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Summary
Art and Culture Class 11

DANCE FORMS (01:07 PM)

  • Kucchipudi
  • Kanchipuram, Andhra Pradesh.
  • The performance starts with Daru in which dancers enter the stage and introduce their characters with a small performance.
  • Later all of them seek blessings of God.
  • Generally, Kucchipudi is a group performance by men but in later times females also became famous exponents of this dance form.
  • The performance is a manifestation of the element of Earth in the body.
  • Themes of Kucchipudi are generally derived from the reincarnation of Lord Vishnu.
  • The most popular theme is the Bhamakalpam composed by Siddhendra Yogi.
  • It is based on the story of the jealous wife of lord Krishna- Satyabhama.
  • Generally, Shringar is emphasized in the dance form.
  • There are some popular solo Kucchipudi performances;
  • Manduk Shabdam- In this performance dancer tells the story of a frog.
  • Tarangam- It is a difficult performance in which the dancer keeps her toe on the edges of a Brass plate while balancing a water pot on the head and lit Diyas in the hand.
  • Talchitranatyam- The dancer creates a rangoli or image of powerful animals on the stage with her feet while dancing.
  • Carnatic classical music is used during the performance.
  • Famous exponents- Raja Reddy, P Acharyulu, Radha Reddy, Yamini Krishnamurthy
  • Kathakali (01:26 PM)
  • Kerala
  • Kathak- Story || Kali- Drama
  • Originally, it was a part of the theatrical tradition of Kerala, like Ramnattam, Krishnattam, Koothiyattam, etc.
  • Later it became a sacred stage performance.
  • In the beginning, this dance form was patronaged by the rulers of Travancore and the feudal lords of Kerala.
  • This dance form was revived by Malyali poet VN Menon under the patronage of Mukund Raja.
  • The performance is a depiction of the eternal fight between the good and bad.
  • In the fight, the final stage depicts the win of good over the bad.
  • Theses of Kathakali are derived from the Ramayana, Mahabharat, and Puranas.
  • It is often regarded as the Ballad of the East.
  • It is noted for its extensive usage of eye and eyebrow movement to depict different kinds of emotions.
  • Another unique feature of the dance form is its elaborate facial makeup.
  • The colors of the makeup have significant depictions.
  • Green- Satvik Character (Noble)
  • Red- Rajshik Character (Royal)
  • Black- Tamsik Character (Evil)
  • Yellow- A saintly person or a beautiful woman
  • White Beard- Divine
  • They used the regional music of Kerala Sopana during the performance.
  • In it, different types of musical instruments are used Chengila, Maddala, Iddaka, Sankhu, etc.
  • Originally, it was performed only by males but recently females were allowed to practice Kathakali.
  • Famous exponents- Guru Kucchu Kuru & Gopinath
  • Kathakali's performance highlights the element of the sky in the body.
  • Mohiniattam- (01:51 PM)
  • Dance of enchantress
  • It traces its origin to the mythological story of the "churning of the sea" or Samudra Manthan.
  • As per the story, Lord Vishnu disguised in the form of Mohini to take back a pot of elixir from Asuras.
  • Initially, this dance form was patronized by the rulers of Travancore.
  • In modern times, Malyali poet VN Menon revived it under the patronage of Mukund Raja.
  • It started as a female preserve and is still practiced by females.
  • The costumes of the dancers are of utmost importance.
  • It is off white Kasavu silk saree with golden brocade on the borders.
  • For the depiction of the character of a demon, black Kasavu silk is used.
  • The steps of the dancers often resemble sea waves and the swaying of paddy fields & palm trees.
  • Mohinattam derives postures from Bharatnatyam and vigour from Kathakali.
  • Carnatic classical music is used during the performance.
  • Famous exponents- Sunanda Nair, Madhuri Amma, Kalyanikuti Amma, Jayaprabha Menon, etc.
  • Odissi- (02:08 PM)
  • It is regarded as the 2nd oldest dance form in India.
  • It derives its name from Odra Nritya mentioned in Bharatmuni's Natyashastra.
  • Initially, it was patronized by the Jain King- Kharvela in the 1st century AD.
  • At this time Maharsi were the initial repositories of this dance form.
  • They were professional temple dancers.
  • Later, when the Mahari tradition became defunct, another version of Odissi emerged known as Nartala.
  • It was a court form of dance.
  • In the 18th and 19th centuries, another version of Odissi known as Gotipua became popular.
  • Features of Odissi- (02:44 PM)
  • Odissi is often referred to as mobile sculpture whereby the intricate postures created by a group of performers are undisturbed when they move from one part of the stage to another.
  • Odissi represents an element of water in the body & it is often referred to as a fluidic dance form.
  • Tribhanga is regarded as the most popular posture of this dance form.
  • It is a tri-bent position of the body at the neck, torso, and knee.
  • It is regarded as the feminine posture of the dance.
  • Another important posture is Chowk.
  • The dancers try to create the shape of a square with the help of their legs.
  • Odissi happens in 5 steps;
  • Mangalcharnam- It is the invocation of god to seek his blessings.
  • Batunritya- It is a fast pure dance movement dedicated to Batukeshwar Bhairav.
  • Pallavi
  • Thavijhum (Beginning and elaboration of Abhinaye)
  • Trikhandamajura- WIthout music
  • Moksha- With music
  • In this final step, dancers perform exuberant and joyous movements symbolizing temporary salvation.
  • Odissi Sangeet is used during the performance.
  • Famous exponents- Guru Kirucharana Mohapatra, Panjak Charan Das, Sonal Mansingh, Myrta Bravie, Sharon Lowen
  • Manipuri- (03:02 PM)
  • It traces its origin from the mythological story whereby lord Shiva & Goddess Parvati descended to the hills of Manipur & danced with local Gandharvas.
  • The present-day Manipuri derives its theme from Rasleela and Sankirtan associated with lord Krishna.
  • The postures & the steps of Manipuri are a combination of the folk dance Lai-Haroba and the martial dance Thang-Ta.
  • In the early 20th century, this dance form went into oblivion.
  • At this time it was revived by Rabindranath Tagore who introduced the dance form in Vishvabharti University-Shantiniketan.
  • Facial expression is absent in Manipuri instead Sarvangabhinaye is performed.
  • Many times, dancers also take up the role of the singer during the performance.
  • Manipuri regional music is used during the performance which includes musical instruments like Pung, Kartals, Pena, and cymbals.
  • Proponents- Bimgavati Devi, Jhaveri Sisters, Guru Bipin Singha
  • Satariya- (03:18 PM)
  • It derives its name from Sattar which means Vaishnavite monastery.
  • Mahapurusha Sankardeva was the head of Sattar in the Brahmaputra valley.
  • He introduced the folk dances of Assam into the rituals of the Sattar.
  • The combined form of these two folk dance came to be known as Sattariya.
  • The theme was based on the writings of Sankardeva known as Borgeets.
  • Music during the performance was created by Khol.
  • It is performed by both- Males and Females and male dancers who reside in Sattar are referred to as Bhokots.
  • Costumes- Pat Silk of Assam
  • For males, it is Dhoti, Kurta, and Paguri.
  • For females, it is Kanchi and Paguri.
  • Famous dancers- Tankeshwar Hazarika, Jatin Goswami
  • Kathak- (03:30 PM)
  • It started from the Kathakar tradition of Braj and Awadh.
  • Initially, in ancient times, storytellers of Ramayana and Mahabharat used to dance while telling the story.
  • The origin of Kathak happened as a temple form of dance.
  • Later, during the Mughal period Persian influence started to reflect in this dance form.
  • Kathak was transformed into a court form of dance.
  • Kathak is different from the rest of the classical forms as there is no bent position in Kathak.
  • Instead, full foot contact is of utmost importance in Kathak.
  • Many a time with full foot contact, dancers thump on the dance floor to create numerous sounds.
  • Persian influence is also reflected in the costume which is generally referred to as Angrakha.
  • For male dancers, Angrakha is wide kurta, dhoti, and Gamchcha.
  • For females, it is an Anarkali suit and lehenga.
  • The steps in Kathak are generally referred to as elements of recital as they also involve the recitation of dialogues.
  • It is as follows-
  • Jugalbandhi- Competitive play between either the two dancers or a dancer and Tabla musician
  • Gat-Bhaav 
  • Toda
  • Tukda
  • Tarana
  • Kramdaya
  • Padhant
  • Kathak is a unique classical form where the Gharana system exists.
  • The system is based on different styles within dance form which is preserved by some families.
  • It is passed on to the next generation in Guru-Shishye Parampra.
  • Famous Gharanas of Kathak;
  • Lucknow Gharana-It developed under Nawab Wajid Ali Shah.
  • It emphasizes expression.
  • Banaras Gharana- It developed under Janaki Prasad and emphasizes symmetry.
  • Jaipur- It developed under Bhanu ji and emphasizes rhythm.
  • Initially, Dhrupad music was used during performance but later in Mughal times, Thumri and Ghazal were also introduced.
  • Dancers- Pt. Birju Maharaj, Pt.Lachcu Maharaj, Sitara Devi, Danyanti Joshi

TOPICS TO BE DISCUSSED IN THE NEXT CLASS- CLASSICAL MUSIC