FROM

CHIRAG
AJAY
SERENE
CHETNA
AND
NEETHU
Dances of India
HISTORY OF INDIAN DANCE
The dance heritage of India is at least 5000 years old. A dancing girl
figurine was found in the ruins of Mohenjodaro and is dated
approximately 2nd Century B.C. Many group dancing sequences are
depicted in exquisite rock paintings of Bhimbetaka caves of Madhya
Pradesh. The apsaras (Celestials) dancers are carved at the gateways
of Sanchi. The wall paintings of Ajanta and Ellora, the sculptures of
Khajuraho, the temple walls of Hoysala dynasty, stand ample evidence
for popularity of Indian dances from ancient times.
Through the centuries the dances have been used as a vehicle of
worship and expression of emotions in India. The temple dancers
(Devadasis) have led very austere lives in order to perform sacred
dances to please Gods and Goddesses. The Devadasi system is still
prevalent in some states of India. In Karnataka they are dedicated to the
Goddess Yellamma of Savadatti. In Orissa, they are appointed to
perform various activities of the temple.
A Temple Woman Dancing to Please
Goddess
Dancer from a Medieval Sculpture
Lord Shiva and His Cosmic Dance









THE PORTUGUESE TRAVELER, DOMINGO PAES VISITED THE VIJAYANAGAR KINGDOM IN
1520-22 A.D. AND HAS LEFT BEHIND A VIVID DESCRIPTION OF THE DANCERS HE SAW IN
THE KINGDOM. HIS ORIGINAL CHRONICLES HAVE BEEN PRESERVED IN THE BIBLIOTHEQUE
NATIONALE DE FRANCE, IN PARIS. HE VISITED SPECIAL DANCING HALLS WHERE YOUNG
FEMALE DANCERS WERE GIVEN INTENSIVE TRAINING. THE WALLS WERE DECORATED
WITH PAINTINGS DEPICTING VARIOUS DANCING POSES WHICH HELPED THE DANCERS
TO CORRECT THEIR STEPS. THE KING, KRISHNA DEVARAYA HIMSELF TOOK VERY KEEN
INTEREST IN THEIR DANCE EDUCATION AND PERIODICALLY VISITED THESE HALLS. DURING
THE NAVARATRI FESTIVAL CELEBRATIONS THE DANCE PERFORMANCES WERE GIVEN
GREAT IMPORTANCE. THE DANCERS WERE ADORNED WITH INNUMERABLE ORNAMENTS,
MADE OUT OF GOLD, PEARLS, AND DIAMONDS. "AT TIMES THE JEWELRY THEY WORE USE
TO BE SO HEAVY THAT THE DANCERS WERE SUPPORTED BY THE OTHER WOMEN WHO
ACCOMPANY THEM".
Dance in Indian Society
Nataraja, the dancing Lord Shiva, is the supreme manifestation of Indian dance.
The moon which he adorns in his head is the symbol complete control of
senses. The serpents wound around his body are the proof of his complete
control over vital life forces. His foot raised high over the wicked demon, a
symbol of triumph over the ego.





THE INDIAN DANCES HAVE SPRUNG FROM THE RELIGIOUS URGES OF HER PEOPLE. ITS
THEMATIC CONTENTS ARE BASED ON THE RICH MYTHOLOGICAL LORE OF THE COUNTRY.
THE DANCE TECHNIQUE IS BASED ON A FEW ANCIENT TREATISES, LIKE THE NATYA
SHASTRA OF SAGE BHARATA, WHICH WERE WRITTEN NEARLY TWO MILLENNIA AGO. THE
INDIAN DANCES CONSIST OF THREE DISTINCT TYPES. "NRITTA" IS PURE AND SIMPLE
DANCE WITH MOVEMENTS OF BODY AND LIMBS. "NRITYA" IS LINKED WITH FACIAL
EXPRESSIONS, HAND GESTURES AND SYMBOLIC BODY POSES. "NATYA" HAS THE
ELEMENTS OF A DRAMA WHICH IS INTRODUCED THROUGH THE USE OF SPOKEN
WORLD. ALL THE TYPES INVOLVE THE USE OF "MUDRAS", WHICH ARE WELL DEVELOPED
TYPES OF GESTURES DURING THE DANCE. THE DANCERS USE THEIR ENTIRE BODY TO
COMMUNICATE WITH THE AUDIENCE

The major Indian classical dances are: Bharata Natyam, Kathakali,
Kathak and Manipuri, Kuchipudi, Odissi and Mohini Attam. In addition,
there are innumerable folk and tribal dances spread all over the country.
There are many types of dance in India, from those which are deeply
religious in content to those which are danced on more trivial happy
occasions. Classical dances of India are usually always spiritual in
content, although this is often true also of Folk dances.
CLASSICAL INDIAN DANCE
The classical dances are


Kathakali and Mohini Attam from Kerala.
Kathakali literally means story-play and is an elaborate
dance depicting the victory of truth over falsehood.
A Striking feature of Kathakali is the use of elaborate make-
up and colourful costumes. This is to emphasize that the
characters are superbeings from another world, and their
make-up is easily recognisable to the trained eye as satvik
or godlike, rajasik or heroic, and tamasik or demonic.
MOHINI ATTAM
Some poses of Mohini Attam








THE THEME OF MOHINI ATTAM DANCE IS LOVE AND DEVOTION TO GOD.
VISHNU OR KRISHNA IS MOST OFTEN THE HERO. THE SPECTATORS CAN FEEL
HIS INVISIBLE PRESENCE WHEN THE HEROINE OR HER MAID DETAILS DREAMS
AND AMBITIONS THROUGH CIRCULAR MOVEMENTS, DELICATE FOOTSTEPS
AND SUBTLE EXPRESSIONS. THROUGH SLOW AND MEDIUM TEMPOS, THE
DANCER IS ABLE TO FIND ADEQUATE SPACE FOR IMPROVISATIONS AND
SUGGESTIVE BHAVAS OR EMOTIONS.
THE BASIC DANCE STEPS ARE THE ADAVUS WHICH ARE OF FOUR KINDS:
TAGANAM, JAGANAM, DHAGANAM AND SAMMISRAM. THESE NAMES ARE
DERIVED FROM THE NOMENCLATURE CALLED VAITTARI.
THE MOHINI ATTAM DANCER MAINTAINS REALISTIC MAKE-UP AND ADORNS
A SIMPLE COSTUME, IN COMPARISON TO COSTUMES OF OTHER DANCES,
SUCH AS KATHAKALI. THE DANCER IS ATTIRED IN A BEAUTIFUL WHITE WITH
GOLD BORDER KASAVU SAREE OF KERALA, WITH THE DISTINCTIVE WHITE
JASMIN FLOWERS AROUND A FRENCH BUN AT THE SIDE OF HER HEAD.
BHARATA NATYAM FROM TAMIL NADU.
Bharata
Natyam







A TYPICAL NRITYA POSE OF BHARATA NATYAM DANCE WITH ABHINAYA.

BHARATA NATYAM DANCE HAS BEEN HANDED DOWN THROUGH THE CENTURIES BY
DANCE TEACHERS (OR GURUS) CALLED NATTUWANARS AND THE TEMPLE DANCERS,
CALLED DEVADASIS. IN THE SACRED ENVIRONMENT OF THE TEMPLE THESE FAMILES
DEVELOPED AND PROPAGATED THEIR HERITAGE. THE TRAINING TRADITIONALLY TOOK
AROUND SEVEN YEARS UNDER THE DIRECTION OF THE NATTUWANAR WHO WERE
SCHOLARS AND PERSONS OF GREAT LEARNING. THE FOUR GREAT NATTUWANARS OF
TANJORE WERE KNOWN AS THE TANJORE QUARTET AND WERE BROTHERS NAMED
CHINNAIAH, PONNAIAH, VADIVELU AND SHIVANANDAM. THE BHARATA NATYAM
REPERTIORE AS WE KNOW IT TODAY WAS CONSTRUCTED BY THIS TALENTED TANJORE
QUARTET.










KUCHIPUDI FROM ANDHRA PRADESH
RAJA AND RADHA REDDY IN A STRIKING POSE OF
KUCHIPUDI DANCE.

THE DANCE DRAMA THAT STIL EXISTS TODAY AND CAN
MOST CLOSELY BE ASSOCIATED WITH THE SANSKRIT
THEATRICAL TRADITION IS KUCHIPUDI WHICH IS ALSO
KNOWN AS BHAGAVATA MELA NATAKAM. THE ACTORS
SING AND DANCE, AND THE STYLE IS A BLEND OF FOLK
AND CLASSICAL. ARGUABLY THIS IS WHY THIS
TECHNIQUE HAS GREATER FREEDOM AND FLUIDITY THAN
OTHER DANCE STYLES.
BHAGAVATA MELA NATAKAM WAS ALWAYS PERFORMED
AS AN OFFERING TO THE TEMPLES OF EITHER
MERRATUR, SOOLAMANGALAM, OOTHKADU, NALLUR OR
THEPERUMANALLUR.







ODISSI FROM ORISSA
GORGEOUS ODISSI POSE. PICTURE COURTESY OF THE ODISSI KALA KENDRA.

ODISSI IS BASED ON THE POPULAR DEVOTION TO LORD KRISHNA AND THE VERSES OF THE
SANSKRIT PLAY GEET GOVINDA ARE USED TO DEPICT THE LOVE AND DEVOTION TO GOD. THE
ODISSI DANCERS USE THEIR HEAD, BUST AND TORSO IN SOFT FLOWING MOVEMENTS TO
EXPRESS SPECIFIC MOODS AND EMOTIONS.

The form is curvaceous, concentrating
on the tribhang or the division of the
body into three parts, head, bust and
torso; the mudras and the expressions
are similar to those of Bharatnatyam.
Odissi performances are replete with
lores of the eighth incarnation of
Vishnu, Lord Krishna. It is a soft, lyrical
classical dance which depicts the
ambience of Orissa and the philosophy
of its most popular deity, Lord
Jagannath, whose temple is in Puri. On
the temple walls of Bhubaneshwar, Puri
and Konark the dance sculptures of
Odissi are clearly visible.









Kathak from Uttar
Pradesh
The legendary exponent of Kathak, Birju Maharaj.

This north Indian dance form is inextricably bound
with classical Hindustani music, and the rhythmic
nimbleness of the feet is accompanied by the table
or pakhawaj. Traditionally the stories were of
Radha and Krishna, in the Natwari style (as it was
then called) but the Moghul invasion of North India
had a serious impact on the dance. The dance was
taken to Muslim courts and thus it became more
entertaining and less religious in content. More
emphasis was laid on nritta, the pure dance aspect
and less on abhinaya (expression and emotion).


MANIPURI FROM MANIPUR

.

This dance style was originally called jogai
which means circular movement. In ancient
texts it has been compared to the movement
of the planets around the sun.
It is said that when Krishna, Radha and the
gopis danced the Ras Leela, Shiva made
sure that no one disturbed the beauty of the
dancing. Parvati, the consort of Lord Shiva
also wished to see this dance, so to please
her he chose the beautiful area of manipur
and re-enacted the Ras Leela. Hundreds of
centuries later, in the 11th century, during
the reign of Raja Loyamba, prince Khamba of
the Khomal dynasty and Princess Thaibi of
the Mairang dynasty re-enacted the dance
and it became known as Lai-Haraoba, the
most ancient dance of Manipur.
Singhajit Singh and Charu
Siya Mathur




SOME FOLK DANCES OF INDIA:
DUMHAL OF KASHMIR IS A DANCE PERFORMED BY THE MENFOLK OF THE WATTAL TRIBE OF
KASHMIR ON SPECIFIC OCCASIONS. THE PERFORMERS WEAR LONG COLOURFUL ROBES, TALL
CONICAL CAPS WHICH ARE STUDDED WITH BEADS AND SHELLS. THE PARTY MOVES IN A
PROCESSION CARRYING A BANNER IN A VERY CEREMONIAL FASHION. IT IS DUG INTO THE
GROUND AND THE MEN BEGIN TO DANCE, FORMING A CIRCLE. THE MUSICAL ACCOMPANIMENT
COMPRISES A DRUM AND THE VOCAL SINGING OF THE PARTICIPANTS. DUMHAL IS PERFORMED
ON SET OCCASIONS AND AT SET LOCATIONS.
Folk dance of
Kashmir: Rouff
Rouff is also a folk dance of Kashmir. It is danced
solely by women on festive occasions. Rouff
displays simple footwork.
Hikat of Himachal Pradesh. This is danced by
women, and is a modification of a game played by
children. Forming pairs, the participants extend
their arms to the front gripping each other's wrists
and with the body inclined back, go round and
round at the same spot. With wide range and
variety of the ethnic groups, Himachal Pradesh is
blessed with natural beauty and artistic history.
People living in this natural beauty, adorn
themselves for the dance at all times of the year, in
all regions, and continue to express themselves
through music and dance.










IN THE KULU VALLEY, THE FESTIVAL OF DUSSEHRA IS CELEBRATED WITH GREAT POMP AND SHOW.
IMAGES OF RAGHUNATHJI ARE BROUGHT FROM THE DIFFERENT SHRINES TO A CENTRAL PLACE, AND
THEN THERE IS SINGING AND DANCING. DANCES OF THE REGION ARE COLLECTIVELY KNOWN AS
NATIO, THOUGH EACH MAY BE MEANT FOR A DIFFERENT PURPOSE. NO FESTIVE OCCASION,
INCLUDING WEDDING AND SIMILAR SOCIAL CEREMONIES, IS COMPLETE WITHOUT DANCING. ALL
REGIONS OF HIMACHAL PRADESH HAVE THEIR OWN DANCES. MOSTLY MEN AND WOMEN DANCE
TOGETHER, CLOSE TO EACH OTHER IN THE FORMATION.
NAMAGEN DANCE IS PERFORMED IN SEPTEMBER TO CELEBRATE THE AUTUMNAL HUES. THE
COSTUMES ARE LARGELY WOOLLEN AND RICHLY STUDDED ORNAMENTS OF SILVER ARE WORN BY
WOMEN. THE MOST PICTURESQUE AMONGST THESE ARE DANCES OF GADDIS. THE DANCES OF THE
DOMS AND THE BHOTIYAS IN UTTAR PRADESH RANGE FROM SIMPLE PERFORMANCES OF REJOICING
TO RITUALISTIC DANCES. THE MOST SPECTACULAR AMONGST THESE IS THE DHURANG WHICH IS
CONNECTED WITH THE DEATH CEREMONIES. ITS OBJECTIVE IS TO LIBERATE THE SOUL OF THE DEAD
PERSON FROM EVIL SPIRITS. ALL THE DANCERS HOLD SWORDS AND DANCE IN A CIRCLE. THE
MOVEMENTS ARE VIRILE AND REMINDS ONE OF THE HUNTING DANCES OF THE NAGAS ON THE
EASTERN BORDERS OF INDIA.

The Jhumeila, the Chaunfla of Garhwal and the Hurkia Baolof Kumaon, Uttar Pradesh, are
seasonal dances. The Hurkia Baul is performed during paddy and maize cultivation. On
a fixed day, after preliminary ritual, the dance is performed in different fields by turns.
The name of the dance is derived from hurkia, the drum which constitutes the only
musical accompaniment, and baul, the song. The singer narrates the story of battles and
heroic deeds, the players enter from two opposite sides and enact the stories in a series
of crisp movements. The farmers form two rows and move backwards in unison, while
responding to the tunes of the song and the rhythm of the players











A FAMOUS DANCE OF KUMAON, UTTAR PRADESH, IS THE CHHOLIYA, PERFORMED DURING
MARRIAGES. AS THE PROCESSION PROCEEDS TO THE BRIDE'S HOUSE, MEN DANCERS, ARMED WITH
SWORDS AND SHIELDS, DANCE SPIRITEDLY. AMONGST THE OCCUPATIONAL GROUPS, THE MOST
ENTHUSIASTIC DANCERS ARE THE DHOBIS, THE CHAMARS AND THE AHIRS. THE DHOBIS DANCE TO
CELEBRATE ANY SIGNIFICANT OCCASION. THEY SING AND DANCE ON THE OCCASION OF A BIRTH
OR MARRIAGE, AND DURING HOLI OR DUSSEHRA. THERE ARE RASA DANCES THAT REVOLVE
AROUND THE EARLY LIFE OF KRISHNA. THE MOST INTERESTING GROUP OF DANCES ARE THE DANCES
OF THE AGRICULTURAL COMMUNITY WHICH REVOLVE ROUND THE ANNUAL SEASONS AND WHICH
HAVE A RITUALISTIC AND A FUNCTIONAL DIMENSION.
DALKHAI OF ORISSA IS PERFORMED BY WOMEN OF THE SAMBALPUR TRIBES AT THE TIME OF
SEASONAL FESTIVALS. THE DANCE IS QUITE VIGOROUS, AND IS ACCOMPANIED BY A SET OF
PARTICULAR MUSICAL INSTRUMENTS, PLAYED BY MEN, OF WHICH THE DRUMMERS OFTEN JOIN THE
DANCE. A DUMMY HORSE VERSION IS THE CHAITI GHORHA, DANCED BY A COMMUNITY OF
FISHERFOLK. THE PERFORMERS ARE ALL MEN. APART FROM DANCING, THE PERFORMERS SING,
DELIVER HOMILIES OF SORTS, AND OFFER BRIEF DRAMATIC ENACTMENTS PEPPERED WITH WIT AND
HUMOUR.
Gendi or stilt dancing is fairly common among Gond children of Madhya
Pradesh. The dance is popular in the Vindhyas and the Satpura ranges. This
is danced in the rainy season; from June to August. The dancer, who has the
balance on the Gendi (stilts)) perform it even in water or on marshy surface.
The dance is brisk, and ends with a dance in pyramid formation. This is
generally confined only to children and the attraction consists in balancing
and clever footwork.







IN THE VILLAGES WHERE THE WHEAT SEEDLINGS FESTIVAL, BHUJALIA, IS CELEBRATED, CHILDREN
PRANCE ON THEIR GENDIS, COLLECT NEAR THE VILLAGE POND OR THE RIVER IN WHICH BHUJALIAS
ARE TO BE IMMERSED. OTHER FROLICSOME CHILDREN, DANCING TO THE ACCOMPANIMENT OF
MUSICAL INSTRUMENT JOIN THE GROUP AND THEY DANCE TOGETHER. SOMETIMES, WOMENFOLK
ALSO JOIN THEM, BUT THEY DO NOT USE STILTS. THE GENDI SEASON BEGINS ON THE DAY OF BAK
BANDHI FESTIVAL IN THE MONTH OF JUNE AND CONCLUDES AFTER THE
BRITA OR VRITA OF WEST BENGAL IS ONE OF THE MOST IMPORTANT TRADITIONAL FOLK DANCES OF
BENGAL. THIS IS AN INVOCATIONAL DANCE PERFORMED BY THE BARREN WOMAN OF BENGAL WHO
WORSHIP IN GRATITUDE AFTER THEIR WISH BEING FULFILLED. QUITE OFTEN, THIS DANCE IS PERFORMED
AFTER A RECOVERY FROM A CONTAGIOUS DISEASE LIKE SMALL POX ETC.
KALI NACH IS A DANCE PERFORMED DURING GAJAN, IN HONOUR OF THE GODDESS KALI. HERE, THE
PERFORMER WEARS A MASK, PURIFIED BY MANTRAS, AND DANCES WITH A SWORD, AND WHEN
WORKED UP CAN MAKE PROPHETIC ANSWERS. THE
Bihu of Assam is the most widespread folk dance in the state and is enjoyed
by all, young and old, rich and poor. The dance is part of the Bihu festival,
that comes in mid-4 April, when harvesting is done, and continues for about
a month. The participants are young men and girls, who gather in the open,
in daytime. They dance together, but there is no mixing of the sexes. The
dance is supported by drums and pipes. In between, the performers
sometimes sing, usually of love. The most common formation is the circle or
parallel rows.


THE BIHU DEMONSTRATES, THROUGH SONG AND DANCE, THE SOUL OF THE ASSAMESE AT ITS
RICHEST. THE SENSE OF FUN AND FROLIC OF THE NAGAS IS SEEN IN MANY OF THEIR DANCES. THE
ZEMIS, ZELIANGS AND OTHER TRIBES OF ASSAM HAVE A SERIES OF DANCES. HARVESTING SEASON
IS NATURALLY THE TIME FOR CELEBRATIONS. ALL THE NAGA TRIBES HAVE THEIR PARTICULAR
HARVEST DANCES. THE CHARACTERISTIC FEATURE OF ALL NAGA DANCING IS THE USE OF THE
HUMAN FIGURE IN AN ERECT POSTURE WITH MANY MOVEMENTS OF THE LEGS AND
COMPARATIVELY LITTLE USE OF THE TORSO, AND THE SHOULDERS.
The origins of Indian Dance: the Natya Shastra
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
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.



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.
Images of Classical
Indian Dance

In the form of the Lord of Dance,
Shiva is known as Nataraj and is
worshipped by all Classical Indian
dancers.

GURU PRAKASH YADAGUDDE
This is a picture of Guru Shri
Prakash Yadagudde. He won 2
scholarships from his native
Bangalore, to train further in New
Delhi and Madras under U.S.
Krishna Rao. He has also trained
with Chitra Visweswaran. He has
taught over 20 students to
Arangetram level and has been
teaching in Bhartiya Vidya Bhavan
for approx. 15 years. I have had the
honour of seeing him dance twice.
He is, without a doubt, my favourite
dancer.








MALE DANCERS?
YOU MAY NOT THINK THAT MALE DANCERS TAKE TO CLASSICAL INDIAN DANCE STYLES, BUT IN FACT THERE
ARE MANY TOP-NOTCH CLASSICAL INDIAN DANCERS WHO ARE MALE:
A FEW EXAMPLES ARE THE LATE UDAY SHANKAR, BIRJU MAHARAJ AND PRATAP PAWAR (KATHAK),
RAM GOPAL, U.S. KRISHNA RAO, V.P. DHANANJAYAN, RAGHUNATH MANET, MAVIN KHOO AND DR. FRANCIS
BARBOZA (BHARATA NATYAM)
RAJA REDDY (KUCHIPUDI), KALAMANDALAM GOPI (KATHAKALI), RAJKUMAR SINGHAJIT SINGH (MANIPURI),
KELUCHARAN MOHAPATRA (ODISSI). FRANCIS BARBOZA AND HIS TROUPE
DR. BARBOZA, A CATHOLIC INDIAN HAS INTRODUCED A HASTA (HAND GESTURE) TO REPRESENT CHRIST
Odissi dance of
Orissa
Surupa Sen in a
striking Odissi
pose
Bijayini Sathpathy, an Odissi exponent.
Surupa and Bijayini have both learnt
Odissi at Nrityagram (located in the
outskirts of Bangalore), founded by the
late Protima Gauri Bedi.
Surupa Sen in a striking Odissi pose.
KATHAKALI FROM KERALA.
Kalamandalam
Gopi as Arjunan in
Kalakeya Vadham.

MANIPURI FROM MANIPUR.
Rasleela: Thounaojam Lalitkanta as
Krishna and Moirangthem Noopur as
Radha. These two young dancers are
descendents of great Manipuri dance
gurus.
costume A doll dressed up in
Manipuri dance costume. Yes she's
a Barbie doll and I hate Barbie
dolls, but I am partial to this Barbie
as she's sporting a dance!
Kathak from Northern
India.
Kathak originates from the word Kathakar,
meaning "story-teller". These story tellers in
ancient India would relate the mythological
tales of Gods using mime, dance and music.
The dancers were traditionally men and
women who performed within the vicinity of
the temples.
With the invasion of the Mughals (Muslim
ruler) in the 1400s and onwards, the dance
was brought into the courts of the rulers. Thus
the traditional instruments, such as the
pakhawaj (drum) were replaced by the table,
and the traditional Hindu ghaagra-choli-odhini
dress was ousted in favour of the churidar-
pyjama-angharka costume.
Kathak has several schools, Jaipuri,
Lucknowi, Delhi, Benares and Rayagarhi, of
which the first two are the most popular in
modern times.

KUCHIPUDI OF ANDHRA PRADESH
Anila, Nilimmi Devi's
daughter in a Kuchipudi
pose
Mohini Attam of Kerala.
Mohini Attam is
danced only by
women. Mohini (the
form of a beautiful
dancer that was taken
by Lord Vishnu)
danced so beautifully
in "The Churning of
the Ocean" that she
distracted the asuras
(demons) and thus
ensured that the
devas (Gods) got the
Amrit.

BHARATA
NATYAM
Narasimhachari sisters in an
abhinaya pose of Bharata
Natyam dance
THE DEITIES AT THE MEENAKSHIAMMAN TEMPLE AT MADURAI, INDIA.
ONE OF MY FAVOURITE DANCERS - ALARMEL VALLI
Lovely pic, eh?.








INDIA CAN BOAST OF AN INNUMERABLE NUMBER OF FOLK DANCES, EACH DANCE FORMING A SPECIALTY OF A PARTICULAR
REGION OR TRIBE. EACH FORM WILL HAVE ITS OWN SPECIALTY & GRACE, ALONG WITH A SET PATTERN OF COSTUMES &
MAKE-UP.
THE CLASSICAL DANCE FORMS WHICH HAVE DEVELOPED, HAVE SET RULES THAT HAVE BEEN FOLLOWED TRADITIONALLY
OVER THE YEARS. ON THE BASIC MODEL, VARIOUS GURUS INCORPORATE THEIR OWN IMAGINATIVE INNOVATIONS, LEADING
TO VARIOUS SCHOOLS WITHIN A PARTICULAR DANCE FORM. APART FROM THE GRACIOUS HAND & LEG POSTURES &
MOVEMENTS, THE DANCERS HAVE TO ACQUIRE THE SKILL OF PORTRAYING VARIOUS EMOTIONS FAITHFULLY IN EACH
EXPRESSION ON THEIR FACE & EACH FLUID MOVEMENT OF THEIR HAND, LEGS & IN FACT THEIR WHOLE BODY. EVERY PART
CONVEYS SOME MEANING IN THEIR GRACEFUL MOTION.
THE VARIOUS DANCE FORMS HAVE ALSO DEVELOPED A PARTICULAR FORM OF MAKE-UP FOR THE PERFORMANCE, WHICH IS
A SKILL BY ITSELF. SEVERAL DANCE SCHOOLS TODAY, INCORPORATE COSTUME DESIGNING & MAKE-UP AS SPECIAL SECTION
OF THE CURRICULUM. THE COSTUMES FOR ALL FORMS ARE ELABORATE & RICH, BUT EACH FORM & STYLE HAVE THEIR
OWN TRADITIONAL PATTERNS SET DOWN. JEWELS FOR THE DANCERS ARE ALSO SPECIALLY CREATED TO SUIT THEIR
PURPOSE. FLOWERS ADORN THEIR HAIR & IN THE CASE OF PORTRAYAL OF GODS, THEIR NECKS AS GARLANDS. THE HALL IS
ALSO RICHLY DECORATED WITH FLOWERS. APPLICATION OF MEHENDI IN VARIOUS STYLES IS ALSO AN ESSENTIAL PART OF
THE MAKE-UP IN MOST FORMS.

THE END
A wright brothers production