9 Forms of Tradition Dance
Bharatanatyam
Tamil Nadu (Southern India) The Oldest Dance Form of India
Bharatanatyam’s movement constituted nrtta (abstract foot-work), mudras (hand gestures), and abhinaya (gesture language, facial and bodily).
The devadasi dance called sadir or dasiattam in devotional expression of sringara (love) for the temple deity uniquely brought together the spiritual with the sensual, even erotic that was often misunderstood. The same people who wanted to wipe out the devadasi dance at the same time wanted to revive the art form to what they would consider “respectable” by renaming sadir to Bharatanatyam. The devadasis belonged to hereditary communities of artists who excelled in dance and music. The flexibility of the Bharatanatyam framework can be performed both traditional themes as well as modern day subjects. This was originally performed only by females, and now it’s performed by male and female soloists.
The seven styles of Bharatnatyam are Pushpanjali, Alarippu, Jatiswaram, Shabdam, Varnam, Padam, and Tillana. These seven styles of Bharatnatyam refer to the order of the performance. The entire set of the Bharatnatyam dance is called the Margam.
Kathak
(Northern India) A Storytelling Dance Form
Kathak is derived from the Vedic Sanskrit word Katha which means (story), and Kathakar which means (the one who tells a story). Which doesn’t mean that Kathak is performed in the form of storytelling through the body movements of the dancer. Kathak is often referred to as a love dance and can be danced by both male and female dancers together. Kathak is one of the main genres of ancient Indian classical dance, wandering Kathakars or the traveling bards conveyed tales, through dance, songs, and music. The Kathakars communicate stories through rhythmic foot movements, hand gestures, facial expressions and eye work. Three specific forms of this genre that is three gharanas (schools), which mostly differ in emphasis given to footwork versus acting, are more famous namely, the Jaipur gharana, the Benaras gharana and the Lucknow gharana.
The important elements that complete a Kathak performance Nritta, Nritya, and Natya.
Manipuri
(North-eastern India) Dance Nurtured In The Mountainous Region Of The Northeast
Manipuri comes from State of Manipur, it has roots from Natya Shastra in folk traditions and rituals. Manipuri is characterized by smooth and graceful movements. Female roles are especially fluid in the arms and hands, while male roles tend to have more forceful movements. The dance may be accompanied by narrative chanting and choral singing. Manipuri dance is introverted and restrained, the dance dramas based on love. Jagoi and cholom are the two main divisions in Manipur’s dance, the one gentle and the other vigorous, corresponding to the lasya and tandava elements. The traditional art has gone through various stages of development to become the sophisticated theatre art it is today.
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Odissi
(Eastern India) Classical Dance of Orissa
Odissi is a dance form that comes from the state of Odisha, predominantly a dance performed mostly by women dancers. Odissi is a very complex and expressive dance, with over fifty mudras (symbolic hand gestures) that are commonly used. Most of the signs and movements (Mudras) are inspired by the artists and idols belonging to the ancient temples of India. The dance is conducted in a story, of a Hindi poem in the form of music by the musicians. Odissi is considered as the oldest dance forms of India which is sustained even till this day. The ey principles and techniques of Odissi dance are Tribhangi, Bandha Nrutya, Pada Bheda, Hasta Mudra, and Abhinaya.
Kathakali
(Southwestern India) The Classical Dance - Drama of Kerala
Kathakali is traditionally performed by boys and men, even for female roles. Kathakali (story play) categorizes its characters according to their nature and employs make-up and costume to build them up as symbolic personalities. The faces of actors are painted according to the type of character they represent – green for heroes, kings, and divinities, red and black for the evil and fierce, etc. The actor’s performance in the plays are completely speechless: the libretto is sung by two singers on the stage who keep time on gong (chengila) and cymbals (ilathalam), while a pair of drummers also on the stage play the Chenda. The story is enacted using a vocabulary of facial expressions and hand-gestures. A traditional performance of Kathakali starts in the evening after preliminaries that include an invocatory drumming on the Maddalam, and concludes only at daybreak.
The Vesham (make-up) is of five types - Pacha, Kathi, Thadi, Kari and Minukku. Kathakali is partly due to its décor, part of which is the kireetam (huge ornamental headgear) and the kanchukam (oversized jackets), and a long skirt. The artists completely immerse themselves and the audience into the story they're describing. Pacha (Green) Vesham, Kathi (Knife) Vesham, Thadi (Beard) there are three types of (beards) Thadi Veshams, Vella Thadi (White beard), Chuvanna Thadi (Red beard) and Karutha Thadi (Black beard). Kari (Black) Vesham. Minukku (Prettying Up) Vesham is used for female characters and sages. Mudra is a stylised sign language used to depict an idea, a situation or a state of being. Kathakali Students must undergo rigorous training replete with oil massages and separate exercises for eyes, lips, cheeks, mouth and neck. Abhinaya (expression) is of prime importance as is nritya (dance) and geetham (singing).
Mohiniattam/Mohiniyattam
Dance Form Of The Women Of Kerala
The meaning of Mohiniyattam begins with the figure Mohini, the female avatar of Vishnu. Mohini comes from the verb root moha, meaning to perplex or cause delusion. Mohiniyattam dance is a classical solo dance as an artistic expression form. Mohiniyattam is characterized by graceful, swaying body movements with no abrupt jerks or sudden leaps, comprises about 40 different basic movements called adavukal and its performance style. It belongs to the lasya style which is feminine, tender and graceful. This classical dance forms of India follows the sign language (mudra) as described in the ancient treatise on Hastha Lakshanadeepika to convey the story. These mudras are expressed through fingers and palms of the hands.
Some dancers joined the Nangiars (women of the Nambiar community) who still practice these dances in temples to this day, following a strict code of dance.
Kuchipudi
(Southern India) A Dance-Drama Performance
Kuchipudi is indigenous to the state of Andhra Pradesh, a unique Indian classical dance/drama performance art, derives its name from the village of Kuchelapuram. The dance performance begins with the sprinkling of holy water and the burning of incense. Other rituals are performed, to the goddesses of learning, wealth, and energy are invoked, and the characters are introduced, together with songs concerning their function in the performance. All roles were traditionally played by men, and portrayed the roles of women. Groups of men traveled from village to village enacting stories. Kuchipudi is characterized by fast rhythms and fluid movements, creating a unique blend of control and abandon, strength and delicacy.
Sattriya
Classical Dance of Assam
Sattriya Dance has its origin in the Sattras. Sattriya was performed in a religious ceremonial context inside the monastery, so it was not accessible to women for centuries because women were not allowed inside. This dance form was originally performed in the Sattras as a part of religious rituals and for spreading the philosophy of Vaishnavism and was confined within the four walls of the Sattras for several centuries. There were two dance forms prevalent in Assam before the neo-Vaishnava movement such as Ojapali and Devadasi with many classical elements. The different forms of dances Mati Akhara, Krishna Nritya, Nadubhangi, Jhumura, Chali, Rojaghoria, Behar Nach, Sutradhari, Bor Prabesh, Gosain Prabesh, Gopi Prabesh, Ojapali.
Chhau
(Eastern India)
The origins of the word “chhau” sources include the Odia words chhauni (military camp), chhauka (checking something stealthily) and chhauri (armour). The word is derived from the Sanskrit word chhayi, meaning shadow, illusion or image, referring to the use of masks in some forms of chhau and the Odia. A folk performance form that incorporates martial arts and dance-drama elements, chhau is performed in the states of Jharkhand, Odisha and West Bengal. Each state has distinct styles of chhau - Seraikela chhau in Jharkhand, Mayurbhanj chhau in Odisha and Purulia chhau in West Bengal. Performances originally took place during the spring festival of Chaitra Parva in April. Until the end of the twentieth century, only men would participate in the performance, but women performers have become more visible since. Chhau emphasises footwork and the movement of the entire body, rather than mudras, performers’ hands are held tightly in fists or kept open, imitating the grasping of a sword and shield. Instruments typically used include the mahuri (a conical double-reed pipe), dhol (a percussion instrument), nagara (a large drum played with wooden sticks), dhumsa (a kettle shaped single headed drum), and chadchadi (a flat percussion drum).
