CLASSICAL DANCES OF INDIA

CLASSICAL DANCES OF INDIA

Dancing is one of the most ancient arts in Indian culture. From as early as the Vedic times, it established its root in the Indian soil, being deeply associated with religious rites, representing the supposed performances of the gods and goddesses themselves, and maintaining the divine and spiritual concepts of the race. Aesthetic values were inherent in the styles, modes and forms of dance. The religious purpose being diverse, the styles of dance were equally varied. In course of time secular dancing also came to establish itself. But as an art, it could not be taken lightly. The artists, male or female, had to undergo rigorous training to be well versed in the rules and formalities of any style of dance. The Indian classical dances aunt easy discipline, but through the ages they have retained their vigour owing to the devotion of the gurus and their disciples.

(I)              Bharat – Natyam

One of the most ancient forms of dance art is Bhyarat – Natyam, with its origins in an unbounded faith in God, and having the purpose of conveying to the human mind the virtues of purity coupled with an admiration for aesthetic values. Bharata – Natyam combined within itself poetry and music, dance and acting, in order to express itself to the outer world in its fullness. The dance flourished in Tamil Nadu, and its influence extended over a wide area of the South. During the second half of the nineteenth century when the British sway and the western influence over Tamil Nadu were complete, Bharata – Natyam passed through its most critical period. It was about to be lost an forgotten. But one of the descendants of the Tanjore brothers Meenakshi Sundaram Pillai, would not allow the art to did. He maintained the art traditions in their pure from and bequeathed them to the future.

It its usual form, the dance is generally broken into seven main parts. Alarippu, jatiswara, shabda, Varna, pada, Tillana and Sloka, Alarippu signifies the beginning of the dance in simple poses and movements with a short in vocation to the gods,. It gives an opportunity to the dancer to make the body and limbs redy for the performance. The jatiswara ushers in the real dance in which the movements of the body are synchronized with this ware of tree raga and the tala. The dance in its most acute form and the abhinaya for an elaborate expression are performed alternatively and then in a combined form. The feel play according to the jatis, the hands and fingers perform the madras, and the face expresses the inner feeling. Tlhe whole performance is set into the rega, tela and bhava. The tillana is the dance in its most exquisite form, sublime and beautiful when the dancer exhibits the bodily poses in superb styles. The last item of the Bharata – Natyam is the Sloka, with which the dance closes.

No dance has or could have remained in a changeless form since the time of its origin. Bharata – natyam too has changed its scope and counts at different times according to new nees. In the thirties of the twentieth century, Rukmini Devi Arundale, a champion of Bharata – natyam, brought about radical changes in the costumes of the dancers. From the ancient sculptures depicting the dance styles, ideas regarding classical costumes were formed and adopted. Simultaneously, many outmode, heavy and difficult dresses were abandoned to make the dance easier. Make –up of a modern nature was used to make the dancer’s person more attractive. In the promotion of the cause of Bharata- natyam in modern times, E. Krishna Layer and Rukmini Devi have played remarkable roles.

(II)            Kuchipudi

Among the old forms of the; south Indian dance, Kuchiopudi has survived with distinct characteristics of its own and has attracted wide attention in modern times. Though its origin was from the dance – dramas of very ancient times, it individuality as a separate style dates back to the days of the Bhakti movements. It depicted krishna’s life through music and drama top carry the devotional appeal to the heart to man., thus like the Bhagavat Mela Nat15aak of Tamil nadu, a kind of dance – drama emerged in the Andhra. Desha which became famous as kuchipudi. The name has no relation to the dance itself, at it is derived from the place – Kuchipiudi in Krishna district of Andhra Pradesh where the dance flourished.

The Kuchipudi dance consists of a few divisions such as Adavus, jatis, jatiswaras, tiramanas and tisanes. The dance also expresses itself through padas, varnas, shabdas and slokas,. These features are also found in Bharata – Natyam. But one very distinct feature of the Kuchipudi dance is not to be found any other southern dance style. It is superb, quick and is not to be founds any the southern dance style. It is the superb, quick and rhythmic footwork of the dancer. The kuchipudi signers who accompany the dance know Sanskrit and Telugu. The music of the dance is Karnatic. In its modern development, the Kuchipudi dance – drama has been hanging its character with a greater tendency towards solo items. The credit goes to character with a greater tendency towards solo items, the credit goes to lakshmi narayan shastri for having brought renown to the kuchipudi once during the present century.