Dances of India
By Dr. Maha Gingrich 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.
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.
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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