What are classical dances?
Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra form the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava, etc).
There are Nine Classical Dances as recognized by the Ministry of Culture, Government of India. Let’s have a look at these classical dances one by one.
A dance that encompasses Bhav, Rag, Ras, and Taal is ‘Bharatanatyam’. Also called ‘Sadir’, it was conventionally performed by Devadasis (girls offered to God in the temple) in Hindu Temples of South India. Thus, also known as ‘Dasiattam’. Developed in the Tanjore and other regions of South India prominently Tamil Nadu, this could possibly be the Oldest Classical Dance form of India (around 2000 years old). It follows the convention of Natya Shastra in true spirit. Abhinaya Darpan and Sangeet Ratnakar guide the technique and grammar of body movements.
Classical Dances of India: Everything you need to know about
India is known for its rich cultural legacy. Performing arts like classical dances are integral parts of Indian culture. This is a mega-post that covers the details of all classical dances in India.
Origin of classical dances
Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are the same. The roots can be traced from the Sanskrit text ‘Natya Shastra’. The first compilation of Natya Shastra is dated between 200BCE and 200CE.
As time passed, artists improvised many classical dances which resulted in the present-day forms. Today, Indian classical dances are very popular dance all over the world.
Rasanubhuti: The 8 Rasas
The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas. They are as following:
Shringar: Love
Hasya: Humorous
Karuna: Sorrow
Raudra: Anger
Veer: Heroism
Bhayanak: Fear
Bibhats: Disgust
Adbhoot: Wonder
Note: Later Abhinav Gupta added a ninth one to it, Shanta: Peace.
What are classical dances?
Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra forms the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava etc).
There are Nine Classical Dances as recognized by Ministry of Culture, Government of India. Let’s have a look at these classical dances – one by one.
Bharatnatyam
A dance that encompasses Bhav, Rag, Ras and Taal is ‘Bharatanatyam’. Also called as ‘Sadir’, it was conventionally performed by Devadasis (girls offered to God in the temple) in Hindu Temples of South India. Thus, also known as ‘Dasiattam’. Developed in the Tanjore and other regions of South India prominently Tamil Nadu, this could possibly be the Oldest Classical Dance form of India (around 2000 years old). It follows the convention of Natya Shastra in true spirit. Abhinaya Darpan and Sangeet Ratnakar guide the technique and grammar of body movements.
The word meaning of Bharatnatyam
Bha: Bhava which means emotions
Ra: Rag meaning musical notes.
Ta: Taal meaning the Rhythm.
Natyam: The Sanskrit word for Drama.
The evidence of Bharatanatyam
Silappatikaram (where its existence was mentioned in this ancient Tamil epic).
Brihaddeshwara temple was a major center for Bharatnatyam since 1000CE.
The Gopurams of Chidambaram display the poses of Bharatnatyam, chaaris, and Karanas that are carved in the stones.
The makeup used for Bharatanatyam
Immense and charismatic makeup (hair as a single bun is tied just before the plaits).
The eye-catching costume (bright colored Sari- today the costume comes in 7 pieces that are worn simply, for men – dhoti).
Glowing ornaments.
The repertoire of Bharatanatyam
Alarippu – Invocation
Jatiswaram – Nritta part
Shabnam – Short compositions with word
Varnam – a story, that includes both Nritta and Nritya
Padam – Religious prayer, Bhajan, Keertanam.
Thillana – Origin in the Tarana of Hindustani Music
Ends with Mangalam.
The music and instruments used for the Bharatanatyam
Carnatic Style, Vocalists Called Nattuvanar (normally Guru).
Verses are usually in Tamil, Telugu, Kannada, and Sanskrit.
Mridangam, Nadaswaram, Nattuvangam, Flute, Violin veena, etc.
The revival of Bharatanatyam from ancient to modern-day platform
Rukmini Devi Arundale created a Renaissance. Before her, this art was almost dead. She raised this art form to a Puritan form.
Also, T.Balasaraswati ‘s efforts helped to uplift this art form to the form known today.
Rukmini Devi founded the Kalakshetra in Adyar and thus gave new hope to the promotion of this Dance form.
The famous Bharatanatyam dancers are Yamini Krishnamurthy, Meenakshi Sundaram Pillai, Saroja Vaidyanathan, Janaki Rangarajan Etc.
Kathak
The graceful dance of North India origin ‘Kathaa’ ‘Kahe’ so ‘Kathak’ ‘Kahave’, the one who tells stories is Kathakaar or Kathak. Also known as ‘Natwari Nrutya’. Kathak is one of the most charming dance forms of India. The themes of Kathak revolve around Stories of Ramayan, Mahabharat, and Krishna. Apart from this, Kathak encompasses presentations on manifold subjects. Raslila of Braj is quite akin to Kathak. A Solo Dance form but group compositions on themes with perfect synchronization steals the heart.
The specialties of Kathak
Kathak is world famous for its spectacular footwork, amazing spins, Nazakat and Padhant (Chanting of bols, toda, tukdas by dancer himself and then performing). This is the distinctive feature of Kathak.
It creates a nexus between the dancer and audience.
The body movements are quite straight as compared to Bend movements of South Indian Dances.
The heavy ghunghroos are worn by the Dancers – 100/200/250 on one leg.
There is a wide variety of sounds are hidden in these ghunghroos like running train, heavy rains, Sound of Horse riding,( Ghode ki chaal) and much more. This adds more beauty to the performance.
The four main Gharanas, or schools of kathak dance
These are the Jaipur, Lucknow, Raigarh and the Benares gharanas.
These schools are named according to the geographical area in which they developed.
Each has a slight difference in interpretation and repertoire and can be recognized from their presentations.
The Sequence of Kathak dance
Starts with Vandana ( Worshipping God).
Uthaan.
That.
Aamad (sequence of That Aamad Uthaan may be different in different gharanas).
Salaami.
Toda Tukdas.
Tihai.
Paran.
Gatnikas.
Gatbhaav (Story)
Ladi-Tatkaar(Footwork)
End with a Bhajan, Thumri, Tarana or Ashtapadi, Kajri, Chaiti, Chaturang etc.
The costume, makeup, and ornaments used for Kathak
Traditionally, Sari, Ghagra-Choli, Chudidar Frock Jacket, Dupatta for women and men can wear Chudidar Kurta and Dupatta tied at the waist.
This dance-drama may have costumes as per the character.
Makeup is not much heavy but is quite sharp and Fine to reflect the expressions. A bun or long plaits with garland looks beautiful.
Mostly white yellow pearl ornaments are used.
The music and instruments used for Kathak dance form
Hindustani Music: Lyrics may be in Hindi, Brij, Sanskrit or any other regional language.
Instruments like Pakhawaj, Tabla, Sarangi, Sitar, Harmonium, Flute, Sarod, etc. are used.
The revival of Kathak dance forms
The value of this dance form diminished during the Moghul period but still, there were certain good technical changes like inclusion of Thumri in Kathak.
The period of Nawab Wajidali Shah was a golden age for Kathak. He himself was a great artist and extensively promoted Kathak.
The King of Raigarh Raja Chakradhar Singh who himself was a Kathak dancer gave birth to Raigarh Gharana of Kathak greatest contribution to Kathak.
Achhan Maharaj, Shambhu Maharaj, Gopi Krishna, Pandit Birju Maharaj, Pandit Rajendra Ganagani ji, Sitara Devi, Rohini Bhate, Maya Rao, Mandvi Singh, Shama Bhate, Shovana Narayana and many more artists gave their priceless contribution in Kathak .
Kathak Kendra Delhi, a constituent Body of Sangeet Natak Akademi and many other governments and private institutes all over the world strive hard continuously for the training and promotion of Kathak.
Odissi
The long established dance form in the serene surroundings of Shri Jagannath Temple in Odisha is famous as ‘Odissi’. It has its mentioned in the oldest Sanskrit Text Natya Shastra as Audramagdhi. In ancient days this dance form filled with Bhakti ras was a part of worship to God at Jagannath temples. Thus we find many sculptures in dance positions inside the temple.
It has a combination of Lasya and Tandav. Graceful and mesmerizing, it appears like waves of the ocean. Odissi is famous for its presentations on poet Jayadev’s fabulous work.
Two styles of traditional Odissi
Maharis (Devadasis or Temple Girls).
Gotipua ( Performed by Boys).
The sequence
Managalacharan (Worshipping Lord Jagannath or other gods, goddesses).
This will be followed by Pushpanjali (Offering of flowers) and salutation to mother earth. This also includes Trikhandi Pranam- Devas, Gurus, and Rasikas.
The next comes the Batu Nrutya Fast dance pure dance which we call it as Nritta which is then followed by Nritya which include, Abhinay Expressions on some devotional poems or songs.
The verses may be in Sanskrit or Odia language. Ashtapadis Dashavtar, Ardhanari etc. Are quite famous.
Then comes the Dance Drama in sequence. The themes generally relate to the Hindu gods and goddesses. Modern day expressive theme presentations go beyond the horizon.
The costumes used for the Odissi dance forms
It is made up of traditional material (Dhoti for men- Sari for women) from Odisha. Today fully stitched costume is available.
A crown is worn by female dancers which are prepared in Jagannathpuri.
