-CAN YOU NAME THE GARDEN-
1
2
3
4
5
6
7
8
9
Among the various dance forms in vogue in India are Bharatanatyam, Chakiarkoothu Kathak, Kathakali, Krishnanattam, Kuchipudi, Manipuri, Mohiniattam, Odissi, Ottanthullal and Yakshagana .Beside there are umpteen numbers of folkdances peculiar to various regions and sub-cultures.
Bharat Natyam is poetry in motion. Tracing its its hoary origins in the Natya Shastra, written by the great sage, Bharat, it is a highly traditional and stylized dance form. Crystallized in the cast-iron mould of Bhararata s technique, this art form grossily disallows new-fangled innovations or gimmicks except in repertoire and forms of presentation. Emerging far back in the labyrinthine twists of ancient history (as information for the date conscious, 4000 B.C. is the ascribed date to the Natya Shastra), Bharatnatyam has been immortalized in successive generations, as much by the sensuous grace of great dancers as by the nimble fingers of renowned sculptors who have demonstrated the perfection of Bharata's technique in the flowing lines of temple sculptures.
Its present form was evolved by the Tanjore quartet namely Poniah Pillai and brothers. Earlier variedly known as Dasi attam and Sadir, it was practised by Devadasis of the South Indian temples. It went into disrepute due to economic and social conditions and it was Rukmini Devi who gave it new life and respectability. Its format consists of Alarippu (invocation), jathi Swaram (note combinations), Shabdam (notes and lyrics), Varnam (a combination of pure dance and abhinaya), lighter items like Padams and Javalis (all erotic) and finally the thillana (again pure dance). On par with Rukmini Devi, there was Bala Saraswati, the queen of Bharata Natyam.
Folk Dances of India vary according to the region and have no specfic grammar. They fit in with the scheme of festivals in each region.
It has its root in Katha story. A band of story tellers who were attached to temples in North India, Narrated stories from epicsw, Later, they added mime and gesture to their recitation. The next stage in its evolution came in the 15th and 16th centuries A.D. with the popularisation of the Radha-Krishna legend. With the advent of the Muslim rule, it was taken out from the temples to the courts. Jaipur, Lucknow and Benaras became the centres. While Jaipur gave predominace to pure dance with emphasis on rhythm, the Lucknow one drifted into erotics.
Benaras also stuck to pure dance but it provided for the sensuous aspect by delineating episodes from the Radha-Krishna legend. The patron King of the Lucknow style was Wajid Ali Shah who spent extravagantly on art. The place of women in Kathak was of different order. They were known as nach-walis who adorned the courts of the Mughals. Apart from this, they were used for entertainment of the pleasure seeking rulers and their fawning toadies. Eventually they came to be categorised as women of easy virtue. The Kathak dance goes through a regular format mostly concentrating on rhythm, variously called Tatkar, Paltas, Thoras, Amad and Parans. Binda Din Maharaja, Kalkdin, Aachan Maharaja, Gopi Krishna and Birju Maharaha are but a few maestros in this line.
The stories for attakathas (the verse text for a Kathakali piece) are selected from epics and mythologies and are written in a highly Sanskritisied verse form in Mlayalam. The actor does not speak, but expresses himself through highly complicated and scientifically ordained mudras and steps, closely following the text being sung from the background of the stage.
more picturesque with the flames from cotton seeds set a alight, so that the bobbing heads create streaks of illuminated patterns as they move effortlessly around the floor.
Bharat Natyam
Bharat Natyam is poetry in motion. Tracing its its hoary origins in the Natya Shastra, written by the great sage, Bharat, it is a highly traditional and stylized dance form. Crystallized in the cast-iron mould of Bhararata s technique, this art form grossily disallows new-fangled innovations or gimmicks except in repertoire and forms of presentation. Emerging far back in the labyrinthine twists of ancient history (as information for the date conscious, 4000 B.C. is the ascribed date to the Natya Shastra), Bharatnatyam has been immortalized in successive generations, as much by the sensuous grace of great dancers as by the nimble fingers of renowned sculptors who have demonstrated the perfection of Bharata's technique in the flowing lines of temple sculptures.Its present form was evolved by the Tanjore quartet namely Poniah Pillai and brothers. Earlier variedly known as Dasi attam and Sadir, it was practised by Devadasis of the South Indian temples. It went into disrepute due to economic and social conditions and it was Rukmini Devi who gave it new life and respectability. Its format consists of Alarippu (invocation), jathi Swaram (note combinations), Shabdam (notes and lyrics), Varnam (a combination of pure dance and abhinaya), lighter items like Padams and Javalis (all erotic) and finally the thillana (again pure dance). On par with Rukmini Devi, there was Bala Saraswati, the queen of Bharata Natyam.
Chakiarkoothu
This form is believed to have been introduced to Kerala by the early Aryan immigrants and is performed only by the menbers of the Chakiar caste. A highly orthodox type of entertainment, it can be stged inside temples only and witnessed by the Hindus of the higher castes. The theatre is known as Koothambalam. The story is recited in a quasidramatic style with emphasis on eloquent declarations with appropriately suggestive facial expressions and hand gestures. The only accompaniments are the cymbals and the drum known as the miazhavu, made of copper with a narrow mouth on which is stretched a piece of perchment.Folk Dances of India vary according to the region and have no specfic grammar. They fit in with the scheme of festivals in each region.
Kathak
It has its root in Katha story. A band of story tellers who were attached to temples in North India, Narrated stories from epicsw, Later, they added mime and gesture to their recitation. The next stage in its evolution came in the 15th and 16th centuries A.D. with the popularisation of the Radha-Krishna legend. With the advent of the Muslim rule, it was taken out from the temples to the courts. Jaipur, Lucknow and Benaras became the centres. While Jaipur gave predominace to pure dance with emphasis on rhythm, the Lucknow one drifted into erotics.Benaras also stuck to pure dance but it provided for the sensuous aspect by delineating episodes from the Radha-Krishna legend. The patron King of the Lucknow style was Wajid Ali Shah who spent extravagantly on art. The place of women in Kathak was of different order. They were known as nach-walis who adorned the courts of the Mughals. Apart from this, they were used for entertainment of the pleasure seeking rulers and their fawning toadies. Eventually they came to be categorised as women of easy virtue. The Kathak dance goes through a regular format mostly concentrating on rhythm, variously called Tatkar, Paltas, Thoras, Amad and Parans. Binda Din Maharaja, Kalkdin, Aachan Maharaja, Gopi Krishna and Birju Maharaha are but a few maestros in this line.
Kathakali
Kathakali is the most refined, the most scientific and elaborately defined dance form of Kerala. As it is obtained today it is not only complete control of practically every fibre of the artistes body, but also intense senstivity of emotion.The stories for attakathas (the verse text for a Kathakali piece) are selected from epics and mythologies and are written in a highly Sanskritisied verse form in Mlayalam. The actor does not speak, but expresses himself through highly complicated and scientifically ordained mudras and steps, closely following the text being sung from the background of the stage.
Bhavi
One of the state´s mose spectacular performances, it consists of veiled women dancers balancing up to seven or nine brass pitchers as they dance nimbly, pirouetting, and then swaying with the soles of their feet perched on top of a glass, or on the edge of a sword. There is a sense of cutting edge suspense to the performace, and even though some of the hotel performers use only papier mache pots that are stuck together, the feat is still one of amazing dexterity.Ghoomar
A community dance of the Rajputs, performed by the women of the house and traditionally out of bounds for men, it uses simple, swaying movements to convey the spirit of any auspiciousoccassionn. There is, however, an amazing grace as the skirts flare slowly while the women twirl in circles, their faces covered by the veil. Traditionally, all women, whether old or young, participate in the dance, which can continue for hours into the night. A new bride, on being welcomed to the home of her husband, too is expected to dance the ghoomar as one of the rituals of the new marriage.Chari
Dancers choreograh deft patterns with their hands while balancing brass pots on their heads. The performance is mademore picturesque with the flames from cotton seeds set a alight, so that the bobbing heads create streaks of illuminated patterns as they move effortlessly around the floor. Drum Dance
Put a naked sword in the mouth of a man, and give him three swords to juggle with his hands while avoiding causing an injury to himself. This to the accompaniment of his troupe that consists of musicians holding aloft drums around their necks and cymbals in their hands. A stirring performance from a martial race.Fire Dance
If there is divine protection to be offered, the Jasnaiths of Bikaner and Churu must be responsible for cornering most of it. These dancers perform on a large bed of flaming coals, their steps moving to the beat of drums that rises in crescendo till the dancers appear to be in a near hypnotic state. And no,they'ree not likely to have any blisters to show for it. These devotional performances are usually to be seen late on a winter´s night.Gair
There are several variations to this picturesque dance form that is performed by both men and women. The men wear long, pleated tunics that open out into full-length skirts as they move first in clockwise then in anti-clockwise direction, beating their sticks to create the rhythm when they turn. Originally a Bhil dance, and performed at the time of Holi, its variations are the Dandia Gair in the Marwar region and Geendad in the Shekhawati region.
