-8. Retrieved 29 February 2012.
- "Indian Classical Dance". One India. 2009-04-19. Retrieved 2010-06-11.
- Narayan, Shovana (2005). Indian classical dances: "ekam sat vipraah bahudaa vadanti". Shubhi Publications. p. 5.
- Culture of India. The Rosen Publishing Group. 2010. p. 352. ISBN 1-61530-203-4, 9781615302031 Check
- "A Dance Recital of Bharatanatya". SPICMACAY chapter, Cornell university. Retrieved 24 January 2012.
- Sinha, Aakriti (1 January 2006). Let's know dances of India. Star Publications. p. 48. ISBN 978-81-7650-097-5. Retrieved 28 February 2012.
- Zarrilli, Phillip B. (1984). The Kathakali complex: actor, performance & structure. Abhinav Publications. pp. 3–11. ISBN 978-81-7017-187-4. Retrieved 28 February 2012.
- Massey, Reginald (1999). India's kathak dance, past present, future. New Delhi: Abhinav Publications. pp. 15–33. ISBN 978-81-7017-374-8.
- Hoiberg, Dale (2000). Students' Britannica India, Volume 2. Popular Prakashan. p. 392.
- Devi, Ragini (1990). Dance dialects of India. Motilal Banarsidass Publ. p. 181. ISBN 978-81-208-0674-0. Retrieved 29 February 2012.
- Gupta, Shobhna (2005). Dances of India. Har-Anand Publications.
- Banerji, Projesh (October 1983). Indian ballet dancing. Abhinav Publications. p. 172. ISBN 978-0-391-02716-9. Retrieved 28 February 2012.
- Educational Britannica Educational (1 July 2010). The Culture of India. The Rosen Publishing Group. p. 284. ISBN 978-1-61530-203-1. Retrieved 29 February 2012.
- Shreshthova, Sangita (2008). Between cinema and performance: Globalizing Bollywood dance. ProQuest. p. 372. ISBN 0-549-90081-0, 9780549900818 Check
- Gopal, Sangita (2008). Global Bollywood: travels of Hindi song and dance. Minneapolis: University of Minnesota Press.
- Meyer, Michael (2009). Word & image in colonial and postcolonial literatures and cultures. Rodopi. p. 379. ISBN 90-420-2743-6, 9789042027435 Check
- (Campbell, 2007)
- Manorma Sharma (1 January 2007). Musical heritage of India. APH Publishing. p. 58. ISBN 978-81-313-0046-6. Retrieved 29 February 2012.
- Varadpande, Manohar Laxman (1992). History of Indian theatre. Abhinav Publications. p. 175. ISBN 978-81-7017-278-9. Retrieved 29 February 2012.
- Sharma, Arvind; editors, Katherine K. Young, (1998). Feminism and world religions. Albany, N.Y.: State University of New York Press. ISBN 0-7914-4023-0.
- Gokulsing, edited by K. Moti; Dissanayake, Wimal (2009). Popular culture in a globalised India. London: Routledge. ISBN 0-415-47666-6.
- Studies in Indo-Asian art and culture, Volume 3. International Academy of Indian Culture. 1974. p. 131.
- Shah, Purnima (2000). National dance festivals in India: public culture, social memory and identity. University of Wisconsin--Madison. Retrieved 20 August 2012.
- Massey, Reginald (2004). "India's Dances: Their History, Technique, and Repertoire", Abhinav Publications, New Delhi, India.
- Narayan, Shovanna (2005). “ The Sterling Book :Indian Classical Dance”, New Dawn Press Group, New Delhi, India.
- Archival footage of a discussion on Classical South Indian Dance and Western Audiences at Jacob's Pillow Dance Festival on August 9, 2008.
- Media related to Dance of India at Wikimedia Commons