Dances of India
By Dr. Maha Gingrich Ritual Dance: Lai-Haraoba Lai-Haraoba literally means “festival of Gods.” This festival is inspired by a local legend. It is celebrated through highly symbolic rituals, processions and dances to create and demolish the cosmos. Several forms of dances are performed during the festival that lasts from seven to thirteen days. I can write a book on this ritual alone, if I describe each day. Hence, I will give you a general description of the festival. Planning a Bharatha Natyam Arangetram Our daughter Pavani had just completed her classical dance graduation called arangetram. It sure was a monumental task as I was the teacher and the mother. Many say it is same as doing a wedding. They are not exaggerating! It is true. I thought I will share 10 most important planning tips with all the readers, just in case you are also thinking of planning an arangetram or know of someone who may be planning. In my opinion, the key to a successful arangetram is planning, planning and planning. 1. Plan for the event in advance and have a budget limit in mind. Start saving as soon as you can. Do not postpone anything for later, as Murphy’s Law may take over. Basic Components of the Classical Dances To understand the intricacies of classical dances and to excel in these dance forms, there needs to be a basic understanding of the components of these fascinating dance styles. In the Natya Sastra, a book on classical dances, it is made clear that drama and acting are considered inseparable from the dance and from music. They are totally interdependent. The dance itself may be divided into three main parts: The Science of Dramaturgy further showed that the dance was composed of a series of enchanting combinations of three main elements of bodily gesture, namely: These three main components had to express between them one uniform whole in which speed, grace, symmetry, body control, versatility, eye expressions, facial expressions, thought, word and song followed in a natural stream of harmony. The meaning of the dance was further detailed in the Three Forms: Rules and regulations for the performance of the Indian dance made it an exact science and art, where nothing was left to the arbitrary whim of the dancer. Yet, it could be mastered so perfectly that each dancer’s individuality and ability in expression, grace, technical knowledge and personality, emotional feeling and confidence, gave distinction to her/his performance. Main Characters in Dances As we all know, Indian dances always tell us stories of Indian epics, literature, social life, and human emotions. Of course, all our stories also depict God in human situations and they become the hero and the heroine, which is Nayaka and Nayaki. For example, Radha, the heroine is the lover of Lord Krishna the hero. The literary texts, including the Natya Shastra, recognize eight basic types of Nayaka, the hero and eight types of Nayaki, depending on the nature of the story. One is the types of Nayaka based on nature. They are: •Dhirodatta: of noble nature, a King, a minister or a general; The four types of Nayaka based on their behavior in love are: •Anukula: the devoted, faithful husband like Lord Shiva; In Bharatha Natyam, Kuchipudi and Kathak dances like Varnams, Javalis and Tumris speak of such characteristics in men the heroine loves. Likewise, the eight Nayakis or heroines are: And the sakhi or friend helps to unite them. Generally she is an associate of the Nayaki, although she can also side with the Nayaka. Her role is confined to being a link, a liaison or a person to bridge the gap of communication between the hero and the heroine. Transformation of Dances in India and in the USA In the last few decades we have seen many transformations of the dance scene in India and in the USA. The almost frantic period of the late 50’s and early 60’s saw the “new discoveries”, a revival of the nearly forgotten Mohiniyattam of Kerala, and Odissi, both of which are solo female dance forms. Then Sattriya of Assam State and Kuchipudi Bhagavata Mela Natakam of Andhra Pradesh, both dance drama forms performed by male ensembles, became source material for solo excerpts by young female artists who competed the major urban areas for national acclaim. Hastas/Hand Gestures I have been receiving requests from some readers to send them information on hand gestures. Hastas or hand gestures are essential part of any classical dance forms. These are like alphabets that form words. These words can form sentences and eventually give us (the dancers) the ability to tell you a story. Through story telling you can bring human emotions to surface. All this depends on the basics of hand gestures, combined with foot steps and facial expressions. Do dancers need to know Yoga? Recently, I am noticing that most of the kids are not very flexible. Due to busy schedules of parents and kids, many kids do not take time to stretch. As dance teachers, that will pose a challenge to teach intricate dances with difficult Karanas or a sequence of poses to students. Dance and Yoga are connected in many ways. Folk Dance – Kolattam During Dances of India 2012 in Charlotte, which took place on April 28, 2012, we performed the Jada Kolattam. I thought it will be good to talk about the Kolattam dance itself and its popularity. Playing and dancing with little lacquered sticks held in the hands is popular throughout India. North and West of India, it is called Raas, performed by Lord Krishna and his (milkmaids) Gopikas. Trance Dance: Theyyam As the world is changing and the technologies take over our lives, I thought I would write about a trance dance called Theyyam. The dance is derived from the word Daivam, meaning God. Each of the dancers is possessed either by a God or by an exalted legendary hero. Theyyam is widely in vogue in North Kerala, particularly in Cannanore district. When the dancer wears the full makeup and costume, he is called a Theyyam. The makeup and costume, which are highly stylized, differ according to the Theyyam the dancer is required to represent. There are about 150 Theyyams in the traditional repertoire, that of I know. Cheraw/Bamboo dance I feel like I learn something new every day in life, especially when it comes to performing arts. It is amazing to gather the different types of dances that exist just within India. A week ago, I was looking at the DVD from our Dances of India 2007 performance in the Halton Theater. I introduced several stick dances from Asia during this show. One of those dances was the Bamboo dance called Tinikling from Philippines. It reminded me of this dance from India, known as Cheraw, which is the most popular ritual dance in Mizoram. This place is located in the southern part of the Northeast region of India, between Myanmar and Bangladesh. The name means “Hill People’s Land.” It is a picturesque place where the population is both predominantly tribal and overwhelmingly Christian. Body Movements in Classical Dances As classical Indian dance teachers in the USA, very seldom we get an opportunity to teach our students in-depth theory of the classical dance forms. Most of us meet once a week for an hour with our students. We focus on the adavus (fundamental techniques), items (dances), bhava (expressions) etc. Therefore, I decided to share the names of our dance movements and may be our students may get a chance to read this article just to label the moves they already execute during dances. Karanas and Angahaaras Shiro-Bhedas Drishti-Bhedas Bhru-Bhedas Sahaja: Natural eye brow in a composed face. Griva-Bhedas I know I introduced a lot of terminology but not its utilization. It is nice to know that these are structured movements being taught and practiced for centuries. The more we master these movements, better our story telling ability will be as a dancer. Yakshagana Dance-Drama I went to India last December and had a wonderful time with the family. I also met some hard working dance teachers. One of them is our friend Dr. R. Sudhakar. He works at the Telugu University in Hyderabad. He did extensive research in Yakshagana. Yakshagana or Bayalata is from the State of Karnataka, in South India. Yakshagana was primarily a form of ballad and the players were called “Yakshas.” A Ballad is a music literature, a song or a poem, especially in a traditional style, telling a story in a number of short regular stanzas. This was presented originally in only the music form and it was around the 16th century that musical plays were written by famous composers. The themes enacted were from the Bhagavatham, and the emphasis was on the childhood days of Lord Krishna and his brother Balarama. Crown of Kuchipudi Dance Style - Bhama Kalapam Garba Dances The origin of Bhangra Mohiniyattam – A South Indian Classical Dance Style Loss of a great Guru - Dr. Nataraja Ramakrishna Bharatha’s Natya Sastra Where Are The Great Gurus? Great Guru Shri Vedantam Lakshmi Narayana Sastry Drum Dances In any dance form from any country, when you add drums to the orchestra, it sets the stage for presentation of energy. They are used to invoke spirits, create rhythmic patterns or describe the intensity of cosmic dances. During the stage production of Dances of India on Saturday, April 30, 2011, (Halton Theater, CPCC Central Campus, Charlotte, NC) I want to introduce some of the drum dances for cosmic dances and will try to show a few on Nazar Television during the “Dances of India” segment. Thandava Dances Ritual Dance-Karagam Sometimes I feel like I can never catch up with the number of dances we have in India. It is amazing to find out that dance is the basis of all types of communication. I am always excited to share some new findings about old rituals. Sculpture and Dance The Unspoken Language of a Culture Main Characters in Dances Spirituality and Modernity in Dance Can dance be a symbol of Unity in Diversity? Ritual Dance: Maibi Drum Dances: Pung Cholam Hastas/Hand Gestures Hastas or hand gestures are essential part of any classical dance forms. These are like alphabets that form words. These words can form sentences and eventually give us (the dancers) the ability to tell you a story. Through storytelling you can bring human emotions to the surface. All this depends on the basics of hand gestures, combined with foot steps and facial expressions. Folk dances Yoga in dances Dances for Every Occasion This year has been a challenging one for our family. We have lost many close family friends; I am still under treatment for my concussion. I have a lot to thank for, however, as I just started to dance again. Dancing through these hard times has been a healing experience. This is when I realized that many Asian cultures and African cultures have dances for every occasion. These dances talk about Gods, nature, animals, parents, lovers, seasons, festivals, celebrations and believe it or not — funerals. Kuchipudi – Ritual Dances Transformation of Dances in India As many of you may be going to India for the summer, take a few days to travel and see some fascinating places. Now let us travel from the US to Assam. Bihu is a harvest dance performed in Assam. In this rice growing area, three different Bihu festivals are held. Bihu festival is held just before the sowing of the seeds, at the time of transplanting the paddy seedlings and while harvesting. The word Bihu is derived from a Sanskrit word Visuva that means equinox. In Assam, Bengal and Orissa, the “V” sound is pronounced as “B” sound. So the shorter form of (Visuva) Bihuba is Bihu. What is an Arangetram (Dance Graduation)? As we all know, Indian dances always tell us stories of Indian epics, literature, social life, and human emotions. Of course, all our stories also depict God in human situations and they become the hero and the heroine, which is Nayaka and Nayaki. For example, Radha, the heroine is the lover of Lord Krishna the hero. The literary texts, including the Natya Shastra, recognize eight basic types of Nayaka, the hero and eight types of Nayaki, depending on the nature of the story. The types of Nayaki are more popular than Nayaka in some dance forms. However, when Lord Shiva or Krishna is depicted, Nayaka’s characteristics become more prevalent. There are two subdivisions in these eight types. One is the type of Nayaka based on nature. They are: Dhirodatta: of noble nature, a King, a minister or a general; The four types of Nayaka based on their behavior in love are: Anukula: the devoted, faithful husband like Lord Shiva; In Bharatha Natyam, Kuchipudi and Kathak dances like Varnams, Javalis and Tumris speak of such characteristics in men the heroine loves. Likewise, the eight Nayakis or heroines are: Abhisarika: yearning for her lover, goes out to meet him, For Example, Radha; And the sakhi or friend helps to unite them. Generally she is an associate of the Nayaki, although she can also side with the Nayaka. Her role is confined to being a link, a liaison or a person to bridge the gap of communication between the hero and the heroine. I know all these names and their characteristics are hard to memorize. However, it is good to understand the importance of these roles and the pre-defined regulations of Natya Shastra when we choreograph dances. Accordingly, we can actually try to live the character we play and feel the emotions and the pain and the joy of the characters we depict. Kuchipudi - From Temples to Theater Kuchipudi is one of the most popular classical dance traditions of India. It is perhaps the only tradition that takes its name from the village of its origin, Kuchipudi, located in Krishna District of Andhra Pradesh. Originating as a Natyamela tradition this form was initially practiced exclusively by a group of Vaidiki Brahmin men. They belonged to particular families and only those families were trained to perform. To depict a dance-drama, several dancers were needed for different roles. As only men practiced and performed this dance form, men dressed up as females for female characters. This practice was to primarily avoid exploitation of females by kings and other rulers during those times. These performances were dedicated to temple dancing and seldom left the state of Andhra Pradesh. The idea of men dressed up as females did not attract the general audiences. Any art has to adapt itself to the aesthetic sensibilities of changing times. It was with this idea in view the pioneer Vedantam Lakshminarayana Sastry initiated women also into this discipline. In spite of the resistance from the traditional groups, formal training was imparted to women and this gave the style the much-needed momentum to increase the popularity of this beautiful dance style. Slowly, people from other areas and families have also started to learn this dance style. The repertoire also underwent a change. Solo items were choreographed along with dance-dramas. This marked the beginning of the solo dancers who would perform at theaters outside the state. Today we see women playing even men’s roles. The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylized mime, using hand gestures and subtle facial expression, is combined with more realistic acting, occasionally including dialogues spoken by the dancers. Kuchipudi is accompanied by Carnatic music. A typical orchestra for a Kuchipudi recital includes the Mridangam drum, flute and violin. A vocalist sings the lyrics, and the nattuvanar conducts the orchestra and recites the rhythmic patterns. The languages used are primarily Telugu, Sanskrit and, occasionally, pure Hindi. All over ancient India, it would seem dance and music is seen not merely as ways to celebrate but also as an offering and worship to the Divine. Dance, like music has no geographical boundaries, no linguistic barriers and no racial divisions. This is apparent, as Kuchipudi dance style has become one of the most respectable and known classical dances of India.
Contribution of Nazar TV to Dances of India
For the past 15 years or so Nazar Television has been serving the Indian and South Asian communities of the Carolinas by bringing a diversity of Bollywood songs. What I enjoyed most was bringing you the Dances of India segment on Nazar TV.
In my opinion, this is one of the most unique partnerships I have known in the Indian TV industry. As a classical dance teacher, performer and a passionate follower of tradition in classical and folk dances, I had the opportunity to research and showcase the influence of these classical dance forms and traditional folk dances on Bollywood.
Indian classical dances date back to three thousand years. The seven major forms of Indian classical dances namely Kuchipudi, Bharatha Natyam, Kathak, Odissi, Manipuri, Mohiniyattam and Kathakali are extensively used in the Indian movie industries. Several folk dances, trance dances, and tribal dances are embedded in the culture of India and their costumes and jewelry have been glamorized by the Indian movie industry.
During the early years of Bollywood, classical dances became the dominant dance and foundation of the Indian film industry. Many famous actresses in Bollywood were also gifted dancers and for many it was a requirement to learn classical and folk dances before they were considered for the movie. This training enabled them to do any kind of dancing including Mujra dances derived from Kathak dance form and the so called Bollywood dance style which encompassed all these dance forms.
We had the pleasure of featuring great classical dancers like Vyjayantimala, (one of the best dancer actors to have starred in Bollywood), along with Waheeda Rehman, Asha Parekh, Padmini, Hema Malini, Aishwarya Rai, Madhuri Dixit, just to name a few and their prowess is all too evident.
However, an even more interesting aspect of Bollywood movies is its songs and dances.
A large number of Bollywood songs are filmed as dances - individual or in group, some based on Indian classical dances, while others on folk traditions. Either way, there is a lot of innovation and drama that goes into it. Good music and good dances can be one of the major requirements for the success of an Indian movie.
The beauty and dexterity of the captivating dances in the movies can be credited to the combination of visually mesmerizing pieces of choreography by many famous Indian choreographers like Saroj Khan and Vaibhavi Merchant (Dholi Taro dance) whose creation also is influenced by learning the traditional dances.
Due to globalization and technologies, Indian movie industry has started to incorporate international dance styles and music into their repertoire. I am grateful to Nazar TV for bringing all these dance styles to your homes and I feel honored to be the one to do the research and give you glimpses of some great work in the Indian movie industries.
Lai-Haraoba of Manipur is conducted by a special kind of priestess called Maibi and priest called Maiba. According to the legend, nine gods brought Earth from heaven. Seven goddesses took the Earth from the gods and threw it into the primordial ocean. On the first day of Lai-Haraoba, these gods and goddesses are not only invoked but they take their symbolic birth from water, like Goddess Maha Lakshmi in Indian mythology.
Two maibis along with villagers go in a procession to a nearby stream wearing spotless white costumes. Taking two new and empty earthen pots, the maibis get into waist deep of water. Two leaves, symbolizing the male and female principles, are put in the water, one facing upwards and the other downward. It is imagined that the seed of creation is within the two leaves. Then the pairs of leaves are kept in each of the two earthen pitchers filled with water.
The maibis take the pitchers in procession to a makeshift temple. The deities and the temple are made with wood, cane, bamboo, and such other materials, which can be burnt to ashes signifying the dissolution of the cosmos. The earthen pitchers are placed near the improvised temple. Symbolically, the creation begins and a human being is born.
Through dance movements and processions the life cycle and growth of human beings, agricultural operations are depicted in a stylized manner. There are sixty four important khut-theks (hand gestures) for making the human body. All are shown with very fine, attractive and meaningful dances representing the development of the human body in twelve months in the mother’s womb. Then the building of houses, starting of agriculture and other stages of human development are played.
The last part of the dance confines with the songs, paosha isheis, for the welfare of all the individuals. Music for the various rituals and dances is provided by a simple stringed instrument called pena, which is peculiar to the region.
The festival, as said before, signifies the dissolution of the creation. In my opinion, it is important to have these rituals to signify practical learning, rather than just reading about these important messages in books. It has a greater impact on the learning and understanding of these meanings.
This planning includes many things such as dance practices, setting the date, finding a venue, invitation cards, budgets, ordering costumes, planning lunches and dinners etc. I suggest you talk to people who have gone through such planning. If you are anything like me, I am not good at asking for help from anyone. Here are my ten major suggestions:
2. Anything can go wrong, will go wrong. It is a major event in the student’s life and the parent’s life. There is a lot of pressure for the parents to perfect this event.
3. Do not compete with others. Find the level that is good for you and do your best.
4. Set the date and book the venue first. After you book the venue, plan ahead on invitations, costumes, decorations, guest list, menu for the reception etc.
5. Number of attendees should match your venue. Make sure you know the capacity of the auditorium and match it with your guest list. Cut down or add to the guest list as needed. Remember to gather the addresses of your guests well in advance.
6. Book your photographer and the videographer in advance. Write up a contract if needed.It is a stressful time not only for parents but also for the student. An arangetram is the culmination of many years of training, investment and hard work.
7. Let the student focus on the dance. The student rises to a new level of performance, and moreover, develops the discipline to achieve a long-term goal. Student has to meet many expectations and it is not easy for them. Help the student to relax and enjoy this event.
8. Take some time off for the event. Do not do what I did by working all the way to the arangetram day. You will be guaranteed to stress out. Make sure you take at least a week or two off before the event and take a couple of days off after the event to recoup and get your house back together. It is also the time for a huge family gathering. Your house will be full of guests with different needs. Couple of days before the event, you cannot cook and clean or even let them cook as they do not know your house. Make sure you understand their needs and plan ahead to arrange for food either by catering or by asking your friends to send a major dish or two to help you.
9. Parents have to seek help from close friends and delegate the work. I was blessed with many good friends who literally taught me to seek and accept help. Assign tasks to friends and delegate clearly and reaffirm the duties a week before the event.
10. Most important of all, enjoy the arangetram. It will NEVER come back again!
NRITTA: This refers to pure technical aspects of dance. These are the movements without any special meaning or mood, and used to show the basic adavus or fundamentals and the intricacies of complicated timings, rhythms, posture and footwork.
NRITYA: That form of dance, comprising movements of the body, hands, limbs, together with facial expressions, and filled with Rasa or Flavor, which may express small episodes, just a sentence, or a whole drama.
NATYA: The combination of both dancing and acting. This then is the basic foundation of the entire dance.
THE LIMBS
THE FACE
THE WHOLE BODY
BHAVA OR MOOD: This part of the dance was to be gracefully described by the glances and play of the eyes and eyebrows; the Hastas of hand gestures, accompanied by the relevant facial expression.
RAGA OR MELODY: The song and melody used during the dances have direct impact on the expression of the dance and its mood.
TALA OR RHYTHEMIC TIMING: This is the supportive element as the technique of the feet guided by the set timing of the drum manages the energy of the dancer.
The types of Nayaki are more popular than Nayaka in some dance forms. However, when Lord Shiva or Krishna is depicted, Nayaka’s characteristics become more prevalent. There are two subdivisions in these eight types.
•Dhiralalita: affectionate, royal;
•Dhiroddhatta: arrogant, godly, Indra; and
•Dhiraprasanta: calm, Brahmin.
•Daksina: courteous, treats equally all women;
•Dhrsta: bold, shameless, indifferent when caught red-handed with other women;
•Satha: rogue, loves more than one woman but pretends otherwise like Lord Krishna.
•Abhisarika: yearning for her lover, goes out to meet him, For Example, Radha;
•Kalahantarita: separated due to a quarrel, like Satya Bhama;
•Khandita: broken hearted;
•Prositapriya: whose lover or husband lives abroad;
•Svadhinabhartrka: whose husband is charmed of her and stays with her;
•Vassakasajja: dressed up for union, used a lot in Kathak;
•Vipralabda: the deceived;
•Virohitkhantita: distressed by separation.
I know all these names and their characteristics are hard to memorize. However, it is good to understand the importance of these roles and the pre-defined regulations of Natya Shastra when we choreograph dances. Accordingly, we can actually try to live the character we play and feel the emotions and the pain and the joy of the characters we depict.
When I first visited India in early 1990’s (after 12 years), I realized that a grand coup was to compose a “dance ballet” in one of these styles. The highest mark of achievement was to be chosen to take these choreographic creations or recreations abroad as part of official cultural delegations.
In recent times, attempts are made to depart from the universal Indian themes derived from the epics and puranas, and to adapt unusual thematic material. Dramatic themes are drawn from Christian, Persian, Buddhist, Western sources, or from the Vedas. The “new” plots are sometimes interpreted in terms of an established traditional technique or more daringly in a combination of traditional techniques. The new costumes reflect a combination of east and west cultures.
Occasionally the choreographer sought for a new contemporary concept of movement expression, these last rare and atypical experiments coming close to the internationalized dance format of what we would recognize as Euro-American modern dance.
At the hands of Martha Graham or an Uday Shankar, the artistic maturity of East and West learning successfully from each other is self- evident. There is undoubtedly going to be a continuing, perhaps increasing, fascination with the possibilities of “East-West fusion”; experiments in dance have been taking place, and also in dramatic theatre pieces. Some East-West experiments have drawn upon the traditional Indian concept of theatre, resulting in plays in which the spoken word, dance movement, music and visual representation are integrated. In the large context, we find East–West design in architecture, high fashion, landscape, crafts, etc.
A growing intellectual maturity will have to guide these movements. This is crucial, or they will soon subside, after exhausting themselves in frantic self-exploitation to no avail, as mere idle entertainment or novelty. Rather, this movement must continue to enlarge our spheres of understanding and aesthetic experience, moving us toward a greater maturity and appreciation of the plurality and meaning of the worlds many cultures on their own terms.
There are single hand gestures known as Asamyuta Hastas and combined hand gestures using both hands known as Samyuta Hastas. Here the fingers are formed to create the required position, while using the subtle movements of wrists and arms. According to great treatises like the Natya Sastra and the Abhinaya Darpana, there are about thirty one single hand gestures and twenty seven combined hand gestures. This may vary as people practice from generation to generation.
As words can be combined to change a meaning, hand gestures can be combined to change the representation of a character. Sometimes in spoken language, what is important is not what you said but how you said it. In the same way in dancing, same gesture can be used in different ways with a specific emotion or an expression that can give a new direction to your meaning.
When I was teaching Yoga, I also used these hand gestures to reduce arthritis of hands in many students. It is a beautiful way to work your fingers to create a new speech with your hands. These hand gestures create the speech of dances and become a vehicle to communicate and express dancer’s emotions. Each dance style has used these basic hand gestures in a particular mode and built up their own variations of Hastas.
The names of mostly used single hand gestures or Asamyuta hastas are:
Pataka; Tripataka; Ardhapataka; Kartarimukha; Mayura; Ardhachandra; Arala; Shukatunda; Mushthi; Shikhara; Kapitta; Katakamukha; Suchi; Chandrakala; Padmakosha; Sarpashirsha; Mrigashirsha; Simhamukha; Kangula; Alapadma; Chatura; Bhramara; Hamsasya; Hansapakshika; Sandamsha; Mukula; Tamrachuda; Trishula
You can search for these hastas online and get a pretty good representation. Just make sure that it is a trusted source. There will be some variations in the way the hands are represented.
I read that Patanjali’s Yoga Sutra was inspired by an encounter with Lord Nataraja (The founder of Dances). If that is true, I can easily see the connection. Yoga means Union. Yoga and dance both begin with union of the body and mind. Both are approached in sequence through logical steps. Both are universal sciences, suited to all students who seek self realization.
We begin dance with Namaste (Salutation) just like (Surya Namaskar) sun salutations in Yoga. Using the Anjali or prayer hand gesture, we touch our forehead which represents the Ajna Chakra in Yoga, and then we bring our hands down to our chest which represents Anahata Chakra. Even the hand gesture (mudra) for meditation is Arala in both yoga and dance. When I was teaching yoga, I taught these dance hand gestures (Hasthas) to people suffering with arthritis.
I also taught the Vrikshasana, the tree pose (Standing on one foot), among others, with dance movements to find both inner and outer balance. Many of the advanced poses in dance require flexibility of body and a systematic way to control the body movements. Out of 108 poses (Karanas), very few can be performed without training in Yoga for flexibility.
Even the word Hatha Yoga would mean the balance of Ha (Sun) and Tha (Moon) that are part of our dance ornaments that we place as part of our head dress. Dancers need to balance these two forms representing masculine and feminine energies. We need to have the strength in our foot steps while depicting the graceful movements with our hands.
I strongly recommend that during summertime or anytime during the year enroll your child in Yoga classes or buy a yoga DVD and practice yoga with your child at home. There are Yoga DVD’s specifically for kids, too. Flexibility has to start at an early age. This will prevent injuries from sports and other activities. This will also increase their endurance and will improve their posture.
I know personally that dance and yoga have influenced all aspects of my life. I always say that dance is a meditation in motion. It is a gift given to our culture and many other cultures around the world. Take time to enjoy and appreciate your gift.
In South India, young girls and women dance to celebrate the birth of Lord Rama. On this auspicious day, flowers are strewn and girls are dressed in brilliant colored Sarees, their hair wound with Jasmine, dance in festive spirit.
I will attempt to describe the actual dance movements. They are simple and beautiful. Forming into squares or circles, hitting their sticks crisscross, they advance and move round and round, clapping their sticks up in front and below, as they bend to the right and left. Suddenly they move backwards and forwards, turning towards the other and beating their stick side ways and in the center.
Then they leap forward on the toes, stepping back and thus making many attractive and complicated patterns. Popularity of this folk dance has spread to the cities and is practiced for festivals and any celebrations in schools and colleges. This dance takes the same place as country dancing here in the U.S. Songs used for these dances have philosophical and religious meaning.
There are other types of Kolattam, such as Pinnal Kolattam and Vasanta Atam.
Pinnal Kolattam is mostly performed in the state of Madras. Jada Kolattam is performed in the state of Andhra Pradesh. Here dancers do Maypole and carry painted sticks at the same time. A number of colored streamers are attached to the top of a pole by means of a hook. Eight, to twelve dancers go round and round, each one holding one streamer by the end. Winding the streamers into a beautifully plaited rope, they move in circles, squares and lines. They change places while tapping the sticks for rhythm.
Vasanta Atam is to celebrate the birth of the nature. In springtime when the trees come to blossom and the air is crisp with the perfume of flowers, the peasants’ dance to celebrate the arrival of the spring season. Their palms colored with turmeric to make them yellow and dressed in orange Sarees with vivid contrasting borders, women gather to pray to mother earth. Men carry sticks that are five feet in length with gold painted knobs to form a background to the dance. Nature of Kolattam plays a vital role in influencing moods of a community. Any type of Kolattam is a spectacular dance to watch. The rhythm of sticks is thrilling, and the colors of the costumes are mesmerizing.
The face of the dancer is given a mask like makeup with different bright colors. Each wears a towering and colorful headgear. At times, the headgear may be several feet high. The skirt is usually heavily pleated silk cloth. The dancers also wear many kinds of decorations made of tender fronds of coconut. The Theyyam with all these and heavy bangles and garlands appear much larger than life.
After donning the costume the Theyyam goes through a ritual during which the invocatory chanting called “Tottam” is sung. This is for invoking the particular deity to enter into the body of the dancer. The dancer then executes some dance movements in slow tempo. Gradually the tempo becomes faster and faster and becomes a frenzied dancing leading to the trance. These dancers can sit on fire, roll in fire, jump on fire and do many more unbelievable acts of wonder.
I have seen these trance dances couple of times when I was visiting India, especially during certain holiday seasons. The procession of these dances and dancers is quite a spectacle. You can feel their energy and their total involvement in the movements and the sounds of drums are infectious and impressionable. The drum beats and the repeated rhythm creates the trance experience.
Such dances are also popular all over India and also in Africa. When I was a child I would see such dances regularly in the state of Andhra Pradesh, especially during “Bonalu” season. I used to be amazed at what these dancers would do during the trance. They did not feel any pain while dancing vigorously and they would answer the questions of the general public who would accept their answers as the word of God or Goddess.
It is sad that trance dances are becoming weaker day by day. In my opinion, it is so because the mind of the dancer at times is not that impressionable as the values of industrial civilization are creeping in to weaken the strength of the faith one had earlier for the deities. There are, however, still many trance dances that are in existence all over India, especially in rural areas.
Cheraw is danced mainly by the girls of Mizo tribe. Originally, it was a ritual dance. However, you will now see these dances being performed during many occasions. This dance is inspired by a Mizo myth. According to this myth, Pu Pawla is the custodian of paradise. When a child dies, the spirit proceeds towards Pialral, the heavenly abode of the dead. The Cheraw dance is performed to propitiate the death of the child. The Mizos believe that if the dance is performed, the spirit of the dead child will easily enter the paradise without being harassed by Pu Pawla, similar to Yama in Hindu mythology.
The Cheraw is a dance of skill involving quick reflexes with matching swiftness of feet. Mizo girls dance wearing their traditional colorful skirts, matching blouses, and headgears decorated with beads and feathers. Non-dancer or assistant boys or girls squat on the ground, holding long bamboo poles. Usually three pairs of assistants hold horizontally three pairs of bamboo poles. Other three pairs hold the bamboo poles vertically. They hold the bamboos in such a way that when the poles are held apart, square dancing spaces are created on the ground. In each square stands a dancer. She has to step out of the square when the poles are clapped. The poles are clapped rhythmically and the dancers alternately step in and out of the square keeping to the clapping of the poles that provides the rhythm for the dance. A gong (a metal disc) is sounded for change in the stepping pattern.
Sometimes, when we think of ritual dances, we do not take skills or challenges into consideration. General public perception is that these dances are slow or non-technical in nature. Cheraw is an excellent example of such wrong notions. Skill, spirituality and coordination play an important role in performing such a unique dance.
The combined and coordinated movement of the hands and feet is called Karana. The hands and feet move in unison and in perfect harmony in a Karana. The limbs of the body can be moved around in innumerable movements. While codifying the Karanas, the scholars have chosen only the 108 most expressive and charming movements of the limbs. There are many books written on Karana Prakaranam, Karana Viniyogam etc. They cover techniques and utilization of the poses and their sequence.
The combined depiction of a group of three or more Karanas together is known as Angahaara. The identity of each of the Karanas employed is not disclosed but a coordinated movement of expression is portrayed in an Angahaara.
The Shiro-Bhedas or head movements are classified into nine major parts. These are samam, udwahitam, adhomukham, alolitam, dhutam, kampitam, paravrttam, utkshiptam and parivahitam.
Sama Siras: When the head is kept straight and motionless in a natural way.
Udwahita Siras: When the face is raised up.
Adhomukha Siras: When the face is bent down.
Alolita Siras: When the head moves in a circle.
Dhuta Siras: When the head is turned to and fro from left to right and from right to left.
Kampita Siras: Moving the head up and down.
Paravrtta Siras: When the head is turned away.
Utkshipta Siras: When the head is turned to a side and raised.
Parivahita Siras: If the head is moved from side to side.
There are eight classifications of glances called Drishti-Bhedas.
Saman: Gazing with eyes leveled unblinkingly.
Alokitam: Swiftly turning the eyes round.
Sachi: Looking out of the corners of the eyes obliquely without moving the head.
Pralokitam: When the glance turns from side to side.
Nimilitam: looking with eyes half open.
Ullokitam: Looking up.
Anuvruttam: Glancing quickly up and down.
Avalokitam: Looking downwards.
There are six major classifications of eyebrow movements called Bhru-Bhedas.
Patita: When eyebrows are at rest and then lowered.
Utkshipta: When either one or both eyebrows are raised.
Chatura: When both brows are moved and the expression is pleasant.
Rechita: One brow is raised in a charming fashion.
Kunchita: When one or both eye brows are arched/bent.
The four major neck movements are:
Sundari: Moving the head obliquely or to and fro horizontally.
Tiraschina: An upward movement of the neck on both sides as though the face was forming the figure of horizontal 8.
Parivartita: Neck moving from right to left suggesting the half moon.
Prakampita: When the neck moves forward and backward in a thrusting motion like that of a she pigeon.
Like in Kuchipudi dance-dramas, the Sutradhara (storyteller) introduces the dancers as young Krishna and his brother Balarama. Then the singers and the dancers took over the show. Later on as years passed; other stories of epics from Ramayana and Mahabharatha were included in these dance-dramas. Linked deeply with religious fervor, the Sutradhara (storyteller) continues to amuse the audience by keeping up a running commentary throughout the play. The dramas usually have scenes of flights and the stories have an originality of their own. Interwoven through the main text are philosophical extracts from the epics.
I will feature this dance style on Nazar TV shortly. It will be hard to miss when you see the grand and colorful costumes used by these dancers. It almost looks like Kathakali dance style from the state of Kerala in South India. The costumes and make-up indicate the characteristics of each individual, hero or the villain. For example: the kings wear crowns, and the other characters wear turbans of a particular style, differing in size and color with each actor. Evil characters make up their faces in bizarre designs and are easily recognized by the shape and size of their head-dress, the color of their clothes and the shape of their ornaments.
Just like in other South Indian classical dance styles, they also start their dances with a prayer to Lord Ganesh (The Elephant Head God), the remover of obstacles. They also end their dance with a traditional Mangalam, concluding the dances.
This style is musically of extreme interest as many ragas or tunes that they use are rare in Carnatic music. The rhythmic beats accompanying each character as he enters the stage, known as Voddolage are recited musically. This dance is performed by men, like the Kuchipudi dance style in the past. The most fascinating part of this dance style to me is the ability of dancers to make quick consecutive circles in mid-air while dancing. These dances come under unique and exotic dances of India, as they are not so common or practiced by all dancers in India. If you ever visit this part of India, I strongly suggest you to attend one of the live performances. It will be an unforgettable experience.
When I was 6 years old, I saw the great dancer, Padmashri Vedantam Satyanarayana Sarmaji perform the most popular dance-drama in Kuchipudi repertoire, Bhama Kalapam. I did not know that he was a “Man” dressed as the lady “Satya Bhama,” the beloved wife of Lord Krishna. He sang on the stage like a woman, he danced with vitality and grace, projecting the pride of Satya Bhama, the queen. I was totally mesmerized.
I aspired to be half as good as Sri Vedantam Satyanarayana Sarmaji. I used to perform this dance quite often when I was a kid and received a lot of recognition. It was my parents’ favorite dance. I decided to choreograph this dance and perform during the 11th anniversary of Dances of India show on April 28, 2012 at CPCC’s Halton Theater in Charlotte.
Bhama Kalapam is a dynamic dance-drama, filled with Bhava (expressions), quick rhythmic movements, grand costumes, and most melodic music.
The original dance-drama was performed for nine nights, depicting the complete story of sweet quarrel between Lord Krishna and his arrogant wife Satya Bhama. In recent years, only small parts of this dance-drama are being performed by solo dancers.
In short, the story is about Satyabhama the heroine. She brags about being the daughter of a very rich king, Satrajit. She was a very beautiful, proud, commanding and above all a warrior queen. While Krishna commanded the whole universe, Satyabhama commanded him. All these qualities of Satyabhama are portrayed during this dance.
Even though this dance has been performed by many well known dancers, in my opinion, no one even comes close to being as good as the living legend, Sri Vedantam Satyanarayana Sarmaji.
Manipuri
I hope some of you have seen my “Dances of India” segment on Nazar Television, hosted by Divakar Shukla. I will be presenting a Manipuri dance. You do not see this dance style very often. Once you see it, you will not forget it.
Situated on the northeastern region of India, Manipur presents a beautiful picture of nature and charm. The word Manipur is derived from the words “Mani” a jewel and “pur” a place. Center of Manipuri dance is based in Imphal, the capital of Manipur.
This is a very graceful and spiritual dance form and is not seen very often. For centuries, people of Manipur have expressed their emotions and faith through dance and music. Initially many dances were devoted to Lord Shiva and his wife Goddess Parvathi.
However, through times the dances of Lord Krishna, and his lover Radha have gained more popularity.
Years ago, I saw a friend of mine perform this dance style. I was taken by the graceful movements and the richness of Bhava (mood), raga (melody) and Tala (Rhythm). Every hand gesture and every inflection of the body was very calculated to convey a story and an in-depth message.
The costumes were elaborate and colorful. The Manipuri dance contains both Lasya or the graceful dancing and the Thandava, the forceful dancing. The music is composed to Hindustani tunes or the North Indian tunes. Unlike Bharatha Natyam or Kuchipudi, these dances do not have any exaggerated movements, postures, or extrovert expressions, but a fine balance of hips and body. Tilting the head slightly, forming a rhythmic unison with hands, feet and the body, this dance style is a symbol of grace. However, the hand gestures or hasthas used in this dance style do overlap with Bharatha Natyam and Kuchipudi dance forms from south India.
Through years, the classical dance form, Manipuri has retained its heavenly beauty and rich content. This dance lives through its people as a vital part of their social, religious and spiritual existence. Their deep religious faith and strict discipline in dancing has contributed to the continuation and retention of such purity in this style.
If you want to see any of these classical dances, check out Nazar Television on Sundays. I will be bringing you examples of these dances and their influence on Bollywood.
It is that time of the year again. It is Garba time! Garba dance has originated in Surashatra, in the state of Gujarat in Western India. It is believed that they can trace the origin of Garba back to the time of Lord Krishna, who has ruled in this part of the country for nearly 100 years. In the month of October, villagers express their gratitude at the end of the monsoon rains with song and dance in which women, men, girls and boys join in the joyfulness. Village girls carry decorated pitchers and pots of clay and they go from house to house, dancing “Garbi.” The ornamented pot containing offerings is hung at the doorways.
It looks beautiful, when seen in its proper setting in the open, where the women worship Amba Mata, giver of plenty and prosperity, singing and swaying in their wide sweeping ghagras (skirts), and brightly decorated cholis (blouses) and odhnis (scarves). As they dance in a circle, the gorgeous silver jewelry flashes in the sunlight, while the men, equally colorful in their frilled coats and turbans, watch enthusiastically.
The Garba songs are light and filled with joy. The dance steps are simple, graceful and are done by a group of dancers going round in circles. They bend to the right, left and forward, stamping the feet in a rhythm of four counts, and clapping their hands in sweeping gestures. Usually in the villages, one of the girls with a good voice leads the first line and the others follow in chorus. This popular folk dance has been introduced to the cities, and is a favorite item at Guajarati gatherings, engagements, weddings, and many other special events. Now there are pre-recorded songs of Garba by famous musicians sold in the stores. In the cities, the themes of the dances are little more sophisticated and songs are composed to tell stories of the modern young girl, her fancies and her dreams.
In spite of all the modernization, however, the most popular of all the songs are still the Krishna legend themes. These songs sing the glory of Lord Krishna, his childish mischief, his beauty, and his love stories. The colorful costumes, lovely old textile prints, the sweetest of melodies, the grace and freedom of movement, are redolent of a charming Old World atmosphere.
In October, we celebrate the festival called Dasera, preceded by a nine-day celebration called Navaratri. You probably have seen Garba being performed by hundreds of people from the Carolinas at their temples and other locations as published. I am also featuring a few dances on Nazar Television this month in preparation for this exciting festival.
Recently, Bhangra dance and music is commonly associated with contemporary musicians. I thought it would be interesting to take you back to the origins of this dance. Bhangra is actually a harvest dance performed in Punjab, North India. More than 80 percent of Indians have been engaged in cultivation for centuries. Since the Hindu Dharma is not a religion but a way of life, various agricultural operations are associated with rituals and festivals known as utsavas. Right from the time of preparing the soil for sowing seeds to the end of harvesting, various kinds of dances are performed to thank God and to seek blessings.
The main crops in Punjab are wheat and sugarcane. Bhangra is associated with wheat cultivation. This is one of the most robust dances performed only by men. After the wheat seeds are sown the Bhangra is performed during the full moon night. To describe the setting … in an open place the leading drummer plays Dhol, the drum with two faces. One face is played by the fingers and the other with a blunt stick. The rhythmic patterns played on the Dhol are very exhilarating. When the dancers hear the drum beat they gather in an open place wearing a lungi (long piece of cloth), kurtha (long shirt), waist coat and turban. The clothes are very colorful and attractive.
In earlier days the primary orchestra was the drum. The Dholak player is the leader and is usually accompanied by a couple of folk singers. As the rhythm changes, the dancers shout with great zest the typical catchphrases like Bale-Bale, Oai-Oai, and Uhun-Uhun, to lift the spirits of the dancers and audiences alike. Very challenging and acrobatic steps are used to spice up the performance. It is very difficult to sit and watch this dance, as it is extremely invigorating. If you are feeling gloomy and want to get out of that mode, watch “Nazar” television, as I will be featuring some Bhangra dances. However, if you want to participate in these dances, eat a lot of carbs and have a masseur ready to attend to you the next day.
When I was little, I watched Mohiniyattam dance style performed by a few well-known artists. I loved the graceful movements and the white costume. So, years later I made an attempt to learn Mohiniyattam with an instructor in Baroda, India. I finished the fundamentals and the first sloka (Prayer song), but the teacher had to relocate. There are not many dance teachers to promote this dance style outside Kerala. So the probabilities of finding them elsewhere became too slim.
Let me share some information about this graceful dance style.
This dance form is said to have originated in Kerala. It is closely related to Bharatha Natyam of Tamil Nadu, which was originally called “Dasiyattam.” Originated as the temple dance performed by Devadasis, it portrays feminine love in its myriad forms - carnal, devotional and maternal- with accent more on Lasya and Bhava (expressions). In the main items Cholkettu, Padavarnam and Padam, mudras (hand gestures) and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female characters of Koodiyattam and Kathakali.
Originally Mohiniyattam was performed only in a temple’s premises and royal courts. The first reference to Mohiniyattam is found in ‘Vyavaharamala’ composed by Mazhamangalam Narayanan Namboodiri, of 16th century AD. Major contributions to this art form were given by Maharaja Swathi Thirunal, Irayimman Thampi and Kuttikunju Thankachi.
Most of the dances of Mohiniyattam are similar to Bharatha Natyam and Kuchipudi, though subtle differences of style are obvious. The language used in the lyrics is a pleasant mixture of Malayalam and Sanskrit, known as Manipravalam. Formerly, the Padams were especially composed to include only Sringararasa (expressions of love). Now days, artists are using any classical or semi-classical compositions, even from other languages within India. The real beauty of Mohiniyattam comes through when mature ladies enact the romantic Padams specially written to present the Ashta Nayikas (eight heroines): Swadheena Bharthruka, Khanditha, Abhisarika, Vipralabdha, Kalahandtharitha, Vasakasajja, Proshithabharthruka, and Viraholkhanditha.
The accompaniments for Mohiniyattam are vocal, veena, venu, maddalam and Idakka. Other instruments are also not unusual. Primary emphasis is placed on gestures and facial expressions. The mudras (hand gestures) are almost always same as those employed in Kathakali. The artists try to enact the lyrics almost in its entirety, like in Kathakali. I hope someday this beautiful style would be propagated as other dance styles.
On June 7, 2011, my brother emailed me from India and shared the news that Padmashri Dr. Nataraja Ramakrishna has passed away. He was 88 years old. I was very saddened by this news. I remember, when I was little, Dr. Nataraja Ramakrishna used to come to my house. When I went back to India and performed, he was invited as the guest speaker. I was amazed at his memory as he remembered me as the 6-year-old dancer and all other details.
Born into a noble family of Andhras in Bali in 1923, he left his family and property for the love of art since his father did not approve of it. Spending his boyhood in Ramakrishna Math at Madras and Mahatma Gandhi’s ashram, he reached out to great gurus like Meenakshi Sundaram Pillai, Vedantam Laxminarayana Sastry, Smt. Naidupeta Rajamma and Pendyala Satyabhama under whom he learned various forms of art.
Nataraja was not his name. He was awarded this title for his work in the field of classical dances. This noted Kuchipudi and Andhra Natyam exponent is known for his outstanding contribution to Kuchipudi dance style and Andhra Natyam in particular. He was a dancer, guru, musicologist and a research scholar. He wrote over 40 books on these dance styles.
I remember watching him teach Perini Shivatandavam, a powerful militant male dance tradition of the 10th century AD. He revived Andhra Natyam, one of the most ancient classical dance forms of South India. One of my Gurus, Smt. Sumathy Kaushal was also his disciple and learned Kuchipudi under his guidance.
It amazes me to see the life time of devotion these great gurus had for these unblemished dance forms. Their quest to research, teach and propogate these dances have not seized with age. They grew up with these blessed dance forms and passed away teaching them. What a gift to give to the students and establish the guru shishya parampara, the beautiful bond between the teacher and the student. He dedicated his life to dance and remained single. People always said “For him, dance is his life partner; disciples are his children; while his inheritance is his knowledge of art of dance.”
My sincere salutations to such a great guru and a scholar.
Here is the link to watch him do the Navarasa, the nine emotions, from just a few months ago.
http://www.youtube.com/watch?v=Zi3cqHKvC5Q&feature=player_embedded
Arangetram (Dance Graduation)
First, I want to thank the community for an outstanding support during the stage production of Dances of India show we presented in Charlotte on April 30. Because of the community support we were sold out, 10th year in a row. As that excitement settles, it is also time for arangetrams or Rangapravesha or as we call it here, dance graduation.
Every few years I write about this topic, as it is time for graduation from high schools as well as from dance classes. Children are being challenged to perform in front of their family and friends during the Arangetram. Sometimes, they rather perform before the people they do not know than their close acquaintances. It is also time for the parents to get nervous about their children going away to colleges and at the same time preparing for arangetrams. Therefore, this is the appropriate time to give you some background on the history of what is this all about.
It was only after ten to twelve years of training that the dancer gave her first performance, which was called as it is today, the “arangetram.” On this occasion the dancer was presented with a bamboo stick, this gave her the title of “Thalaikol.”
There is a charming story about the origin of the “Thalaikol”. Urvashi, a beautiful angel in heaven was dancing in God Indra’s court. She saw Jayanta, the son of Indra, and was enchanted by his beauty. This attraction made her to stop dancing for a moment. The interruption rouses the anger of Sage Agatsya, who was watching the performance. He cursed Urvashi to be born as a dancing girl (Devar Kannigai) on earth and Jayanta in Vindhya Mountains. However, when they both begged for forgiveness, the sage said that the curse would seize when Urvashi completes her arangetram and only then she will be presented with the “Thalaikol,” which was Jayanta himself.
Madhavi, the dancing heroin in the “Seelapadikaram” is a descendant of Urvashi, the divine dancer, and her first performance is described in detail. The “Thalaikol” was first bathed in the scared waters and then taken in a procession through the city to the dance hall in the temple car. Madhavi was presented after her arangetram with a green leaf garland and one thousand and eight Kalanjus of gold (dear students, please do not expect this! You may get an iPad!!). It was customary to present “Thalaikol” to the dancers who exhibited their talents for the first time.
Starting at a young age, the dancers would study in a small room in the Nattuvanar’s (Guru’s) house. The floor was made of mud, which is still the best surface for dancing. In the beginning, a ceremony called Thandiam Pidital, literally meaning “holding the stick” was performed. The young people were initiated into dancing by holding the stick. On this day, as on all celebrations, presents were offered to the guru/teacher as a “Guru Dakshana.”
In the modern world, arangetram is like achieving a milestone in Bharatha Natyam, Kuchipudi or other classical dance forms. Sometimes, we take many aspects of our lives for granted. Completing arangetram is a great challenge. Majority of dancers hope to complete this goal. Very few are fortunate and determined enough to achieve it. Those of you who aspire to complete arangetram in the near future, I wish you good luck. I congratulate those who have already completed their arangetrams.
It is inexplicable to see how the Natya Sastra (a treatise on Dramaturgy) deals with the categorization of different body movements. If you want to enhance or even learn motor skills, take up dancing. It enlists 13 gestures for the head, 36 ways to glance, 7 movements of the pupil, 9 for the eyelids and 7 for the eyebrows. In addition to this, there are six gestures each for the nose, cheeks and lower lip, and seven for the chin.
There are nine different movements for the neck. The hand gestures are 67 total in number. They are subdivided into single hand gestures, double hand gestures and hand gestures used in pure dance technique called Nritta. Three movements are approved for the belly, five each for the chest, waist, sides, thighs, calf muscles and feet. If this sounds like an aerobic exercise you are not too far out in your prediction. These classical dances use most vital parts of our body from head to toe. May be that is why most of the dancers start their training at an early age.
There are four postures prescribed for the body depending on the bend from the central plumb line. Slightly bent or not bent is known as abhanga, equally bent a samabhanga, mostly bent as atibhanga and bent in three parts as thribhanga.
One of the most important movements in dance is a Karana, which is a combination of hand and foot movement. There are 108 Karanas in number. Dr. Padma Subramaniam a well known dancer and a researcher has great demonstrations on Karanas and how they are formed. Her research highlighted the fact that the 108 Karanas are actually movements and not just static poses.
I know I threw many numbers at you during this article. My intention is not to make you a math major, but to help you understand that dancing is not just an art. It is also an integration of scientific and mathematical models. All the movements used by the dancers and
the choreographers are an integral part of this prescribed book. Our traditional choreography of dances depends on the in-depth understanding of these rules, regulations and choices.
Few dancers like Dr. Padma Subramaniam have brought Natya Sastra to life.
I recently received a book on dances as a gift. I saw pictures of all my Gurus in that book. After going through it, I felt a sense of sadness. I had to soul search the cause of this sense of loss. The question that came to my mind was, “Where are the Great Gurus?” By no means am I questioning the ability of current teachers. We are fortunate to have many dance teachers at different levels making an effort to propagate all dance forms. There are dance teachers in every corner of Indian cities and now even in the U.S.
So why am I questioning about gurus? Have you noticed in some performances how everyone on stage seems to have been cast in the same mould? Each physical movement, glance and step is a replica of their teacher’s moves. I am not saying that is wrong. However, I do not want to end up with a production of clones. I do not want to see the individual identity getting submerged in an urge to develop uniformity.
I was blessed with opportunities to learn both Bharatha Natyam and Kuchipudi under great gurus. Among them is Bharathacharya, Guru Sri.C.R.Acharyulu. The book took me back to the days of my learning, yearning, connecting and striving to be a little like him. He had a treasure of knowledge. He had a special and rare repertoire of temple dances and has written several books on ancient dances that are no longer performed in today’s modern world. Guru Acharyulu has inspired me to learn and share our history with others. So why am I not saying my teacher Acharyulu? We come back to the crucial queries. Where are the great gurus? What is the difference between the gurus and the teachers?
Ask the dancers themselves and they will say it starts with the Gurus being treasure troves of knowledge, not just book learned or theoretical. They had the heritage of a practical methodology and wisdom. They had the ability to be intuitive in their teachings. They were deeply connected with the inner beings of their disciples. They taught more than dancing. They helped us to recognize our inner and outer selves. They taught their students as much by what they said as by what they did not say. They allowed us to nurture and develop our own epistemologies. It is this harmonious blend of relationship between guru and the disciple that renders the transcendent experience in dancing.
Perhaps, we as teachers can strive to become gurus and replace the sameness of today with the individuality of past. Connect with our disciples at a deeper level to help them find their identities in this multi-cultural environment. We may not be able to replace those great gurus, but we can at least reincarnate the spirit of those Great Gurus.
Recently, I was very fortunate to have one of my guruji Smt. Sumathy Kaushal visit me. It was so exciting to learn again from her and become a disciple. She was very concerned that the guru behind the evolution of Kuchipudi solo dance form, Shri Vedantam Lakshmi Narayana Sastry will be either forgotten or not given the proper recognition for his contributions to this classical dance form. I found this biography on the website: Kuchipudi.com. I wanted to share this with all of you in an attempt to shed light on the reason solo dancers exist. This article is an offering to my Guru Smt. Sumathy Kaushal.
Shri Vedantam Lakshmi Narayana Sastry (1886 – 1956)
Son of Smt. Savitramma and Sri Venkatesam, Lakshminarayana Sastry learned dance from Sri Vempati Venkatanarayana and with great ease and class performed Bhamakalapam and Gollakalapam.
A master in both theoretical and practical aspects of dance, music, and talas, Lakshminarayana Sastry is credited for introducing solo system of dance in the otherwise traditional dance drama form of Kuchipudi. An original thinker right from his young age, he choreographed several solo numbers, like Astapadis, Padams, Jawalis, songs from Krishna Karnamrutham and Pushpabana Vilasam which have an ample scope for Saathvikaabhinayam.
Lakshminarayana Sastry’s teaching method was unique; he trained his disciples with individual care and attempted to bring out the deepest talents in them. Some of his talented disciples include Vedantham Jagannadha Sarma, Vempati Peda Satyam, Vempati Chinna Satyam and Ayyanki Thandava Krishna. He also trained the temple dancers, including Duggirala Jagadamba of Mandapeta and Srirajitham. Non-Kuchipudi artists like T. Bala Saraswathi, Ramayya Pillai, Mylapore Gouri Amma and Tara Chowdary came to him for training in Abinaya.
In the early thirties when the art form was facing a crisis, he along with his son Jagannadha Sarma, one of the most popular female impersonators of the time, and Ayyanki Thandava Krishna extensively toured India performing Kuchipudi. Lakshminarayana Sastry was also a pioneer in introducing the dance form to women, which till then was restricted only to men.
An incomparable performer, Guru and Choreographer, he unfortunately did not get the deserved recognition in his times, though he received several honors like the Andhra Nataka Kalaparishad, Gudivada (1945) and the presentation of Simhathalaatam by Justice P.V. Rajamannar at Madras (1948).
Ghumra
I have written about Pung Cholam before. Another fine example of drum dance is the festive dance of Ghumra, mostly prevalent in Orissa, especially in the districts of Sambalpur, Balangir and Kalahandi. The name of the dance is derived from the pitcher that looks like a drum. Its body is made from terracotta (mud). The neck of the drum is like a hollow cylinder. On its mouth they tie the skin of Godhi, a lizard like reptile.
The drum is slung from the neck of the dancers like in Pung Cholam, but they also tie it to the back so that the face of the drum is close to their chest. The dancers play on the face of the drum with both their hands while dancing.
This dance is performed only by men. Unlike Pung Cholam, the dancers wear colored Dhotis and jackets. They wear beautiful turbans decorated with peacock feathers, while their belts and ankles have several bells or ghungroo. It gets complicated as one dancer without the Ghumra drum holds two bunches of long peacock feathers in both hands. He then dances with the group making funny movements and sounds that add a humorous element to the performance.
In the beginning, the dancers stand in two rows and play their Ghumra drums. Then the vocalist starts his singing, while the dancers play drums softly to the music. As soon as the singing is complete, the dancers play on their drums loudly and dance vigorously. Although this dance is performed during some festive occasions, customarily it is danced on the day of Gamba Purnima that falls on the full moon day of the lunar month of Shravan which is around the months of July and August.
Many African countries have drum dances as well. In my opinion, perhaps no country can surpass India in the range and variety of drums and drum dances.
During Dances of India stage production on April 30, 2011 in Charlotte, NC, I am featuring Thandava dances by different deities. The most famous of these dances are the Thandava dances of Lord Shiva. These dances are used to direct mortals on the path of renunciation of the ego and gain true knowledge and salvation. According Hindu mythology, the Supreme Lord of the dance is Shiva, third of the Hindu trinity. Shiva represents that aspect of God who creates good (true knowledge) and destroys evil (ignorance). He is the source of cosmic harmony and rhythm.
There are three aspects of Lord Shiva’s Thandava dances, namely: The Destructive, The Yogic and The Gift giving. In the first aspect of Thandava, He dances on the burning grounds, with ten arms, denoting great power, celestial and miraculous. Shiva dances as the destroyer of illusion. The burning grounds symbolize the hearts of humans, cleansed by the fire of knowledge to destroy the ego. Freed of the illusion and ego, the soul gains eternal liberation. This dance is very invigorating and powerful. It requires tremendous agility and great stamina. It is filled with difficult Karanas or poses demanding flexibility and strength of the dancers.
The second aspect of Shiva’s dance is the Sandhya Thandavam, Yogic-evening dance performed on Mount Kailash on Mount Everest. This dance reflects calm and beauty of a gorgeous sun set in the mountains. As we experience this yogic evening dance, it allows us to surrender the worldly ambitions, sorrow, ego, fear and pride. The music is usually very relaxing and very rhythmic in nature.
The third aspect of dance is the Gift giving. However, in its place we will be doing Lasya Thandavam, where Lord Shiva dances with his wife Parvathi accompanied by Lord Vishnu, his wife Goddess Lakshmi, Lord Indra and Lord Brahma as musicians. This is a joyful dance with graceful movements representing love of Lord Shiva for his wife Parvathi. His smiling face, reflecting love and compassion represent his dual personality of God and Goddess, who is the gentle gracious entity with powerful nobleness.
I am really excited to present these unique dances and one particular dance is known only to a handful of people in the world of Kuchipudi dances. We will be performing these dances on Saturday, April 30, 2011 at CPCC, Halton Theater at 4 pm. These dances are a treat to watch and a great challenge for the dancers.
Until a few decades ago, ritual was being considered as a customary act that is often repeated in the same form for a religious purpose. The social scientists of today define ritual as a symbolic enactment of a myth. I see myths as stories or beliefs that attempt to express or explain a basic truth.
Karagam is a fascinating ritual dance tradition, practiced in the state of Tamilnadu, South India. A pitcher placed on top of the dancer’s head as a ritual object and the dance is accompanied by a procession. The pitchers symbolize fragile human body and they usually fill these pitchers with uncooked rice and water. Here the rice symbolizes food that sustains life and therefore sacred.
A conical bamboo frame decorated with flowers mounts the pitcher. The dance begins from a place in the village, which is considered auspicious. A procession follows the dancers, headed by a lead dancer. They usually go to the temple of Mariamman, the goddess of health and rain. The dance is enhanced by the intricate elements of acrobatics, accompanied by an orchestra called Niyandi Melam.
The orchestra consists of various types of drums and Nadaswaram, a wind instrument. In earlier days, only male dancers were allowed to perform these dances. However, due to the freedom of equality, women now join these celebrations as performers bringing variety to these rituals.
These types of dances are common among all states. There are Bonalu in Andhra Pradesh, which has a lot of similarities in the rituals being performed. When these myths are presented in a stylized enactment through dance movements, they become not only fascinating but also aesthetic.
As I started to choreograph some dances for the Dances of India 2011 show, it was obvious to me the beautiful way dance, sculpture, and yoga are interwoven. The deep and abiding ideals of philosophy and aesthetics on which the classical dances have been built have also profoundly influenced the allied arts of sculpture, metal casting, and painting, and of course Yoga in India.
The temples very naturally became the centers not only of religious worship but also of art and learning. Sanskrit language was studied by the few, who gained knowledge of the high philosophical precepts by learning the Vedas, Puranas and other sacred books. But art was meant for all, and through it, Hindu religious thought and philosophy were conveyed to all classes of society. To make these abstract theological teachings simpler to be understood by the average person, symbols were created which clarified the inner meaning of these teachings. And there developed a great art and culture wherein the perplexing, highly ethical philosophies were put into concrete explicit form, thus reaching everyone at all levels of caste system and all levels of philosophical intellectuality.
Mythology also played its part in inspiring the craftsmen, who meditated on these symbolic stories of God’s divine perfection and revelations and incorporated these concepts into their marvelous sculptures. It followed then that the art of the dance with its expressive forms of rhythmic movement and dramatic content, as well as the mystic symbolic divine dances representing the various aspects of God, became the subject of some of the most beautiful sculptures.
Few years ago we visited the “Thousand Pillared Temple” in Hanumakonda, Andra Pradesh. We could not believe the unparalleled excellence of the architect. One can literally see in the many pillared halls of the temples throughout India, hundreds of examples of the magnificence of the mental images that sculptors of old must have drawn upon for the many dance sculptures they created. As I thought it will be interesting to substantiate this with some representative examples, I had to read some books on sculptures in India to gather some dates from Indian history.
During the Buddhist period (500 B.C. to about A.D. 6), and in what is called the Classic Age (2nd century A.D. to about the 8th century A.D.), in spite of injunctions against family members studying, performing or encouraging the dance, both the sculptures and frescoes bear witness to the popularity of the art. We find fine examples of dance sculptures at several places such as Bharhut, Amaravati, Aurangabad, Ajanta, Ellora, Khandagiri and Udayagiri rock-cut cave temples. Many sculptures on the pillars show dance figures and the Karanas (dance poses).
My most favorite place of all is the Chidambaram Temple in Chennai. At the age five, this is where my innermost desire to start dancing began. When I saw the majestic and famed Nataraj (King of Dances) temple at Chidambaram, and its impressive sculptures of dance which represent Creation, Preservation, and Destruction, my perceived fantasy turned into passion for life. More of these magnificent sculptures representing this mystic dance can be seen in the Shiva temples all over India. If you missed these places this year, try to visit them during your next trip. They have the ability to connect you to India in ways you cannot imagine.
Recently, I had several opportunities to attend weddings, temple events, Arangetrams (Dance Graduations) etc. It was a pleasure to see the traditional Indian culture come to life. Women were dressed in traditional Saris and other clothing and young women were dressed in fancy Shalwars or Lahangas (skirts). When I saw them take pride in their heritage, it made me think of the unspoken language of our clothing, music, dancing and social history that influences the culture. This unspoken language of culture is prominent in every country and state. Dance, like language, is the means to convey something about the land one comes from. For example, Native Americans convey their beliefs about nature and the animal kingdom through their dances and costumes. On the other hand, Africans who were restricted from reading and writing in the past have sought to tell their stories through music and dance (Oral tradition). Have you seen the way Gujarati women have a small skip as they glide in a circle in a Raas or a Garba dance? You must have noticed the robust manner in which the Punjabi women take over while dancing Gidda!
Now, just take a moment and visualize the way the social and cultural history of a place gives its dance, the language of its movement. The movement of the Manipuri dancer seems like the wisp of a cloud across the mountain. While similar movements of Mohiniattam in the southwest of the country arouse imagery of ocean waves. Odissi gets its inspiration from the architecture of its temples. The body movements of Bharatha Natyam resemble the Gopurams of the Chola temples. This makes dancing very personal and it cannot be separated from its people and their origins.
We know dancing is traditional. We want our children to learn these dances to help them understand and learn our about past. However, these dances speak not only about past, but also present. These dances transcend their creators and the moment of their creation. This means that every dance, no matter how steeped in tradition, always says something about the present. The conscious preservation in whatever form, of the dances of yesterday is proof that we value the past in a way that goes beyond the restoration of old canvasses, statues and manuscripts. The past comes alive in the dances if only because someone alive today must feel the urge, the need, and the duty to dance them, like I do. The fragility of these survivals from the past is a source of concern to many and the continuity is a source of annoyance to many that wish to break with the past and create something new. The dance itself is new as it is being performed today by a person who belongs to the present generation, such as my students.
Like language - dance has power. All societies acknowledge its power and harness it according to their fundamental values, aesthetics, ethnicity and traditions.
As we all know, Indian dances always tell us stories of Indian epics, literature, social life, and human emotions. Of course, all our stories also depict God in human situations and they become the hero and the heroine, which is Nayaka and Nayaki. For example, Radha, the heroine is the lover of Lord Krishna the hero. The literary texts, including the Natya Shastra, recognize eight basic types of Nayaka, the hero and eight types of Nayaki, depending on the nature of the story.
The types of Nayaki are more popular than Nayaka in some dance forms. However, when Lord Shiva or Krishna is depicted, Nayaka’s characteristics become more prevalent. There are two subdivisions in these eight types.
One is the types of Nayaka based on nature. They are:
• Dhirodatta: of noble nature, a King, a minister or a general;
• Dhiralalita: affectionate, royal;
• Dhiroddhatta: arrogant, godly, Indra; and
• Dhiraprasanta: calm, Brahmin.
The four types of Nayaka based on their behavior in love are:
• Anukula: the devoted, faithful husband like Lord Shiva;
• Daksina: courteous, treats equally all women;
• Dhrsta: bold, shameless, indifferent when caught red-handed with other women;
• Satha: rogue, loves more than one woman but pretends otherwise like Lord Krishna.
In Bharatha Natyam, Kuchipudi and Kathak dances like Varnams, Javalis and Tumris speak of such characteristics in men the heroine loves.
Likewise, the eight Nayakis or heroines are:
• Abhisarika: yearning for her lover, goes out to meet him, For Example, Radha;
• Kalahantarita: separated due to a quarrel, like Satya Bhama;
• Khandita: broken hearted;
• Prositapriya: whose lover or husband lives abroad;
• Svadhinabhartrka: whose husband is charmed of her and stays with her;
• Vassakasajja: dressed up for union, used a lot in Kathak;
• Vipralabda: the deceived;
• Virohitkhantita: distressed by separation.
And the sakhi or friend helps to unite them. Generally she is an associate of the Nayaki, although she can also side with the Nayaka. Her role is confined to being a link, a liaison or a person to bridge the gap of communication between the hero and the heroine.
I know all these names and their characteristics are hard to memorize, however, it is good to understand the importance of these roles and the pre-defined regulations of Natya Shastra when we choreograph dances. Accordingly, we can actually try to live the character we play and feel the emotions and the pain and the joy of the characters we depict.
A few years ago, I choreographed the well-received Bharatha Natyam dance sequences to blend into Georges Bizet’s rarely staged opera, “The Pearl Fishers.” This 18th century French composer was obviously enchanted by India and wrote this exotic work, set on the island of Ceylon, now known as Sri Lanka. This of course was a great challenge as the music is in French and the beats are different. I had to invoke my deep senses for an authentic choreography. I did not want to dilute the spirituality and authenticity of Bharatha Natyam in the process and sacrifice its purity to today’s modernity. I wanted my students to take pride as Indian classical dancers in an Opera Theatre.
We do not know of any dancers who had ever choreographed Bharatha Natyam to French Opera Music. Our director of Opera, Becky Cook-Carter says that “this is the first.” It was such a great experience to watch 40 actors and singers, all non-Indians, dressed in traditional Indian clothes, singing the glory of Lord Brahma, (The Creator), in French. That is when I have realized that we can and must keep our tradition alive and still can incorporate it into a totally different art form. I made no compromises in dressing, movements and the story telling aspects of this unblemished dance form. Especially, as Bharatha Natyam has many vehicles of expression, such as the hastas/hand gestures, rhythm, facial expressions, beautiful costumes, that could be incorporated to tell our stories using any music.
Recently, many traditional dancers like myself and great dance Historians and critics like Dr. Sunil Kothari, Rustom Bharucha, and Avanti Meduri are concerned about the origins of dance and the issue of “invented tradition.” This challenge is magnified by the Diaspora of Indian dancers who have migrated and settled in different parts of the world.
During the times when Bollywood is becoming a major symbol of being an Indian for younger generation, obviously through these traditional dances, many parents are seeking ways to add to the identity development of their second-generation Indian American children. It also places additional burden on us as dance teachers to maintain the integrity of these dance forms. I see this as a spiritual struggle, in hopes of passing on the Indian culture to the future generations. As Dr. Kothari states “The values of these spiritual struggles are, of course, important, in so far as there can be no art without a living, burning faith in the philosophy of life behind it.”
We all know that modernity and Bollywood do not come with ethical theory and instructions on how to manage your life. We as individuals have to make choices that are right for us and for the future of our community and culture and set boundaries on how far one would go in the name of modernity and at what cost? The overall benefits of society should be considered to support and nurture the traditional values such as family, ethics, arts and crafts, and cultural practices.
As a product of globalization, I believe that the benefits of modernity do not cancel out the harm. They exist, and have to exist, side by side. Anything becomes bad when done in excess, whether it is eating, exercising or compulsively trying to change things to adopt one global culture. It would be absurd to try to stop this clash between spirituality and modernity, but if we navigate skillfully, and balance our values, we can continue to keep our traditions and values alive.
Those of you who come to our stage production of Dances of India are very familiar with our signature dance called “Unity in
Diversity.” I created this theme ten years ago and now many other teachers and performers also have started to follow the theme. I just realized, however, that it is not just combining international dance forms that can represent this theme. How about diverse countries like India that can show case this theme within its own culture?
In my view, the unity in diversity of a country can be seen through all the dance forms of that country such as classical,
folk, religious, social, and tribal dance forms. For instance, the theme of Lord Shiva and Goddess Parvathi is depicted in almost every dance form. How about Lord Krishna and Radha stories depicted through folk and classical dance forms?
The human being used dancing as a means of propitiating the gods and to depict sheer exuberance, sorrow, and emotional
relief. Even the festivals of nature such as harvest dances, and the dances of the tribes thank these Gods and Goddesses through their dances and tell the stories of our epics and mythology.
Among all, folk and tribal dance forms have a marvelous unity, conditioned as they are by certain elements. Almost all the
folk and tribal dances are performed forming some kind of a circle to represent unity and its continuity among men, women, children and of course, human beings overall. These dances are usually a series of rhythmic group movements, the rhythm itself suggesting the movement, the tempo and the nature of each dance.
Every tribe has dance as their main recreation, and some of the most fascinating are those of the aboriginals or adivasis of
India. Many of their dances are dances of the women and war-dances. Gentle or fierce in expression it is a gathering together of the community with linked arms in circular movements and stately steps, showing the dependence of one human being to another.
I have been such a “global thinker”; it humbles me to think about the unity that existed for centuries within the countries like India, using dances as a medium of such universal thinking.
The trance dance of Maibi of Manipur, connected to Lai Haroba festival, is not only very graceful but also aesthetically pleasing. Maibis are a class of priestesses. Any woman cannot be a Maibi unless she shows definite signs of being spiritually predisposed. She may show the signs of spiritual predisposition at a tender age or when she is an adult. She is then selected to be a Maibi and will lead rest of her life in the way prescribed for Maibi to serve God, as Devadasis.
The Maibi dance begins from the kneeling position. Very slowly, she rises holding the knees always close. She holds both her hands near the navel with both thumbs and forefingers touching each other. Between the forefinger and middle finger, she holds a leaf of a sacred plant. The dance movements are all slow, controlled, and lyrical. The Maibi is in trance, right from the beginning of the dance. Slowly rising while moving like a spiral when she comes to the vertical position, with controlled and elegant stepping she moves like the figure of eight, this symbolizes the Nagamandala. Although it is a dance in trance, the aesthetic quality is no less than any classical dancing.
I only had the pleasure of reading about this particular ritual dance. However, there are similar dances in the state of Andhra Pradesh. Women, who dedicate their lives to listen to the spiritual voice of God, perform these dances. They reflect an enormous amount of energy, while being in trance. I compare this to any real performers who are totally engrossed in their art and forget the aches and pains of their bodies. It becomes a therapy in itself.
These trance or ritual dances are a cross cultural phenomenon, a testament to its power and authenticity. Different religions have different practices to invoke the spirit or the inner consciousness. Many experience a new life, or a revelation of some kind that empower them with courage and compassion, as well as reveal insights into the future. Trance dance, an ancient ritual practice, is a healing vehicle through which people can communicate with their Spirit.
I have written articles describing “Dance as a prayer in motion.” I experience this each time I dance as a unique way to connect with my inner spirit.
Kathakali
This South Indian classical dance style is often confused with the name Kathak, a North Indian dance style.
Kathakali is a Classical Dance-Drama of Kerala in South India that dates from the 17th century and is rooted in Hindu Mythology.
Kathakali actually means, “Story-Play”, and it has been a highly specialized dance style for ages. This dance style has been considerably influenced by the old Sanskrit dramas of Kerala called Kudiyattam, and also Krishna Atam or the dramatic stories of Lord Krishna. The themes of these compositions were based on the stories of the Puranas with their beauty of parables and moral lessons.
When I was little, I saw Mahabharatham being staged by some great Kathakali dancers. First, I was a little scared by the facial makeup and the elaborate costumes and dance movements. I do not remember how that fear transformed into fascination. The movements were very powerful and hypnotic.
Kathakali is a harmonious combination of five forms of art:
1. Literature (Sahithyam)
2. Music (Sangeetham)
3. Painting (Chithram)
4. Acting (Natyam)
5. Dance (Nrithyam)
All the five forms of art have a very important place in this dance style. Its literature is poetic and dramatic. Like Bharatha Natyam and Kuchipudi, Kathakali dance style also composes its music using the Carnatic or Southern school of classical music.
Unlike other dance forms, the make-up used in Kathakali is a highly developed art, involving great skill in the application of the paints. I actually saw the dancers lay down on the floor to get their make up done, as it takes quite a few hours to complete the face painting. Meticulous care is taken to see that each mask is perfectly applied on the face, with each color in its right place, to enhance the dramatic effect of the dance performance. This aids in doing the exaggerated and wonderful facial expressions. Each particular facemask represents a different type of character.
To act, the use of the eyes and eyebrows is far more evolved and involved than in Bharatha Natyam or Kathak or any other school of the classical dance. Eyes and eyebrows are constantly used to aid the process of communication in the most effective manner with great intensity.
During the drama the dancers do not speak, but they used varied hand movements known as ‘Mudras’ and mime to constitute a complete sign language. The movements are explosive, accompanied by a nonstop drumming that begins before the performance and lasts throughout the whole dance-drama.
This is Kerala’s rich contribution to the Indian classical dances, drama and art. You may be able to check out some mythological or classical Malayalam movies to watch this unique dance form.
As we all know Indians love music and dance, starting from classical to folk, and Hollywood to Bollywood. One thing that is common in all these songs or dances is the presence of drums. An overwhelming majority of Indian dances are accompanied with drum music. Generally the drummer provides the percussion accompaniment with dances.
There are quite a few dances in which the dancer plays the drum while dancing. Such dances come under the category of “Drum Dances.” I wanted to introduce some of the drum dances and we will perform a dance showing the use of drums during the stage production of “Dances of India” on April 24, 2010 at Halton Theater, CPCC in Charlotte beginning at 4 pm.
One of the finest examples of drum dance is the fascinating Pung Cholam of Manipur. It is a highly sophisticated dance with all the elements of classical dances. Pung is a drum with two faces, almost like the Mridangam drum from Southern India. One face of the drum is much smaller than the other, usually played with the right hand. The drum is slung from the neck of the drummer for playing with both the hands. Most of the drums that are larger and two faced are usually slung from the dancers’ neck, which allows them to dance. Pung Cholam is performed as a solo dance as well as a group dance.
Sometimes, during more coordinated performances, about a hundred drummers perform the dance all wearing spotlessly white dhoti and white turban. It is then a treat for the eyes, ears, and mind. The aesthetic appeal is so over-powering that it becomes an experience for the life time. While playing intricate rhythmic passages on the drums, the drummers not only dance gracefully and vigorously, but also swing the drum in incredible ways, all while playing. There are also acrobatic elements in the dance.
Actually, Cholam is a generic name of percussion dances prevalent in Manipur. Cholams performed by men are vigorous having acrobatic elements. Those performed by women are delicate and lyrical. The style of dance changes as the percussion instrument changes.
Men perform two other drum dances with Dhol and Daph, a frame drum. Men also perform Kartaal Cholam. Kartaal is a pair of large cymbals. The Cholams performed by women are not with the drums, but with idiophones like clappers with small cymbals. Among all the Cholams, the Pung Cholam is the best.
Come and enjoy the drum dance and the live percussion during our stage production on Dances of India. We look forward to seeing you there.
Mark your calendars to attend my “Dances of India” performance at 4 pm on April 24, 2010 at the CPCC’s Halton Theater in Charlotte. For details on the event visit www.saathee.com and the events section.
There are single hand gestures known as Asamyuta Hastas and combined hand gestures using both hands known as Samyuta Hastas. Here the fingers are formed to create the required position, while using the subtle movements of wrists and arms. According to great treatises like the Natya Sastra and the Abhinaya Darpana, there are about thirty one single hand gestures and twenty seven combined hand gestures. This may vary as people practice from generation to generation.
As words can be combined to change a meaning, hand gestures can be combined to change the representation of a character. Sometimes in spoken language, what is important is not what you said but how you said it. In the same way in dancing, same gesture can be used in different ways with a specific emotion or an expression that can give a new direction to your meaning.
When I was teaching yoga, I also used these hand gestures to reduce arthritis of hands in many students. It is a beautiful way to work your fingers to create a new speech with your hands. These hand gestures create the speech of dances and become a vehicle to communicate and express dancer’s emotions. Each dance style has used these basic hand gestures in a particular mode and built up their own variations of Hastas.
Folk dances always have a marvelous way of lifting our spirits with their rhythms and brilliant costumes. These dances are usually performed in groups to showcase the social nature of such dance forms. There are many differences between classical and folk dance styles. Classical dances tend to be subject to a defined order, pre-set form, specific hand gestures, and explicit footwork. These dances have to follow the rules and regulations established by the Natya Shastra tradition. On the other hand, folk dances are very spontaneous, less orderly, and allow much more flexibility in choreography.
Displaying no inclination towards a rigid form, the whole depiction of folk art is guided more by the subject of the songs that glorify nature and its seasons, or express traditional occupations or in praise of deities. This untutored quality is very refreshing and charming. In folk dances we find the true urge of the people in general that has come down through the ages by way of actual performance and remembrance of song and motif. Its survival was unsupported by the written word, and was stabilized because of its tremendous sociological impact and basis. Through these arts, different customs and traditions have been established. People were brought together to celebrate life in its many forms.
With national consciousness of the arts growing from day to day, many of these beautiful expressive dances are coming to urban and international audiences and being received with enthusiasm and success they deserve. Now they are taking their place along with the classical dances in the furtherance of our cultural heritage. There is more demand for precise movements, coordination among dancers, formations, costume color combinations, exotic jewelry, music with heavy drumming and other percussions etc.
I am not sure if we are just taking these folk dances to another level or if we are losing the freedom these dances provide to enjoy and participate without any formal training. It is wonderful, however, to see certain dance forms like Garba, Bonalu, and Bhangra are still a large part of our social interaction among all ages.
If you want to see any of the folk dances, including, Gypsy dance, Koya dance, Peacock dance, snake dance, Bhangra, Raas etc., check out Nazar Television on Sundays. I will be bringing you examples of these dances and its influence on Bollywood.
I usually have a very busy schedule between family, job, dance classes, community work, regular cooking and cleaning and so on. Holidays make us even busier than usual. Many of you probably can relate to this schedule issue. As most of you know, when we have negative stress, or when we sit in one place for extended periods of time, whether it is at work, at home or in a meeting, we all experience the same side effects such as tight shoulders, stiff neck, and tight back.
Without yoga I would not be able to maintain my sanity and good health. I taught yoga for several years and enjoyed every bit of it. Due to my busy lifestyle, I had to let go of teaching yoga. However, I still practice yoga, when my body and mind call for it. This inspired me to write about the influence of dance on different aspects of life, including yoga.
I read that Patanjali’s Yoga Sutra was inspired by an encounter with Lord Nataraja (The founder of Dances). If that is true, I can easily see the connection. Yoga means union. Yoga and dance both begin with union of the body and mind. Both are approached in sequence through logical steps. Both are universal sciences, suited to all students who seek self realization.
We begin dance with Namaste (Salutation) just like (Surya Namaskar) sun salutations in Yoga. Using the Anjali or prayer hand gesture, we touch our forehead which represents the Ajna Chakra in Yoga, and then we bring our hands down to our chest which represents Anahata Chakra. Even the hand gesture (mudra) for meditation is Arala in both yoga and dance. When I was teaching yoga, I taught these dance hand gestures (Hasthas) to people suffering with arthritis. I also taught the Vrikshasana, the tree pose (Standing on one foot), among others, with dance movements to find both inner and outer balance. Many of the advanced poses in dance require flexibility of body and a systematic way to control the body movements. Out of 108 poses (Karanas), very few can be performed without training in yoga for flexibility.
Even the word Hatha Yoga would mean the balance of Ha (Sun) and Tha (Moon) that are part of our dance ornaments that we place as part of our head dress. Dancers need to balance these two forms representing masculine and feminine energies. We need to have the strength in our foot steps while depicting the graceful movements with our hands.
This leads me into something I read in the newspaper while I was in India. Dance is now being used as a therapeutic tool for children with disabilities. Through dance they are providing the structure for developing body sense and to learn to express the nine emotions (Nava Rasas) such as disgust, anger, wonder, fear, valor, love, compassion, laughter, and peace. Every child responds to music and dance naturally. This method and approach is beneficial in raising their interest level for participation.
I know personally that dancing has influenced all aspects of my life. B.K.S. Iyengar, the famous Yoga teacher has once said that “the body is my temple and asanas are my prayers.” Very true! I can easily say the same about dance, “the body is my temple and dance is my prayer.” This meditation in motion is a gift given to our culture and many other cultures around the world. Neither the yogi nor the dancer is distracted by the world around them. Both have the power of quieting the turmoil of chitta and bringing us closer to moksha (salvation).
For example, Chawnglaizuan is a ceremonial dance dedicated to funerals. It is performed by Pawi tribal community when the chief of the village dies. Chawnglaizuan literally means dance and jump for glory. I have always said, dance is a prayer in motion. I see this as a way of processing the death and learning to thank God for the role they played in our lives before their death.
The Pawi tribe regards the day of birth and the day of death as two most important days of one’s life. Several men and women come together to dance, accompanied by five musicians playing different sizes of gongs and drums.
We also have the Solakia dance which is prevalent in Mizoram. This is one of the seven Northeastern states of India, bordered by Myanmar (formerly known as Burma) to the east and south, Bangladesh to the west, and by the states of Manipur, Assam, and Tripura to the north. In the local language Mizo, Mizoram means Land of the Highlanders.
This dance name is self descriptive. “So” means unnatural death, “La” means dance and “Kia” means knowledge. The vocal music that accompanies this dance is closer to chanting than singing. Both men and women participate in these dances. I could not help but think about death after the recent Fort Hood disaster. So many lives lost.
But, Indian culture and traditions have supported all aspects of our lives through dance and music. This thousands-years-old tradition of dancing works as an emotional outlet, physically, spiritually and philosophically.
I have written about ritual dances before. However, this differs in its content as it specifies the ritual dances in Kuchipudi dance style only, which is a South Indian classical dance form from the state of Andhra Pradesh. These traditional dances were revived by my late guru C.R. Acharyulu. Popular ritual dances include Simhanandini, Mayurakautham and Vinayaka Kauthvam. These complicated dances are performed very rarely. It is absolutely fascinating to see these dances on stage. The dancers do not have room for making any errors in their footwork. I will briefly explain each of these ritual dances.
Simhanandini: Simhanandini is the dance of Parashakthi or the supreme power represented in the form of a woman. This item is generally performed before starting the procession of the large vehicle called Rath, during the car festival (Rathosthavam) at the temples. Initially the dancers describe the greatness of Parashakthi and pray for her compassion upon all as Mother Goddess and then they depict the destruction of the cruel demon Mahishasura. Finally, the dancer paints the picture of a lion on the rangoly powder (colorful powders) by her dancing feet followed by Simhanandini tal (beat). This beat is ancient and very difficult. The jathi (technique) contains 128 matras, including six types of rhythmic modes.
Mayura Kautham: This is another picture painting dance item. It contains 32 matras of Malika moda beat. This was mostly performed during the time of Kritttika Deepotsavam. In this, the dancer paints a peacock with her dancing feet.
Navasandhi: This ritual dance was also performed during the festival celebrations to identify the nine corners of the universe. All the Andhra Bhagavathars were Brahmins. After oblation to God, the chariot of Lord moves to four main streets where the devdasis (servants of God) dance and sing in praise of God.
After the abolition of the Devdasi system at temples in 1939, dancers worked diligently to keep the dance dramas alive. Many groups ended splitting and became solo dancers. People like us who are settled outside India are playing an important role in bringing these dance dramas back to life. Due to the attractiveness of these dance dramas vs. solo dances, more and more dance dramas are being choreographed. It still leaves a lot of room for these ritual dances. I hope these dances will be learned by the younger artists, before the tradition dies.
In the last few decades we have seen many transformations of the dance scene in India. The almost frantic period of the late 50’s and early 60’s saw the “new discoveries,” a revival of the nearly forgotten Mohiniyattam of Kerala, and Odissi, both of which are solo female dance forms. Then Sattriya of Assam State and Kuchipudi Bhagavata Mela Natakam of Andhra Pradesh, both dance drama forms performed by male ensembles, became source material for solo excerpts by young female artists who competed the major urban areas for national acclaim.
When I visited India in early 1990’s, I realized that a grand coup was to compose a “dance ballet” in one of these styles. The highest mark of achievement was to be chosen to take these choreographic creations or recreations abroad as part of cultural delegations.
In a few instances attempts were made to depart from the universal Indian themes derived from the epics and puranas, and to adapt unusual thematic material. Dramatic themes were drawn from Christian, Persian, Buddhist, Western sources, or from the Vedas. The “new” plots were sometimes interpreted in terms of an established traditional technique or more daringly in a combination of traditional techniques.
Occasionally the choreographer sought for a new contemporary concept of movement expression, these last rare and atypical experiments coming close to the internationalized dance format of what we would recognize as Euro-American modern dance.
At the hands of Martha Graham or an Uday Shankar, the artistic maturity of East and West learning successfully from each other is self-evident. There is undoubtedly going to be a continuing, perhaps increasing, fascination with the possibilities of “East-West fusion”; experiments in dance have been taking place, and also in dramatic theatre pieces. Some East-West experiments have drawn upon the traditional Indian concept of theatre, resulting in plays in which the spoken word, dance movement, music and visual representation are integrated. In the large context, we find East–West design in architecture, high fashion, landscape, crafts, etc.
A growing intellectual maturity will have to guide these movements. This is crucial, or they will soon subside, after exhausting themselves in frantic self-exploitation to no avail, as mere idle entertainment or novelty. Rather, this movement must continue to enlarge our spheres of understanding and aesthetic experience, moving us toward a greater maturity and appreciation of the plurality and meaning of the worlds many cultures on their own terms.
Chhau Dance
The Chhauni Nritya was a military dance performed by the Oriyan fighters of Orissa. Three styles of Chhau dance exist, originating from the three different regions of Seraikela (Bihar), Purulia (West Bengal), and Mayurbhanj (Orissa). Martial movements, strong rhythmic statements and dynamic use of space are characteristic of Chhau. This dance is an expression of a mood, state or condition and is based on the martial arts tradition of pharikanda, which means shield and sword. The dancers wear elaborate masks and costumes and depict stories from mythology, history, regional folklore, romance and nature. Martial movements, strong rhythmic folk tunes and beautifully crafted masks with elaborate headdresses are characteristic of Chhau.
Seraikela Chhau from Bihar flourished under royal patronage. The dance of Nataraja, the hunter’s dance and the dance of Siva-Parvathi and few other dances are very vigorous and thus make it more suitable for only men to perform. The royal princes were not only its patrons but also dancers, teachers and mask-making experts. The Seraikela masks are similar to those used in the Noh dance of Japan and the Wayang Wong of Java.
Purulia Chhau from West Bengal uses masks which is a highly developed craft in the region. The barren land with its tribal inhabitants, multi-layered influences of Vedic literature, Hinduism and martial folklore have all combined to shape the Purulia Chhau dances which has only one message– “the triumph of good over evil.” The masks are usually made by the dancers themselves and are crafted from clay. The dance is an excellent culmination of enormous vitality and masculinity. As it is difficult to dance for very long with a mask, the dance does not last more than 7-10 minutes.
Mayurbhanj Chhau has highly developed movements, no masks and a more chiseled vocabulary than the other two styles. This dance also thrived under royal patronage and is considered a link between the earthy Indian dance movements and the flying, springing elevations of other two styles. Unlike other Indian classical dance forms, vocal music in Chhau hardly exists. Instrumental music and a variety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment.
Chhau dance is full of vitality and robustness, unlike most of the Indian dance forms. The entire body and entire being of the dancer is employed as a single unit, as his language. This body language is extremely poetic and powerful. The legs form an effective means of communicating the expression. In recent times, Mayurbhanj Chhau has become popular at both national and international platform as a medium of choreography, with its wide range of postures and movements that adapt well to modern as well as traditional treatment.
BIHU – A Harvest Dance
Out of the three Bihu festivals, Bahag Bihu is the most colorful and lively festival, which is held from the first day of the lunar month of Vaisakh. This is the day of the vernal equinox (occurring in the spring) and the Indian New Year’s Day. In fact the festival continues for four days to a month. The Bahag Bihu is celebrated in four stages of development. The first is known as Goru (cattle) Bihu. It may last few days. In Goru Bihu, the cattle are treated with oil bath and special food. They celebrate the evening with dance and music. The next is Manuh (human beings) Bihu in which after the ceremonial bath people wear new clothes. Boys and girls dance to the Bihu love songs. The songs are quite tuneful and are accompanied by Dhol (drum), Pepa (buffalo horn pipe), and Toka, which is a hand clapper made of bamboo.
The next is Gosain Bihu in which people gather in the shrine called Namghar. There all pray to God first and then the musicians and dancers perform. The Bihu festival is concluded with Bihu Urva, which means sending away the Bihu. This is done at a lonely paddy field or forest where the villagers go with all the ritual materials used during the three phases. A ritual is performed to bid farewell to Bihu.
The Kankali Bihu is held in the lunar month of Kartik corresponding to September/October. This month in colloquial Assamese is called Kati. Therefore, the festival is also called Kati Bihu. At this time of the year paddy seedlings are trans-planted. The festival is held for proper growth of the transplanted seedlings. It is observed with solemnity. Rituals are performed and prayers are sung. Usually dance is not performed during this Bihu.
The Bhogali Bihu, also called Magh Bihu since it is held in the lunar month of Magha, corresponding to December/January, is again a festival of gaiety and jubilation. By the time the festival is held, the harvesting is almost over or at the last phase. Houses are full of harvested grains. This is the time for the villagers to celebrate. Therefore, the dances performed during the Bhogali Bihu are more vigorous and faster in tempo than the dances performed during the Bahag Bihu. India has such a variety of dances and celebrations that it would take a lifetime to explore the diversity of this culture.
Many dance graduations occur during the summer. It is also time for the parents to get nervous about their children going away to college, while preparing to do their Arangetram. Even though many students pretend like they are not nervous, many of them are for many good reasons. They are being challenged to perform in front of family and friends; there are many expectations placed on them by family, friends and last but not least their own selves. Some students get excited because they feel they are ready. Some feel stressed as they are not sure if they are ready.
In spite of all these emotions, the bottom line is the commitment of both parents and students for over seven to eight years to come to this stage of Arangetram. You cannot reach this stage without the student’s hard work, and a commitment to attend classes regularly and learn the dances. I think this is the appropriate time to give you some background on how this concept of Arangetram got started according to Hindu religion.
It was only after seven to eight years of training that the dancer gave her first performance, which was called as it is today, the “Arangetram.” On this occasion the dancer was presented with a bamboo stick, this gave her the title of “Thalaikol.”
There is a charming story about the origin of the “Thalaikol.” Urvashi, a beautiful angel was dancing in Indra’s court. She saw Jayanta, the sun of Indra, and was enchanted by his beauty. This attraction made her stop dancing for a moment. The interruption rouses the anger of Sage Agatsya, who was watching the performance. He cursed Urvashi to be born as a dancing girl (Devar Kannigai) on earth and Jayanta in Vindhya Mountains. However, when they both begged for forgiveness, the sage said that the curse would seize when Urvashi had her Arangetram and then she must be presented with the “Thalaikol,” which was Jayanta himself.
Madhavi, the dancing heroin in the “Seelapadikaram” is a descendant of Urvashi, the divine dancer, and her first performance is described in detail. The “Thalaikol” was first bathed in the scared waters and then taken in a procession through the city to the dance hall in the temple car. Madhavi was presented after her Arangetram with a green leaf garland and one thousand and eight Kalanjus of gold (dear students, please do not expect this!). It was customary to present “Thalaikol” to the dancers who exhibited their talents for the first time.
Dancers would study in a small room in the Nattuvanar’s (Guru’s) house. The floor was made of mud, which is still the best surface for dancing. Children would begin their regular training when they were about seven years old, although they had already been watching the classes for sometime. In the beginning, a ceremony called Thandiam Pidital, literally meaning, “holding the stick” was performed.
The young people were initiated into dancing by holding the stick. On this day, as on all celebrations, presents are offered to the guru/teacher as a “Guru Dakshana” to seek blessings.
In the modern world, Arangetram is like achieving a milestone in Bharatha Natyam, Kuchipudi or other classical dances. Sometimes, we take many aspects of our lives for granted. Completing Arangetram is a great challenge. Majority of dancers hope to complete this goal. Very few are fortunate and determined enough to achieve it. Those of you who aspire to complete their Arangetram in the near future, I wish you good luck. I congratulate those who have already completed their Arangetrams. It shows your dedication to classical dances.
Main Characters in Dances
Dhiralalita: affectionate, royal;
Dhiroddhatta: arrogant, godly, Indra; and
Dhiraprasanta: calm, Brahmin.
Daksina: courteous, treats equally all women;
Dhrsta: bold, shameless, indifferent when caught red-handed with other women;
Satha: rogue, loves more than one woman but pretends otherwise like Lord Krishna.
Kalahantarita: separated due to a quarrel, like Satya Bhama;
Khandita: broken hearted;
Prositapriya: whose lover or husband lives abroad;
Svadhinabhartrka: whose husband is charmed of her and stays with her;
Vassakasajja: dressed up for union, used a lot in Kathak;
Vipralabda: the deceived;
Virohitkhantita: distressed by separation.
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