Introduction
Dance, music and theatre are an enduring part
of the Indian cultural milieu. Dance is the primeval expression
of joy and wonder in any part of the world. In India all forms
of art have a sacred origin and the inner experience of the soul
finds its highest expression in music and dance. The Hindu attitude
towards art as an expression of the Inner beauty or Divine in
man brought it into close connection with religion. Using the
body as a medium of communication, the expression of dance is
perhaps the most intricate and developed, yet easily understood
art form.
Origins
The invasion of India by Aryans about 4000
years ago is considered to be a turning point in the history
of the country. The Aryans settled down and mixed with the local
people, thus sowing the seeds of a new civilisation. This civilisation
prospered on all fronts, leading to the compilation of epics
like the four Vedas, Upanishads, Ramayana, Mahabharata, Puranas etc.,
which serve as the basis for all streams of learning. The sacred
scriptures of the four Vedas (Sama, Yajur, Rig and Atharv),
were said to be divine spiritual knowledge derived from the supreme,
self existing God. Elaborate and eloquent references to the art
of dancing also abound in the Rig Veda, which was compiled
around 1500 B.C, thus substantiating that dance was one of the
oldest forms of art in India. The passage of time resulted in
emergence of many classical dance forms including Bharatnatyam,
Kuchipudi, Kathakali, Mohini Attam, Kathak, Odissi and Manipuri,
and various other folk dances in India.
The art of dance was created by Lord Brahma (the
Creator), according to the Natya Shastra and Abhinaya
Darpana, the treatises on dance. The Natya Shastra is
the earliest Indian text in the history of performing arts. It
was created by Lord Brahma on the request of Lord Indra and
other gods as a form of entertainment. As the lower castes were
not entitled to listen to the four Vedas, Lord 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 literature from the Rig Veda, song from the Sama Veda, abhinaya
or expression from the Yajur Veda and rasa or aesthetic experience
from the Atharva Veda. These aspects are the four main constituents
of the Natya Veda. It was suggested to Lord Indra that the Natya
Veda be used for the entertainment and enlightenment of the Gods,
but the Gods expressed their inability to practice it. Lord Brahma
passed on the Natya Veda to his son, sage Bharata, who
passed it on to his 100 sons. Thus this divine art descended
from the heavens to Earth. Lord Shiva learnt the Tandava (masculine
form of dance), whereas Goddess Parvati, his consort,
learnt the Lasya (feminine form).
Bharata staged his first play with his hundred
sons and Apsaras (celestial dancers created by Amrita
Manthana, the churning of the divine ocean). The play was
staged in the ampitheatre of the Himalayas. Lord Shiva, the destroyer
and the ultimate dancer, was so enchanted that he sent his disciple
Tandu to Bharata, to teach him the true elements of dance. These
are depicted in the Natya Shastra, in its chapters collectively
named the Tandava Lakshana.
Tandava, the classical dance, takes
its name from Tandu, the celestial attendant of Lord Shiva
who instructed the sage Bharata in the use of the Angaharas and Karanas,
the plastic modes of Tandava at Lord Shiva's behest. A Karana
is a unit of dance in which gesture, step and attitude are coordinated
in a harmonious rhythmic movement. A sequence of six or more
Karanas is called an Angahara. Anga refers to the body
and Hara is a name of Lord Shiva, creator of the Tandava,
comprising 32 Angaharas composed of 108 Karanas.
The Shiva temple of Chidambaram is sculpted
with these 108 Karanas on the inner walls of the 4 gateways leading
to the temple. These lovely sculptures vividly depict the Tandava
dance form.
The Tandava Dance
Shiva Nataraja is considered to be
the god of dance in Hindu mythology. His dancing image, in the
Tandava form, is the starting point of all creation. To the dancer
the four arms of the Nataraja are a depiction of dance movement
in an immovable and static medium. The mystique of the arms and
legs of the figure has a cosmological significance as the dance
is taken as merely a human representation of a cosmic fact. In
the Nataraja image the frontal palm of the right hand which is
lifted and slightly bent represents security (abhaya) to devotees.
The left hand which is thrown across the body with the fingers
pointing downwards indicates the feet of the Lord as the refuge
of devotees. The upraised left foot represents the blessing bestowed
by the Lord. In the right upper hand Shiva carries a small drum
representing the creative sound which began the universe, and
in the other hand he has a fire which is symbolic of light and
therefore destruction of ignorance. Under the right foot is a
dwarf, which signifies triumph over evil. Encapsulated in this
figure of the Dancing Lord is the entire function of Shiva as
the creator, preserver and destroyer. This dance is a metaphor
for the belief that life is essentially a dynamic balancing of
good and bad, where opposites are interdependent. The dance of
Shiva is the dance of life.
Dance Techniques
Indian dance is a blend 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. It does not express
any emotion. Nritya is usually expressed through the eyes,
hands and facial movements. Nritya combined with nritta makes
up the usual dance programs. Nritya comprises abhinaya, depicting
rasa (sentimental) and Bhava (mood). To appreciate natya or
dance drama, one has to understand and appreciate Indian legends.
Most Indian dances take their themes from India's rich mythology
and folk legends. Hindu gods and goddesses like Vishnu and Lakshmi,
Rama and Sita, Krishna and Radha are all depicted in classical
Indian dances.
Classical dance is a combination of bhava,
raga and tala (mood, melody and rhythm). The Gati or
gait, is stylized for each classical dance form. The Gati is
also called Chaal in Kathak, Chali in Odissi
and Nadai in Bharatnatyam.
Abhinaya
Abhinaya is the rhythmic expression
of moods, emotions and a narrative through the use of Mudra (hand
gestures), Bhanga (postures of the body) and Rasa (facial
expressions). Abhinaya has been vividly described in Abhinaya
Darpana, a medieval work on histrionics by Nandikeswara.
Costume, make-up and jewelry, that aid the performer in expressing
mood, emotion or dramatic elements of Abhinaya, is known as Aharya
Abhinaya. Gestures and stances that aid Abhinaya are called Angik
Abhinaya.
Postures
The ideal postures of the body are depicted
in the Shilpa Shastra and there are 4 types of Bhangas (postures),
the deviations of the body from the central erect position. These
four Bhangas are: Abhanga, Samabhanga, Atibhanga and Tribhanga.
Abhanga signifies "off-center", an iconographic term
for a slightly askew standing position. Samabhanga is the equal
distribution of the body limbs on a central line, whether standing
or sitting. Atibhanga is the great bend with the torso diagonally
inclined and the knees bent. Tribhanga is the triple bend with
one hip raised, the torso curved to the opposite side and the
head tilted at an angle.
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THE BHANGAS : POSTURES IN INDIAN CLASSICAL DANCES
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Mudras
The Mudras (hand-gestures) complement
Abhinaya, which is expressed through facial expression and body
gestures. Abhayamudra and Abhishekamudra are the
two varieties of Mudras. The former (Abhayamudra), with its palm-upraised
gesture, is an expression of protection and reassurance. The
latter (Abhishekamudra), with its sprinkling hand gesture is
commonly seen in Buddhist images.
Rasas
There are 9 major classical categories of
emotions or Rasa, called Navarasas for Abhinaya.
They are Adbhuta or wonder, Bhaya or terror, Bhibatsa or
disgust, Hasya or humour, Karuna or pathos, Rudra or
anger, Shringara or love, Vira or heroism and Shanta or
peace. Except Kathakali, most classical dances do not explore
the full ranges of rasas today, but restrict themselves to Shringara rasa
and Bhaktibhava (devotion).
Each Indian classical dance form also draws
inspiration from stories depicting the life, ethics and beliefs
of the Indian people. The genesis of the contemporary styles
of classical dances can be traced to the period between 1300-1400
A.D. India offers a number of classical dance forms, each of
which can be traced to different parts of the country. Each form
represents the culture and ethos of a particular region or a
group of people.
Bharatnatyam flourished in areas of
Tamil Nadu, Karnataka and Andhra Pradesh. Kuchipudi is
another famous classical dance of South India, from Andhra Pradesh. Kathakali is
a theatrical dance form of Kerala. Mohini Attam is the
feminine counterpart of Kathakali. Kathak is the classical
dance form of North India and has two main Gharanas or
schools - the Jaipur Gharana and the Lucknow Gharana. Odissi is
the classical dance of Orissa and was mainly centered around
Puri and Bhubaneswar. Manipuri is the classical dance
of the North-Eastern state of Manipur. Besides these, there are
several semi-classical dances that contribute to the plethora
of Indian dances.
In India, dance and music pervade all aspects
of life and bring color, joy and gaiety to a number of festivals
and ceremonies. In fact, dance and music in India are tied inextricably
to festivity of any kind.
This article was written by:
Madhuri Guin Our efforts have been directed at making this article informative and refreshing for you. We will truly appreciate all forms of feedback. Please send your feedback to newsletter@dollsofindia.com.
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