CLASSICAL DANCES OF INDIA (MISCELLANEOUS DANCES )

Miscellaneous dances

The major classical dance styles, as mentioned above, by no means exhaust the list of existing dance arts of India. There are interesting performances, with highly artistic values and arduously developed disciplines, surviving in different parts of the country under indigenous condition. One such system is the Chhau Dance of Mayurbhanji and Saraikala. Chua is a dance which is exclusively performed by men. Originated from seraikela, a former princely state in Orissa, now in Bihar, this dance form follows certain fundamental traditions of the classical modes. It is dedicated to the twin aspects of Shiva and Shakti. It is a dance of festival which culminates in a three- day ceremonial worship in the Shiva temple to be followed by a grand procession. They interpret mythology, sacred history, legend and nature,. The style is precise and vigorous comprising of intricate steps, jumps, quick turns, gliding walks and various gaits. The choreography is well thought out and impressive.

(I)                 Mohini attam is one  of the important forms of the classical dance tradition of Karla, presenting a perfect mode for solo performance that incorporates lasya and tandava styles. Its technique is based on the Kathakali mode, which Includes the peculiar manner of dancing with the feet and legs apart, knees greatly bent, and utilizing the rhythmic syllable words in the recitation and play of the drum, with perfect synchronization of the dancer’s feet.

(II)               Krishna attam as the name suggests, is a dance drama associated with Krishna legends. It is believed that Kathakali originated from Krishna attam, sometime in middle of the 17^th century A.D., the Zamora in King of Calicut named Mahadevan, who was a poet of distinction and a votary of Lord Krishna, composed eight dramatic lyrical plays dealing with various episodes of Krishna’s life. The Poet king incorporated them into an ensemble which he named as Krishna Attam.

(III)             The Blhagavata Mela dance dramas of Tamil Nadu appear to have gained importance about 300 years ago, when Tirtha Narayan yati, author of the Krishna Lila Tarangini in Sanskrit, Migrated from Andhra to Tanjore district. He began the bhagvata Mela tradition on the pattern of dance drama as expounded in the Natya Shastra by Bhatrat Muni. With these ideals before him, he composed several dance dramas and as Parijatahranam and Rukmangada. His celebrated dance dram compositions like prahalad, Harishchandra, Usha Parinayam and gollabhama, were not only enacted all over Tamil Nadu but they became a part of people’s life. They were performed annually at the great festival dedicated to God Narsimham.

(IV)             Yakshangana originated from one of the very early and indigenous musical drams known as Bahu Nataka composed by Pakkuribi Somnath in about 1250 A.D. and portrayed in several varieties of the Shiva – Lila episodes. In times, these took the form of the yakshangana plays common to many regions of India. Originally a solo performance, this form, later developed into two and then four principal characters. Gradually it assumed the form of a regular dance drama packing up themes from my theology a legend.