Indian classical dance: Difference between revisions

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{{short description|Performance arts rooted in religious Hindu musical theatre}}
{{short description|Performance arts rooted in Hindu musical theatre}}
{{Use Indian English|date=July 2015}}
{{Use Indian English|date=July 2015}}
[[File:Stamp of Armenia - 2018 - Colnect 806145 - Indian Dance Manipuri.jpeg|thumb|300px|An illustration of the ''[[Manipuri Raas Leela]]'' Dance ({{langx|mni|Jagoi Raas, Raas Jagoi}}), one of the officially recognised classical dance forms of India, depicted on a postage stamp from [[Armenia]].]]
{{Hinduism}}


'''Indian classical dance''' or ''Shastriya Devesh'' is an [[umbrella term]] for various performance arts rooted in [[Hindu]] [[musical theatre]] styles,<ref name="lipner206" /><ref name="holmbowker85" /><ref name="Brown2013p195">{{cite book|author=Frank Burch Brown|url=https://books.google.com/books?id=X8g8BAAAQBAJ|title=The Oxford Handbook of Religion and the Arts|publisher=Oxford University Press|year=2013|isbn=978-0-19-972103-0|pages=195–196}}, '''Quote:''' All of the dances considered to be part of the Indian classical canon (Bharata Natyam, Chhau, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi, Gaudiya Nritya, Sattriya, and Yakshagana) trace their roots to religious practices (...) the Indian diaspora has led to the translocation of Hindu dances to Europe, North America and the world."</ref> whose theory and practice can be traced to the Sanskrit text ''[[Natya Shastra]]''.'''<ref name="lochtefeld467" />{{Sfn|Ragini Devi|1990|pp=60-68}}<ref name="khokar57">{{cite book |author=Mohan Khokar |title=Traditions of Indian classical dance |url=https://books.google.com/books?id=prjnAAAAMAAJ |year=1984 |publisher=Clarion Books |pages=57–58|isbn=9780391032750 }}</ref>'''
'''Indian classical dance''', or '''''Shastriya Nritya''''', is an [[umbrella term]] for different regionally specific Indian classical dance traditions, rooted in predominantly [[Hindu]] [[musical theatre]] performance,<ref name="lipner206" /><ref name="holmbowker85" /><ref name="Brown2013p195">{{cite book|author=Frank Burch Brown|url=https://books.google.com/books?id=X8g8BAAAQBAJ|title=The Oxford Handbook of Religion and the Arts|publisher=Oxford University Press|year=2013|isbn=978-0-19-972103-0|pages=195–196}}, '''Quote:''' All of the dances considered to be part of the Indian classical canon (Bharata Natyam, Chhau, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi, Sattriya, and Yakshagana) trace their roots to religious practices (...) the Indian diaspora has led to the translocation of Hindu dances to Europe, North America and the world."</ref> the theory and practice of which can be traced to the Sanskrit text ''[[Natya Shastra]]''.'''<ref name="lochtefeld467" />{{Sfn|Ragini Devi|1990|pp=60-68}}<ref name="khokar57">{{cite book |author=Mohan Khokar |title=Traditions of Indian classical dance |url=https://books.google.com/books?id=prjnAAAAMAAJ |year=1984 |publisher=Clarion Books |pages=57–58|isbn=9780391032750 }}</ref>'''
The number of classical dances range from eight to more, depending on the source and scholar.<ref>{{cite journal |last1=Sarwal |first1=Amit |last2=Walker |first2=David |title=Staging a Cultural Collaboration: Louise Lightfoot and Ananda Shivaram |journal=Dance Chronicle |volume=38 |issue=3 |year=2015 |pages=305–335 |doi=10.1080/01472526.2015.1088286|s2cid=166744945 }}</ref> The [[Sangeet Natak Academy]] recognizes eight – [[Bharatanatyam]], [[Kathak]], [[Kuchipudi]], [[Odissi]], [[Kathakali]], [[Sattriya]], [[Manipuri dance|Manipuri]] and [[Mohiniyattam]].<ref>{{cite book |author1=Bishnupriya Dutt |author2=Urmimala Sarkar Munsi |title=Engendering Performance: Indian Women Performers in Search of an Identity |url=https://books.google.com/books?id=uNaGAwAAQBAJ&pg=PA216 |year=2010 |publisher=SAGE Publications |isbn=978-81-321-0612-8 |page=216}}</ref> Scholars such as Drid Williams add [[Chhau dance|Chhau]], [[Yakshagana]] and [[Bhagavata Mela]] to the list.{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: [[Bharatanatyam]], [[Kathak]], [[Odissi]], [[Kathakali]], [[Kuchipudi]], [[Sattriya]], [[Chhau dance|Cchau]], [[Manipuri dance|Manipuri]], [[Yaksagana]] and [[Bhagavata Mela]]}}<ref name="Brown2013p195" /> Additionally, the Indian [[Ministry of Culture]] includes [[Chhau dance|Chhau]] in its classical list. These dances are traditionally regional. They consist of compositions in Kannada, Telugu, Tamil, Sanskrit, Malayalam, Hindi, or any other Indian language and they represent a unity of core ideas in a diversity of styles, costumes and expression. Currently, there are 9 official classical dances in India.
The number of Indian classical dance styles ranges from six to eight to twelve, or more, depending on the source and scholar;<ref>{{cite web | url=https://www.britannica.com/list/6-classical-dances-of-india | title=6 Classical Dances of India &#124; Britannica }}</ref><ref>{{cite journal |last1=Sarwal |first1=Amit |last2=Walker |first2=David |title=Staging a Cultural Collaboration: Louise Lightfoot and Ananda Shivaram |journal=Dance Chronicle |volume=38 |issue=3 |year=2015 |pages=305–335 |doi=10.1080/01472526.2015.1088286|s2cid=166744945 }}</ref> the main organisation for Indian arts preservation, the [[Sangeet Natak Academy]] recognizes eight: ''[[Bharatanatyam]]'', ''[[Kathak]]'', ''[[Kuchipudi]]'', ''[[Odissi]]'', ''[[Kathakali]]'', ''[[Sattriya]]'', ''[[Manipuri dance|Manipuri]]'' and ''[[Mohiniyattam]]''.<ref>{{cite book |author1=Bishnupriya Dutt |author2=Urmimala Sarkar Munsi |title=Engendering Performance: Indian Women Performers in Search of an Identity |url=https://books.google.com/books?id=uNaGAwAAQBAJ&pg=PA216 |year=2010 |publisher=SAGE Publications |isbn=978-81-321-0612-8 |page=216}}</ref> Additionally, the Indian Ministry of Culture includes ''[[Chhau dance|Chhau]]'' and ''[[Gaudiya Nritya|Gaudiya Nritya]]'' in its list, recognising ten total styles.<ref>{{cite web | url=https://www.indiaculture.gov.in/dance | title=Dance &#124; Ministry of Culture, Government of India }}</ref> Scholars such as Drid Williams add ''Chhau'', ''[[Yakshagana]]'' and ''[[Bhagavata Mela]]'' to the list.{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: [[Bharatanatyam]], [[Kathak]], [[Odissi]], [[Kathakali]], [[Kuchipudi]], [[Sattriya]], [[Chhau dance|Chhau]], [[Manipuri dance|Manipuri]], [[Yaksagana]] and [[Bhagavata Mela]]}}<ref name="Brown2013p195" /> Each dance tradition originates and comes from a different state and/or region of India; for example, Bharatanatyam is from [[Tamil Nadu]] in the south of India, Odissi is from the east coast state of [[Odisha]], and Manipuri is from the northeastern state of [[Manipur]]. The music associated with these different dance performances consists many compositions in [[Hindi]], [[Malayalam language|Malayalam]], [[Meitei language|Meitei]] ([[Manipuri language|Manipuri]]), [[Sanskrit]], [[Tamil language|Tamil]], [[Odia language|Odia]], [[Telugu language|Telugu]], [[Assamese language|Assamese]], and many other Indian-Subcontinent languages; they represent a unity of core ideas and a diversity of styles, costumes, and expression.
 
== Summary ==
 
Indian classical dancing started around 200 BCE in India, as a joyful and celebratory activity, often in devotion to Hindu deities. Many of the performances are choreographed to retell stories of the gods and other historical accounts. All styles of Indian classical dance are vibrant, expressive, and spiritual. Dance performances usually take place at festivals, universities, various cultural events, and more. The dancers who perform these styles are usually professionals who have devoted years of study and practice in their respective style of Indian classical dance. In performances, the dancers move to the beat of the song or music that is playing; in some styles, such as Kathak, bells are worn around the ankles at times for added rhythmic effect when the feet are stomped. The dancer takes the role of the character that they are portraying in the performance, the composition being specific, and become emotionally connected with the story and the audience.<ref>Aryan Singh A guide To Indias History</ref>
 
When dancers perform classical Indian dancing, they wear traditional clothes including [[saree]]s, [[lehenga]]s, and [[kurtas]]. Usually, women are the main performers in Indian classical dancing, though men are not absent from the tradition. The costume for women usually consists of a long, colorful, handmade gown (worn without shoes), with an intricately embroidered pattern(s) and beading on it. For accessories, there is the use of much ornate jewelry, such as necklaces, rings, earrings, nose-rings, bracelets and anklets, sometimes with bells attached which ring each time the dancer stomps their foot in rhythm. The costume also includes a head-piece or some form of scarf, depending on the style. The women usually wear considerable amounts of facial makeup, not only to be noticeable from the audience, but to fully embody their character.<ref>Aryan Singh A guide to Indias History</ref>


== Types of classical dances ==
== Types of classical dances ==
The ''[[Natya Shastra]]'' is the foundational treatise for classical dances of India,<ref name=lochtefeld467>{{cite book |author=James G. Lochtefeld |title=The Illustrated Encyclopedia of Hinduism: N-Z |url=https://archive.org/details/illustratedencyc0000loch |url-access=registration |year=2002 |publisher=The Rosen Publishing Group |isbn=978-0-8239-3180-4 |pages=[https://archive.org/details/illustratedencyc0000loch/page/467 467]}}, '''Quote:''' "the Natyashastra remains the ultimate authority for any dance form that claims to be 'classical' dance, rather than 'folk' dance".</ref><ref name="BajajVohra2015p6">{{cite book |author1=Tanvi Bajaj |author2=Swasti Shrimali Vohra |title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ&pg=PA6 |year=2015 |publisher=Routledge |isbn=978-1-317-32572-7 |pages=6–7}}</ref> and this text is attributed to the ancient scholar [[Bharata Muni]].<ref name=khokar57 /><ref>{{cite journal |last=Schramm |first=Harold |title=Musical Theatre in India |journal=Asian Music |publisher=University of Texas Press |volume=1 |issue=1 |year=1968 |pages=31–40 |doi=10.2307/834008|jstor=834008 }}</ref><ref>{{cite journal |last=Coorlawala |first=Uttara Asha |title=The Toronto conference on "new directions in Indian dance" |journal=Dance Chronicle |publisher=Routledge |volume=16 |issue=3 |year=1993 |pages=391–396 |doi=10.1080/01472529308569140}}</ref> Its first complete compilation is dated to between 200&nbsp;BCE and 200&nbsp;CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500&nbsp;BCE and 500&nbsp;CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues and the essence of scriptures.<ref name=mog17>{{cite web |title=The Mirror of Gesture |author=Coormaraswamy and Duggirala |publisher=Harvard University Press |year=1917 |page=4 |url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref><ref>{{cite book |author=Guy L. Beck |title=Sonic Liturgy: Ritual and Music in Hindu Tradition |url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012 |publisher=University of South Carolina Press |isbn=978-1-61117-108-2 |pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref>
The ''[[Natya Shastra]]'' is the foundational treatise for classical dances of India,<ref name=lochtefeld467>{{cite book |author=James G. Lochtefeld |title=The Illustrated Encyclopedia of Hinduism: N-Z |url=https://archive.org/details/illustratedencyc0000loch |url-access=registration |year=2002 |publisher=The Rosen Publishing Group |isbn=978-0-8239-3180-4 |pages=[https://archive.org/details/illustratedencyc0000loch/page/467 467]}}, '''Quote:''' "the Natyashastra remains the ultimate authority for any dance form that claims to be 'classical' dance, rather than 'folk' dance".</ref><ref name="BajajVohra2015p6">{{cite book |author1=Tanvi Bajaj |author2=Swasti Shrimali Vohra |title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ&pg=PA6 |year=2015 |publisher=Routledge |isbn=978-1-317-32572-7 |pages=6–7}}</ref> and this text is attributed to the ancient scholar [[Bharata Muni]].<ref name=khokar57 /><ref>{{cite journal |last=Schramm |first=Harold |title=Musical Theatre in India |journal=Asian Music |publisher=University of Texas Press |volume=1 |issue=1 |year=1968 |pages=31–40 |doi=10.2307/834008|jstor=834008 }}</ref><ref>{{cite journal |last=Coorlawala |first=Uttara Asha |title=The Toronto conference on "new directions in Indian dance" |journal=Dance Chronicle |publisher=Routledge |volume=16 |issue=3 |year=1993 |pages=391–396 |doi=10.1080/01472529308569140}}</ref> Its first complete compilation is dated to between 200&nbsp;BCE and 200&nbsp;CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500&nbsp;BCE and 500&nbsp;CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text, states Natalia Lidova, describes the theory of [[Tandava|Tāṇḍava]] dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues, and the essence of scriptures.<ref name=mog17>{{cite web |title=The Mirror of Gesture |author=Coormaraswamy and Duggirala |publisher=Harvard University Press |year=1917 |page=4 |url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref><ref>{{cite book |author=Guy L. Beck |title=Sonic Liturgy: Ritual and Music in Hindu Tradition |url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012 |publisher=University of South Carolina Press |isbn=978-1-61117-108-2 |pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref>


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The text [[Natya Shastra]] describes religious arts as a form as ''margi'', or a "spiritual traditional path" that liberates the soul, while the folk entertainment is called ''desi'', or a "regional popular practice".{{Sfn|Reginald Massey|2004|p=32}}{{Sfn|Ragini Devi|1990|pp=67, context: 60-68}}<ref>{{cite book |author=Thera Mahanama-sthavira |title=Mahavamsa: The Great Chronicle of Sri Lanka |url=https://books.google.com/books?id=pBxpTwfTx4QC&pg=PA40 |publisher=Jain Publishing |isbn=978-0-89581-906-2 |pages=40–41|year=1999 }}</ref>
The text [[Natya Shastra]] describes religious arts as a form as ''margi'', or a "spiritual traditional path" that liberates the soul, while the folk entertainment is called ''desi'', or a "regional popular practice".{{Sfn|Reginald Massey|2004|p=32}}{{Sfn|Ragini Devi|1990|pp=67, context: 60-68}}<ref>{{cite book |author=Thera Mahanama-sthavira |title=Mahavamsa: The Great Chronicle of Sri Lanka |url=https://books.google.com/books?id=pBxpTwfTx4QC&pg=PA40 |publisher=Jain Publishing |isbn=978-0-89581-906-2 |pages=40–41|year=1999 }}</ref>


Indian classical dance traditionally performed as an expressive drama-dance form of religious performance art,<ref name="Brown2013p195" /> related to [[Vaishnavism]], [[Shaivism]], [[Shaktism]], pan-Hindu Epics and the Vedic literature, or a folksy entertainment that includes story-telling from Sanskrit or regional language plays.{{Sfn|Ragini Devi|1990|pp=25-30, 67-68, 166}} As a religious art, they are either performed inside the [[Sanctum (Temple)|sanctum]] of a Hindu temple, or near it.<ref name=lipner206>{{cite book |author=Julius Lipner |author-link=Julius J. Lipner |title=Hindus: Their Religious Beliefs and Practices |url=https://books.google.com/books?id=qv3fCgAAQBAJ&pg=PA206 |year=2012 |publisher=Routledge |isbn=978-1-135-24061-5 |page=206}}, '''Quote:''' "It would be appropriate here to comment on Hindu classical dance. This developed in a religious context and was given high profile as part of temple worship. There are several regional and other styles as well as source texts, but the point we wish to stress is the participative nature of such dance. In form and content, the heart of dance as worship in Hinduism has always been 'expression' (abhinaya), i.e. the enacting of various themes".</ref><ref name=holmbowker85>{{cite book |author1=Jean Holm |author2=John Bowker |title=Worship |url=https://books.google.com/books?id=s_nUAwAAQBAJ&pg=PA85 |year=1994 |publisher=Bloomsbury Academic |isbn=978-1-85567-111-9 |page=85}}, '''Quote:''' Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the Vedic literature, (...)".</ref> Folksy entertainment may also be performed in temple grounds or any fairground, typically in a rural setting by travelling troupes of artists; alternatively, they have been performed inside the halls of royal courts or public squares during festivals.{{Sfn|Farley P. Richmond| Darius L. Swann| Phillip B. Zarrilli|1993|pp=3, 34-36, 47, 171-173, 215, 327-329}}
Indian classical dances are traditionally performed as an expressive drama-dance form of religious performance art,<ref name="Brown2013p195" /> related to [[Vaishnavism]], [[Shaivism]], [[Shaktism]], pan-Hindu Epics and the Vedic literature, or a folksy entertainment that includes story-telling from Sanskrit or regional language plays.{{Sfn|Ragini Devi|1990|pp=25-30, 67-68, 166}} As a religious art, they are either performed inside the sanctum of a Hindu temple, or near it.<ref name=lipner206>{{cite book |author=Julius Lipner |author-link=Julius J. Lipner |title=Hindus: Their Religious Beliefs and Practices |url=https://books.google.com/books?id=qv3fCgAAQBAJ&pg=PA206 |year=2012 |publisher=Routledge |isbn=978-1-135-24061-5 |page=206}}, '''Quote:''' "It would be appropriate here to comment on Hindu classical dance. This developed in a religious context and was given high profile as part of temple worship. There are several regional and other styles as well as source texts, but the point we wish to stress is the participative nature of such dance. In form and content, the heart of dance as worship in Hinduism has always been 'expression' (abhinaya), i.e. the enacting of various themes".</ref><ref name=holmbowker85>{{cite book |author1=Jean Holm |author2=John Bowker |title=Worship |url=https://books.google.com/books?id=s_nUAwAAQBAJ&pg=PA85 |year=1994 |publisher=Bloomsbury Academic |isbn=978-1-85567-111-9 |page=85}}, '''Quote:''' Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the Vedic literature, (...)".</ref> Folksy entertainment may also be performed in temple grounds or any fairground, typically in a rural setting by traveling troupes of artists; alternatively, they have been performed inside the halls of royal courts or public squares during festivals.{{Sfn|Farley P. Richmond| Darius L. Swann| Phillip B. Zarrilli|1993|pp=3, 34-36, 47, 171-173, 215, 327-329}}


However, this is not the case for Kathak and Manipuri as it has their own uniqueness. Kathak can be also performed on [[sahn|courtyard]]s of mosques and had [[Muslim]] elements while Manipuri had the ''[[huyen langlon]]'' genre which focuses on combat.<ref>{{Cite web|url=http://www.neontommy.com/news/2014/06/kathak-dance-puts-hinduism-and-islam-same-circle.html|title = Kathak Dance Puts Hinduism and Islam in the Same Circle}}</ref><ref>{{Cite news|url=https://www.thehindu.com/features/friday-review/dance/gem-of-a-journey/article5530221.ece|title = Gem of a journey|newspaper = The Hindu|date = 13 May 2016|last1 = Chowdhurie|first1 = Tapati}}</ref><ref>https://www.esamskriti.com/essays/pdf/14-dec-manipuri-dance-a-journey.pdf {{Bare URL PDF|date=March 2022}}</ref><ref>{{Cite web|url=https://www.indiatoday.in/magazine/society-the-arts/story/19790815-manipuri-dance-elbowed-out-by-bharat-natyam-odissi-kathak-822668-2014-02-22|title = Manipuri dance elbowed out by Bharat Natyam, Odissi, Kathak}}</ref>
However, this is not the case for Kathak, Manipuri and Chhau as it has their own uniqueness. Kathak can be also performed on [[sahn|courtyard]]s of mosques and had [[Muslim]] elements while Manipuri had the ''[[huyen langlon]]'' genre which focuses on combat.<ref>{{Cite web|url=http://www.neontommy.com/news/2014/06/kathak-dance-puts-hinduism-and-islam-same-circle.html|title = Kathak Dance Puts Hinduism and Islam in the Same Circle}}</ref><ref>{{Cite news|url=https://www.thehindu.com/features/friday-review/dance/gem-of-a-journey/article5530221.ece|title = Gem of a journey|newspaper = The Hindu|date = 13 May 2016|last1 = Chowdhurie|first1 = Tapati}}</ref><ref>{{Cite web|url=https://www.esamskriti.com/essays/pdf/14-dec-manipuri-dance-a-journey.pdf|title=Manipuri Dance: A Journey|website=esamskriti.com}}</ref><ref>{{Cite web|url=https://www.indiatoday.in/magazine/society-the-arts/story/19790815-manipuri-dance-elbowed-out-by-bharat-natyam-odissi-kathak-822668-2014-02-22|title = Manipuri dance elbowed out by Bharat Natyam, Odissi, Kathak| date=22 February 2014 }}</ref> Like Manipuri, Chhau also had elements on combat.


== Dance forms ==
== Dance forms ==
The Natya Shastra mentions four ''Pravrittis'' (traditions, genres) of ancient dance-drama in vogue when it was composed – ''Avanti'' (Ujjain, central), ''Dakshinatya'' (south), ''[[Panchala|Panchali]]'' (north, west) and ''Odra-Magadhi'' (east).<ref name=kothari6>{{cite book |author1=Sunil Kothari |author2=Avinash Pasricha |title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990 |publisher=Marg Publications |isbn=978-81-85026-13-8 |pages=5–6}}</ref>
The Natya Shastra mentions four ''Pravrittis'' (traditions, genres) of ancient dance-drama in vogue when it was composed – ''Avanti'' (Ujjain, central), ''Dakshinatya'' (south), ''[[Panchala|Panchali]]'' (north, west) and ''Odra-Magadhi'' (east).<ref name=kothari6>{{cite book |author1=Sunil Kothari |author2=Avinash Pasricha |title=Odissi, Indian classical dance art |url=https://books.google.com/books?id=P_0MAQAAMAAJ |year=1990 |publisher=Marg Publications |isbn=978-81-85026-13-8 |pages=5–6}}</ref>


Sources differ in their list of Indian classical dance forms.<ref>{{cite news |url=http://living.oneindia.in/expressions/factual-expressions/indian-classical-dance.html |title=Indian Classical Dance |date=2009-04-19 |publisher=One India |access-date=2010-06-11 |url-status=dead |archive-url=https://web.archive.org/web/20090417044206/http://living.oneindia.in/expressions/factual-expressions/indian-classical-dance.html |archive-date=2009-04-17 }}</ref><ref>{{Cite book |last=Narayan |first=Shovana |title=Indian classical dances: "ekam sat vipraah bahudaa vadanti" |publisher=Shubhi Publications |year=2005 |url=https://books.google.com/books?id=vxBq4xq94ZYC |page=5|isbn=9781845571696 }}</ref> [[Encyclopædia Britannica]] mentions six dances.<ref>[[Encyclopædia Britannica]]. [http://www.britannica.com/EBchecked/topic/150714/dance/25710/Indian-classical-dance?anchor=toc25710 dance (performing arts) : Indian classical dance]. Retrieved 03-11-2010.</ref> The [[Sangeet Natak Akademi]] has given recognition to nine Indian dances.<ref name=":0" /> The Indian government's Ministry of Culture includes eleven dance forms.<ref>{{cite web |url=http://indiaculture.nic.in/indiaculture/scholarship-to-young-artist.html |title=Scholarship to Young Artistes |publisher=Indiaculture.nic.in |access-date=2013-11-06 |url-status=dead |archive-url=https://web.archive.org/web/20131021161953/http://indiaculture.nic.in/indiaculture/scholarship-to-young-artist.html |archive-date=2013-10-21 }}</ref> Scholars such as Drid Williams and others include [[Chhau dance|Chhau]], [[Yaksagana]] and [[Bhagavata Mela]] to the eight classical Indian dances in the Sangeet Natak Akademi list.<ref name="Brown2013p195" />{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: [[Bharatanatyam]], [[Kathak]], [[Odissi]], [[Kathakali]], [[Kuchipudi]], [[Sattriya]], [[Chhau dance|Cchau]], [[Manipuri dance|Manipuri]], [[Yaksagana]] and [[Bhagavata Mela]]}}
Sources differ in their list of Indian classical dance forms.<ref>{{cite news |url=http://living.oneindia.in/expressions/factual-expressions/indian-classical-dance.html |title=Indian Classical Dance |date=2009-04-19 |publisher=One India |access-date=2010-06-11 |url-status=dead |archive-url=https://web.archive.org/web/20090417044206/http://living.oneindia.in/expressions/factual-expressions/indian-classical-dance.html |archive-date=2009-04-17 }}</ref><ref>{{Cite book |last=Narayan |first=Shovana |title=Indian classical dances: "ekam sat vipraah bahudaa vadanti" |publisher=Shubhi Publications |year=2005 |url=https://books.google.com/books?id=vxBq4xq94ZYC |page=5|isbn=9781845571696 }}</ref> [[Encyclopædia Britannica]] mentions six dances.<ref>[[Encyclopædia Britannica]]. [https://www.britannica.com/EBchecked/topic/150714/dance/25710/Indian-classical-dance?anchor=toc25710 dance (performing arts) : Indian classical dance]. Retrieved 03-11-2010.</ref> The [[Sangeet Natak Akademi]] has given recognition to eight Indian dances.<ref name=":0" /> The Indian government's Ministry of Culture includes nine dance forms.<ref name="moc">{{cite web |url=https://www.indiaculture.nic.in/dance |title=Dance |publisher=Indiaculture.nic.in |access-date=2022-05-27 }}</ref> Scholars such as Drid Williams and others include [[Yakshagana]] and [[Bhagavata Mela]] to the nine classical Indian dances in the Sangeet Natak Akademi list.<ref name="Brown2013p195" />{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: [[Bharatanatyam]], [[Kathak]], [[Odissi]], [[Kathakali]], [[Kuchipudi]], [[Sattriya]], [[Chhau dance|Chhau]], [[Manipuri dance|Manipuri]], [[Yaksagana]] and [[Bhagavata Mela]]}}


The classical dance forms recognised by the Sangeet Natak Akademi and the Ministry of Culture are:<ref name=":0">[http://www.sangeetnatak.gov.in/sna/sna_awards_guidelines.php SNA || Awards & Honours<!-- Bot generated title -->]</ref><ref>[https://indiaculture.nic.in/dance Dance | Ministry of Culture, Government of India<!-- Bot generated title -->]</ref>
The classical dance forms recognised by the Sangeet Natak Akademi and the Ministry of Culture are:<ref name=":0">[https://sangeetnatak.gov.in/award-honours/ratna-awards-guidelines SNA || Awards & Honours<!-- Bot generated title -->]</ref><ref>{{Cite web|url=https://indiaculture.nic.in/dance|title=Dance &#124; Ministry of Culture, Government of India|website=indiaculture.nic.in}}</ref>
* [[Bharatanatyam]], from [[Tamil Nadu]]
* [[Kathak]], from [[Uttar Pradesh]]
* [[Kathakali]], from [[Kerala]]
* [[Kuchipudi]], from [[Andhra Pradesh]]
* [[Odissi]], from [[Odisha]]
* [[Gaudiya Nritya]], from [[West Bengal]]
* [[Sattriya]], from [[Assam]]
* [[Manipuri dance|Manipuri]], from [[Manipur]]
* [[Mohiniyattam]], from [[Kerala]]


=== Eight classical dances recognised by the Sangeet Natak Academy and the Ministry of Culture ===
* ''[[Bharatanatyam]]'', from [[Tamil Nadu]]
* ''[[Kathak]]'', from [[Uttar Pradesh]]
* ''[[Kathakali]]'', from [[Kerala]]
* ''[[Kuchipudi]]'', from [[Andhra Pradesh]] and [[Telangana]]
* ''[[Manipuri dance|Manipuri]]'', from [[Manipur]]
* ''[[Mohiniyattam]]'', from [[Kerala]]{{efn|[[Encyclopædia Britannica]] excludes Mohiniyattam from the list of the Indian classical dances.}}
* ''[[Odissi]]'', from [[Odisha]]
* ''[[Sattriya]]'', from [[Assam]]{{efn|[[Encyclopædia Britannica]] excludes Sattriya from the list of the Indian classical dances.}}
<ref name="moc"/>
=== Images ===
<gallery>
<gallery>
File:Bharata Natyam Performance DS.jpg|<center>[[Bharatanatyam]]</center>
File:Bharata Natyam Performance DS.jpg|{{center|''[[Bharatanatyam]]''}}
File:Kathak dance India November 2011.jpg|<center>[[Kathak]]</center>
File:Kathak 3511900193 986f6440f6 b retouched.jpg|{{center|''[[Kathak]]''}}
File:Kathakali BNC.jpg|<center>[[Kathakali]]</center>
File:Kathakali BNC.jpg|{{center|''[[Kathakali]]''}}
File:Kuchipudi Performer DS.jpg|<center>[[Kuchipudi]]</center>
File:Kuchipudi Performer DS.jpg|{{center|''[[Kuchipudi]]''}}
File:Odissi Performance DS.jpg|<center>[[Odissi]]</center>
File:Rasa Lila in Manipuri dance style.jpg|{{center|''[[Manipuri dance|Manipuri]]''}}
File:Krishnakahi Kashyap performing Sattriya Dance.jpg|<center>[[Sattriya]]</center>
File:Mohiniyattom performance.jpg|{{center|''[[Mohiniyattam]]''}}
File:Rasa Lila in Manipuri dance style.jpg|<center>[[Manipuri dance|Manipuri]]</center>
File:Odissi Performance DS.jpg|{{center|''[[Odissi]]''}}
File:Rekha Raju DS 2.jpg|<center>[[Mohiniyattam]]</center>
File:Sattriya dance of India by Shagil Kannur 4.jpg|{{center|''[[Sattriya]]''}}
</gallery>
</gallery>


==Famous Dancers of Indian Classical Dance Forms==
Some famous Indian classical dancers are :
There have been many famous dancers in each Indian classical Dance form. Some of them include;
 
* [[Bharatanatyam]] - [[Rukmini Devi]], [[Padma Subrahmanyam]], [[Vyjayanthimala]], [[Sheema Kermani]] etc.
* ''Bharatanatyam'' - [[Rukmini Devi]], [[Padma Subrahmanyam]], [[Vyjayanthimala]], [[Sheema Kermani]], [[Padmini (actress)|Padmini]], Pt. Smt. Swati Daithankar (who was awarded the 'Nritya Alankar' by [[Akhil Bharatiya Gandharva Mahavidyalaya Mandal]])
* [[Kathak]] - [[Birju Maharaj]], [[Nahid Siddiqui]], [[Lacchu Maharaj]], [[Gopi Krishna (dancer)| Gopi Krishna]], [[Saswati Sen]], etc.
* ''Kathak'' - [[Birju Maharaj]], [[Nahid Siddiqui]], [[Lacchu Maharaj]], [[Gopi Krishna (dancer)|Gopi Krishna]], [[Saswati Sen]], [[Manjari Chaturvedi]]
* [[Kathakali]] - [[Kalamandalam]] [[Krishnan Nair]], etc.
* ''Kathakali'' - [[Kalamandalam]] [[Krishnan Nair]], [[Guru Kunchu Kurup]], [[Ramankutty Nair]], [[Guru Gopinath]]
* [[Kuchipudi]] - [[Mallika Sarabhai]], [[V. Satyanarayana Sarma]], Deepa Shashindran, etc.
* ''Kuchipudi'' - [[Mallika Sarabhai]], [[V. Satyanarayana Sarma]], Deepa Shashindran,  
* [[Odissi]] - [[Sujata Mohapatra]], [[Madhavi Mudgal]], [[Kelucharan Mohapatra]], [[Surendra Nath Jena]], [[Shobana Sahajananan]]
* ''Manipuri'' - [[Guru Bipin Singh]], [[Darshana Jhaveri]], [[Manipuri Raas Leela|Jhaveri Sisters]], [[Manipuri Raas Leela|Devjani Chaliha]], [[Amala Shankar]]
* [[Mohiniyattam]] - [[Kalamandalam Kalyanikutty Amma]], [[Shobhana]], [[Sunanda Nair|Sunanda]] [[Nair]], [[Kalamandalam Radhika]], [[Thankamani]], [[Kalamandalam Hymavathy]]
* ''Mohiniyattam'' - [[Kalamandalam Kalyanikutty Amma]], [[Shobhana]], [[Sunanda Nair|Sunanda]] [[Nair]], [[Kalamandalam Radhika]], [[Thankamani]], [[Kalamandalam Hymavathy]]
* [[Manipuri dance|Manipuri]] - [[Guru Bipin Singh]], [[Darshana Jhaveri]], [[Manipuri Raas Leela|Jhaveri Sisters]], [[Manipuri Raas Leela|Devjani Chaliha]], [[Amala Shankar]]
* ''Odissi'' - [[Sujata Mohapatra]], [[Madhavi Mudgal]], [[Kelucharan Mohapatra]], [[Surendra Nath Jena]], [[Shobana Sahajananan]], [[Minati Mishra]]
* ''Sattriya'' - [[Jatin Goswami]], [[Indira P. P. Bora]], [[Ghanakanta Bora]], [[Sarodi Saikia]], [[Pushpa Bhuyan]],


== Shared aspects ==
== Shared aspects ==
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* The ''Nritta'' performance is an abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955 /> The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern.<ref name=meduri1 /> This part of the repertoire has no interpretative aspect, no telling of the story. It is a technical performance, and aims to engage the senses (Prakriti) of the audience.<ref name="Descutner2010p45">{{cite book |author=Janet Descutner |title=Asian Dance |url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010 |publisher=Infobase |isbn=978-1-4381-3078-1 |pages=45–46}}</ref>
* The ''Nritta'' performance is an abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955 /> The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern.<ref name=meduri1 /> This part of the repertoire has no interpretative aspect, no telling of the story. It is a technical performance, and aims to engage the senses (Prakriti) of the audience.<ref name="Descutner2010p45">{{cite book |author=Janet Descutner |title=Asian Dance |url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010 |publisher=Infobase |isbn=978-1-4381-3078-1 |pages=45–46}}</ref>
* The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book |author=Ellen Koskoff |title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia |url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008 |publisher=Routledge |isbn=978-0-415-99404-0 |pages=955}}</ref> In a ''Nritya'', the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message. This part of the repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name=meduri1 /><ref name="Descutner2010p45" />
* The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.<ref name=koskoff955>{{cite book |author=Ellen Koskoff |title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia |url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008 |publisher=Routledge |isbn=978-0-415-99404-0 |pages=955}}</ref> In a ''Nritya'', the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message. This part of the repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name=meduri1 /><ref name="Descutner2010p45" />
* The ''Natyam'' is a play, typically a team performance,<ref name=kjayakrishnan25>Kavitha Jayakrishnan (2011), [https://uwspace.uwaterloo.ca/handle/10012/6356 Dancing Architecture: the parallel evolution of Bharatanātyam and South Indian Architecture], MA Thesis, Awarded by University of Waterloo, Canada, page 25</ref> but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A ''Natya'' incorporates the elements of a ''Nritya''.<ref name=meduri1 />{{Sfn|Reginald Massey|2004|pp=33-38, 83-84, 207-214}}<ref name="NettlStone1998p516">{{cite book |author1=Bruno Nettl |author2=Ruth M. Stone |author3=James Porter|display-authors=etal |title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent |url=https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA516 |year=1998 |publisher=Routledge |isbn=978-0-8240-4946-1 |pages=516–521}}</ref>
* The ''Natya'' is a play, typically a team performance,<ref name=kjayakrishnan25>Kavitha Jayakrishnan (2011), [https://uwspace.uwaterloo.ca/handle/10012/6356 Dancing Architecture: the parallel evolution of Bharatanātyam and South Indian Architecture], MA Thesis, Awarded by University of Waterloo, Canada, page 25</ref> but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A ''Natya'' incorporates the elements of a ''Nritya''.<ref name=meduri1 />{{Sfn|Reginald Massey|2004|pp=33-38, 83-84, 207-214}}<ref name="NettlStone1998p516">{{cite book |author1=Bruno Nettl |author2=Ruth M. Stone |author3=James Porter|display-authors=etal |title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent |url=https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA516 |year=1998 |publisher=Routledge |isbn=978-0-8240-4946-1 |pages=516–521}}</ref>


All classical dances of India used similar symbolism and rules of gestures in ''abhinaya'' (acting). The roots of ''abhinaya'' are found in the ''Natyashastra'' text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being.{{Sfn|Tarla Mehta|1995|p=3}} A performance art, asserts ''Natyashastra'', connects the artists and the audience through ''abhinaya'' (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music.{{Sfn|Tarla Mehta|1995|p=3}} Drama in this ancient Sanskrit text, this is an art to engage every aspect of life, to glorify and gift a state of joyful consciousness.{{Sfn|Tarla Mehta|1995|p=5}}
All classical dances of India used similar symbolism and rules of gestures in ''abhinaya'' (acting). The roots of ''abhinaya'' are found in the ''[[Natya Shastra|Natyashastra]]'' text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being.{{Sfn|Tarla Mehta|1995|p=3}} A performance art, asserts ''Natyashastra'', connects the artists and the audience through ''abhinaya'' (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music.{{Sfn|Tarla Mehta|1995|p=3}} Drama in this ancient Sanskrit text, this is an art to engage every aspect of life, to glorify and gift a state of joyful consciousness.{{Sfn|Tarla Mehta|1995|p=5}}


The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ''ras'' (sentiment, emotional taste) and ''bhava'' (mood) of the underlying story.<ref name="BajajVohra2015p82" /> In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance:
The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ''ras'' (sentiment, emotional taste) and ''bhava'' (mood) of the underlying story.<ref name="BajajVohra2015p82" /> In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance:
Line 88: Line 100:
* [[Yajna]]
* [[Yajna]]


== Summary ==
== Footnotes ==
 
{{notelist}}
Indian classical dancing started around 200 BCE in India. People in India loved art in India so they developed dancing into their culture, and they would dance at any events like weddings and Diwali.
Indian classical dancing is a very joyful and celebratory thing for people to do in the Indian culture. The style of Indian classical dancing is very vibrant and motivational. It is a style of dance that is like a communication with the gods. Indian classical dancing usually happens at festivals and cultural events. The dancers who perform this kind of dance usually is a professional dancer that has had a lot of practice in that specific style of Indian classical dancing. In Indian classical dancing the professional dancers usually dance to beat of the song or sound that is playing. They move their body to rhythm of the music and they flow. They movement and coordination usually sync up with whatever sound or song they are listening to. The dancer takes the role of the character that they hear in the song or sound and become emotionally connected with the story and the audience.<ref>Aryan Singh A guide To Indias History</ref>
 
When dancers perform classical Indian dancing they wear traditional clothes. They wear sarees, ''lenghas'' and kurtas (Traditional Indian clothing).Usually females are the people performing Indian classical dancing. The costume consists of a long colourful material with a beautiful pattern on it, wrapped around her body, she usually wears a lot of jewellery like necklaces, hand bracelet and leg bracelets the female also wears a head ornamental piece, she usually has a lot of makeup applied to her to make her seem vibrant and attract attention from the crowd, and her outfit is usually custom made by hand. The costume will have a special design on it that consists of many beads and other spectacular designed things attached to the costume. The female wears foot shakers which jingles as she dances.<ref>Aryan Singh A guide to Indias History</ref>


== References ==
== References ==
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* {{cite news |author=Natalia Lidova |publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title=Natyashastra }}
* {{cite news |author=Natalia Lidova |publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title=Natyashastra }}
* {{cite book |author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5}}
* {{cite book |author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5}}
* {{cite journal |last=Williams |first=Drid |title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing |url=http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf |journal=Visual Anthropology |volume=17 |issue=1 |year=2004 |pages=69–98 |publisher=Routledge |doi=10.1080/08949460490274013|s2cid=29065670 }}
* {{cite journal |last=Williams |first=Drid |title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing |url=http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf |journal=Visual Anthropology |volume=17 |issue=1 |year=2004 |pages=69–98 |publisher=Routledge |doi=10.1080/08949460490274013 |s2cid=29065670 |access-date=2016-08-05 |archive-date=2016-03-04 |archive-url=https://web.archive.org/web/20160304121105/http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf |url-status=dead }}
* {{cite book |author=Tarla Mehta |title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC |year=1995 |publisher=Motilal Banarsidass |isbn=978-81-208-1057-0}}
* {{cite book |author=Tarla Mehta |title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC |year=1995 |publisher=Motilal Banarsidass |isbn=978-81-208-1057-0}}
* {{cite book |author=Reginald Massey |title=India's Dances: Their History, Technique, and Repertoire |url=https://books.google.com/books?id=t6MJ8jbHqIwC |year=2004 |publisher=Abhinav Publications |isbn=978-81-7017-434-9}}
* {{cite book |author=Reginald Massey |title=India's Dances: Their History, Technique, and Repertoire |url=https://books.google.com/books?id=t6MJ8jbHqIwC |year=2004 |publisher=Abhinav Publications |isbn=978-81-7017-434-9}}
Line 119: Line 127:


==External links==
==External links==
*{{Commonscatinline}}
*{{Commons category-inline}}
*{{Curlie|Arts/Performing_Arts/Dance/Classical_Indian/|Classical Indian dance}}


{{Dance in India}}
{{Dance in India}}

Revision as of 17:47, 22 March 2026


An illustration of the Manipuri Raas Leela Dance (Script error: The function "langx" does not exist.), one of the officially recognised classical dance forms of India, depicted on a postage stamp from Armenia.
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Indian classical dance, or Shastriya Nritya, is an umbrella term for different regionally specific Indian classical dance traditions, rooted in predominantly Hindu musical theatre performance,[1][2][3] the theory and practice of which can be traced to the Sanskrit text Natya Shastra.[4][5][6] The number of Indian classical dance styles ranges from six to eight to twelve, or more, depending on the source and scholar;[7][8] the main organisation for Indian arts preservation, the Sangeet Natak Academy recognizes eight: Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.[9] Additionally, the Indian Ministry of Culture includes Chhau and Gaudiya Nritya in its list, recognising ten total styles.[10] Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list.[11][3] Each dance tradition originates and comes from a different state and/or region of India; for example, Bharatanatyam is from Tamil Nadu in the south of India, Odissi is from the east coast state of Odisha, and Manipuri is from the northeastern state of Manipur. The music associated with these different dance performances consists many compositions in Hindi, Malayalam, Meitei (Manipuri), Sanskrit, Tamil, Odia, Telugu, Assamese, and many other Indian-Subcontinent languages; they represent a unity of core ideas and a diversity of styles, costumes, and expression.

Summary

Indian classical dancing started around 200 BCE in India, as a joyful and celebratory activity, often in devotion to Hindu deities. Many of the performances are choreographed to retell stories of the gods and other historical accounts. All styles of Indian classical dance are vibrant, expressive, and spiritual. Dance performances usually take place at festivals, universities, various cultural events, and more. The dancers who perform these styles are usually professionals who have devoted years of study and practice in their respective style of Indian classical dance. In performances, the dancers move to the beat of the song or music that is playing; in some styles, such as Kathak, bells are worn around the ankles at times for added rhythmic effect when the feet are stomped. The dancer takes the role of the character that they are portraying in the performance, the composition being specific, and become emotionally connected with the story and the audience.[12]

When dancers perform classical Indian dancing, they wear traditional clothes including sarees, lehengas, and kurtas. Usually, women are the main performers in Indian classical dancing, though men are not absent from the tradition. The costume for women usually consists of a long, colorful, handmade gown (worn without shoes), with an intricately embroidered pattern(s) and beading on it. For accessories, there is the use of much ornate jewelry, such as necklaces, rings, earrings, nose-rings, bracelets and anklets, sometimes with bells attached which ring each time the dancer stomps their foot in rhythm. The costume also includes a head-piece or some form of scarf, depending on the style. The women usually wear considerable amounts of facial makeup, not only to be noticeable from the audience, but to fully embody their character.[13]

Types of classical dances

The Natya Shastra is the foundational treatise for classical dances of India,[4][14] and this text is attributed to the ancient scholar Bharata Muni.[6][15][16] Its first complete compilation is dated to between 200 BCE and 200 CE,[17][18] but estimates vary between 500 BCE and 500 CE.[19] The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.[17][20] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.[17][21] Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues, and the essence of scriptures.[22][23]

Performance arts and culture

Let Nātya (drama and dance) be the fifth vedic scripture.
Combined with an epic story,
tending to virtue, wealth, joy and spiritual freedom,
it must contain the significance of every scripture,
and forward every art.

— Nātyaśāstra 1.14–15[22][24]

While the Natya Shastra is the revered ancient text in the Hindu tradition, there are numerous other ancient and medieval Sanskrit dance-drama related texts that further discuss and expand on the classical repertoire of performance arts, such as the Abhinaya Darpana, Abhinava Bharati, Natya Darpana, Bhava Prakasa and many others.[25][26][27] The term "classical" (Sanskrit: "Shastriya") denotes the ancient Indian Shastra-based performing arts.

The text Natya Shastra describes religious arts as a form as margi, or a "spiritual traditional path" that liberates the soul, while the folk entertainment is called desi, or a "regional popular practice".[28][29][30]

Indian classical dances are traditionally performed as an expressive drama-dance form of religious performance art,[3] related to Vaishnavism, Shaivism, Shaktism, pan-Hindu Epics and the Vedic literature, or a folksy entertainment that includes story-telling from Sanskrit or regional language plays.[31] As a religious art, they are either performed inside the sanctum of a Hindu temple, or near it.[1][2] Folksy entertainment may also be performed in temple grounds or any fairground, typically in a rural setting by traveling troupes of artists; alternatively, they have been performed inside the halls of royal courts or public squares during festivals.[32]

However, this is not the case for Kathak, Manipuri and Chhau as it has their own uniqueness. Kathak can be also performed on courtyards of mosques and had Muslim elements while Manipuri had the huyen langlon genre which focuses on combat.[33][34][35][36] Like Manipuri, Chhau also had elements on combat.

Dance forms

The Natya Shastra mentions four Pravrittis (traditions, genres) of ancient dance-drama in vogue when it was composed – Avanti (Ujjain, central), Dakshinatya (south), Panchali (north, west) and Odra-Magadhi (east).[37]

Sources differ in their list of Indian classical dance forms.[38][39] Encyclopædia Britannica mentions six dances.[40] The Sangeet Natak Akademi has given recognition to eight Indian dances.[41] The Indian government's Ministry of Culture includes nine dance forms.[42] Scholars such as Drid Williams and others include Yakshagana and Bhagavata Mela to the nine classical Indian dances in the Sangeet Natak Akademi list.[3][11]

The classical dance forms recognised by the Sangeet Natak Akademi and the Ministry of Culture are:[41][43]

Eight classical dances recognised by the Sangeet Natak Academy and the Ministry of Culture

[42]

Images

Some famous Indian classical dancers are :

Shared aspects

All major classical Indian dance forms include in repertoire, three categories of performance in the Natya Shastra. These are Nritta, Nritya and Natya:[44]

  • The Nritta performance is an abstract, fast and rhythmic aspect of the dance.[45] The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern.[44] This part of the repertoire has no interpretative aspect, no telling of the story. It is a technical performance, and aims to engage the senses (Prakriti) of the audience.[46]
  • The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions.[45] In a Nritya, the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message. This part of the repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.[44][46]
  • The Natya is a play, typically a team performance,[47] but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Natya incorporates the elements of a Nritya.[44][48][49]

All classical dances of India used similar symbolism and rules of gestures in abhinaya (acting). The roots of abhinaya are found in the Natyashastra text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being.[50] A performance art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music.[50] Drama in this ancient Sanskrit text, this is an art to engage every aspect of life, to glorify and gift a state of joyful consciousness.[51]

The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story.[52] In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance:

  • Angika (gestures and body language),
  • Vachika (song, recitation, music and rhythm),
  • Aharya (stage setting, costume, make up, jewelry),
  • Sattvika (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates).[52]
  • Abhinaya draws out the bhava (mood, psychological states).[52]

See also

Template:Performing arts

Footnotes

  1. ↑ Encyclopædia Britannica excludes Mohiniyattam from the list of the Indian classical dances.
  2. ↑ Encyclopædia Britannica excludes Sattriya from the list of the Indian classical dances.

References

  1. ↑ 1.0 1.1 Julius Lipner (2012). Hindus: Their Religious Beliefs and Practices. Routledge. p. 206. ISBN 978-1-135-24061-5., Quote: "It would be appropriate here to comment on Hindu classical dance. This developed in a religious context and was given high profile as part of temple worship. There are several regional and other styles as well as source texts, but the point we wish to stress is the participative nature of such dance. In form and content, the heart of dance as worship in Hinduism has always been 'expression' (abhinaya), i.e. the enacting of various themes".
  2. ↑ 2.0 2.1 Jean Holm; John Bowker (1994). Worship. Bloomsbury Academic. p. 85. ISBN 978-1-85567-111-9., Quote: Hindu classical dance-forms, like Hindu music, are associated with worship. References to dance and music are found in the Vedic literature, (...)".
  3. ↑ 3.0 3.1 3.2 3.3 Frank Burch Brown (2013). The Oxford Handbook of Religion and the Arts. Oxford University Press. pp. 195–196. ISBN 978-0-19-972103-0., Quote: All of the dances considered to be part of the Indian classical canon (Bharata Natyam, Chhau, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam, Odissi, Sattriya, and Yakshagana) trace their roots to religious practices (...) the Indian diaspora has led to the translocation of Hindu dances to Europe, North America and the world."
  4. ↑ 4.0 4.1 James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: N-Z. The Rosen Publishing Group. pp. 467. ISBN 978-0-8239-3180-4., Quote: "the Natyashastra remains the ultimate authority for any dance form that claims to be 'classical' dance, rather than 'folk' dance".
  5. ↑ Ragini Devi 1990, pp. 60-68.
  6. ↑ 6.0 6.1 Mohan Khokar (1984). Traditions of Indian classical dance. Clarion Books. pp. 57–58. ISBN 9780391032750.
  7. ↑ "6 Classical Dances of India | Britannica".
  8. ↑ Sarwal, Amit; Walker, David (2015). "Staging a Cultural Collaboration: Louise Lightfoot and Ananda Shivaram". Dance Chronicle. 38 (3): 305–335. doi:10.1080/01472526.2015.1088286. S2CID 166744945.
  9. ↑ Bishnupriya Dutt; Urmimala Sarkar Munsi (2010). Engendering Performance: Indian Women Performers in Search of an Identity. SAGE Publications. p. 216. ISBN 978-81-321-0612-8.
  10. ↑ "Dance | Ministry of Culture, Government of India".
  11. ↑ 11.0 11.1 Williams 2004, pp. 83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Sattriya, Chhau, Manipuri, Yaksagana and Bhagavata Mela.
  12. ↑ Aryan Singh A guide To Indias History
  13. ↑ Aryan Singh A guide to Indias History
  14. ↑ Tanvi Bajaj; Swasti Shrimali Vohra (2015). Performing Arts and Therapeutic Implications. Routledge. pp. 6–7. ISBN 978-1-317-32572-7.
  15. ↑ Schramm, Harold (1968). "Musical Theatre in India". Asian Music. 1 (1). University of Texas Press: 31–40. doi:10.2307/834008. JSTOR 834008.
  16. ↑ Coorlawala, Uttara Asha (1993). "The Toronto conference on "new directions in Indian dance"". Dance Chronicle. 16 (3). Routledge: 391–396. doi:10.1080/01472529308569140.
  17. ↑ 17.0 17.1 17.2 Natalia Lidova 2014.
  18. ↑ Tarla Mehta 1995, pp. xxiv, 19–20.
  19. ↑ Wallace Dace 1963, p. 249.
  20. ↑ Emmie Te Nijenhuis 1974, pp. 1–25.
  21. ↑ Kapila Vatsyayan 2001.
  22. ↑ 22.0 22.1 Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p. 4.; Also see chapter 36
  23. ↑ Guy L. Beck (2012). Sonic Liturgy: Ritual and Music in Hindu Tradition. University of South Carolina Press. pp. 138–139. ISBN 978-1-61117-108-2. Quote: "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".
  24. ↑ "Natyashastra" (PDF). Sanskrit Documents.
  25. ↑ Tarla Mehta 1995, pp. xxix, 131-137.
  26. ↑ Mandakranta Bose (2012). Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition. Springer. pp. 13–32, 108–112. ISBN 978-94-011-3594-8.
  27. ↑ Ragini Devi 1990, pp. 18-37.
  28. ↑ Reginald Massey 2004, p. 32.
  29. ↑ Ragini Devi 1990, pp. 67, context: 60-68.
  30. ↑ Thera Mahanama-sthavira (1999). Mahavamsa: The Great Chronicle of Sri Lanka. Jain Publishing. pp. 40–41. ISBN 978-0-89581-906-2.
  31. ↑ Ragini Devi 1990, pp. 25-30, 67-68, 166.
  32. ↑ Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993, pp. 3, 34-36, 47, 171-173, 215, 327-329.
  33. ↑ "Kathak Dance Puts Hinduism and Islam in the Same Circle".
  34. ↑ Chowdhurie, Tapati (13 May 2016). "Gem of a journey". The Hindu.
  35. ↑ "Manipuri Dance: A Journey" (PDF). esamskriti.com.
  36. ↑ "Manipuri dance elbowed out by Bharat Natyam, Odissi, Kathak". 22 February 2014.
  37. ↑ Sunil Kothari; Avinash Pasricha (1990). Odissi, Indian classical dance art. Marg Publications. pp. 5–6. ISBN 978-81-85026-13-8.
  38. ↑ "Indian Classical Dance". One India. 2009-04-19. Archived from the original on 2009-04-17. Retrieved 2010-06-11.
  39. ↑ Narayan, Shovana (2005). Indian classical dances: "ekam sat vipraah bahudaa vadanti". Shubhi Publications. p. 5. ISBN 9781845571696.
  40. ↑ Encyclopædia Britannica. dance (performing arts) : Indian classical dance. Retrieved 03-11-2010.
  41. ↑ 41.0 41.1 SNA || Awards & Honours
  42. ↑ 42.0 42.1 "Dance". Indiaculture.nic.in. Retrieved 2022-05-27.
  43. ↑ "Dance | Ministry of Culture, Government of India". indiaculture.nic.in.
  44. ↑ 44.0 44.1 44.2 44.3 Meduri, Avanthi (1988). "Bharatha Natyam-What Are You?". Asian Theatre Journal. 5 (1). University of Hawaii Press: 3–4. doi:10.2307/1124019. JSTOR 1124019.
  45. ↑ 45.0 45.1 Ellen Koskoff (2008). The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia. Routledge. p. 955. ISBN 978-0-415-99404-0.
  46. ↑ 46.0 46.1 Janet Descutner (2010). Asian Dance. Infobase. pp. 45–46. ISBN 978-1-4381-3078-1.
  47. ↑ Kavitha Jayakrishnan (2011), Dancing Architecture: the parallel evolution of Bharatanātyam and South Indian Architecture, MA Thesis, Awarded by University of Waterloo, Canada, page 25
  48. ↑ Reginald Massey 2004, pp. 33-38, 83-84, 207-214.
  49. ↑ Bruno Nettl; Ruth M. Stone; James Porter; et al. (1998). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Routledge. pp. 516–521. ISBN 978-0-8240-4946-1.
  50. ↑ 50.0 50.1 Tarla Mehta 1995, p. 3.
  51. ↑ Tarla Mehta 1995, p. 5.
  52. ↑ 52.0 52.1 52.2 Tanvi Bajaj; Swasti Shrimali Vohra (2015). Performing Arts and Therapeutic Implications. Routledge. pp. 82–84. ISBN 978-1-317-32572-7.

Bibliography

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