1

PRARAMBHIK

[ IST YEAR]

10 MARKS

QUE:1: GIVE THE NAMES OF EIGHT CLASSICAL DANCE STYLES OF INDIA;

ANS:1: Kathak North India, Jaipur and Lucknow

Bharat Natyam South India, Tamil Nadu

Kathakali Kerala, Malabar

Manipuri Manipur, Aasam

Kuchipudi Andhra Pradesh

Odissi Orissa

Mohiniattam Kerala

Sattriya Assam

QUE :2: GIVE THE NAMES OF THE MAIN GHARANAS OF KATHAK.

ANS :2: There are 3 main gharanas of Kathak namely, Lucknow, Jaipur and Banaras.

QUE :3: GIVE DEFINITIONS OF THE FOLLOWING:

ANS :3: (i) SUM: The first beat of any taal is called the SUM. The SUM is the most
important beat of any taal. The toda may start from any beat but it has to end on
SUM. The sign of ‘X’ is used to denote SUM in the notation.

(ii) KAHLI: When we demonstrate a taal with our hands and we do not clap on a
particular beat to show the change of the division it is called a KHALI. The bols
used in KHALI are ‘tin, ta, tuna, tirkit’ etc. The sign of ‘O’ is used to denote KHALI
in notations.

(iii) TAAL: Taal means rhythm. Taal means the meter or the time measure. There
are various taals of different matras. Eg: trital – 16 matras, dadra – 6 matras, jhaptal
– 10 matras etc.
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(iv) TALI: When we demonstrate a taal with our hands and clap on a particular beat
to show the change in the division it is called the TAALI.

(v) AAVARTAN: When a taal is played on a tabla or a harmonium the bols of

tabla and swar of harmonium played from first beat to the last beat of taal is called
one avartan. In short the one cycle of the taal from the first beat to the last beat is
called one avartan.

(vi) MATRA: Matra means beat. The smallest unit of time is called matra in Indian
classical music. It is like one sec in a clock.

(vii) LAYA: Laya means speed. The speed of the time passing in action of singing
or dancing is called laya. There are 3 types of laya:

Vilambit Laya

Madhya Laya

Drut Laya.

(viii) THEKA: The basic bols of taal which are played on tabla are called theka. Eg:
the theka of trital is:

Dha dhin dhin dha

Dha dhin dhin dha

Dha tin tin ta

Ta dhin dhin dha.

(ix) LEHERA: Lehera is Raga tunes. A music piece which shows Taal when the
matra of any taal are played on any string or wind instrument like Harmonius or
sitar or sarangi is called a lehra. Lehera are made in different raga and different taal.

QUE : 4: GLANCES. (DRISHTI BHED)

ANS : 4: There are 8 types of glances which are as follows:

1. Sama
2. Sachi
3. Aalokit
4. Pralokit
5. Nimilit
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6. Anuvrutta
7. Ullokit
8. Avalokit.

QUE :5: NECK MOVEMENTS.

ANS :5: There are 4 types of Neck movements which are as follows:

1. Sundari
2. Tiraschina
3. Parivartita
4. Prakampita

QUE :6: GIVE INFORMATION ABOUT TRITAL.

ANS :6: There are 16 beats in Trital. It has 4 parts. Each part contains 4 matras. There are 3
claps and 1 khali in trital. The tali comes on first, fifth and thirteenth matra and khali
comes on ninth matra. There are 3 claps so it is called trital. There are four parts with
four matras in each part so it is of chatushra jati. It is the most important taal in
Indian classical music and kathak dance.
 4

PRAVESHIKA PRATHAM

[IIND YEAR]

20 MARKS

QUE :1: ORIGIN OF KATHAK DANCE.

ANS :1: Kathak word is derived from the word ‘KATHA’ means story telling. Kathak was a
community in ancient times whose main profession was telling religious stories in
the temples. These people were called kathaks or the kathakars. The language of the
scriptures is Sanskrit and hence it was very difficult for the common people to
understand and hence these kathakars started expressing meaning of the stories
through abhinaya, facial expression and body movements. Slowly they started
dancing in front of god in temples, with accompaniment of musical instruments. This
kind of worship of gods with musical instruments was in practice from very early
times. The dance they performed as a form of worship in temples came to be known
as KATHAK from the name of the community of these people. The other names of
this dance style that we come across in the ancient texts are KUSHILAV, KAHUB,
KATHIKO etc. thus the dance performed by these kathakars came to be known as
KATHAK. Gradually they started performing religious dance dramas like the Raas
Lila. We get the references of raaslila from vraj bhoomi and its neighbouring areas.

Kathak is a classical dance of North India. On periodic levels kathak dance was
regulated in fix rules and regulations with the help of ancient treatise (books) and
thus it got its classical form. Then the 3 gharanas viz. jaipur, lucknow and banaras
were formed. Today kathak dance is one of the most popular classical dance of
North India.

QUE :2: GIVE DEFINITIONS OF THE FOLLOWING.

ANS :2: (i) RANG MANCH TODA / SALAMI TODA:

The first toda or tukda which is performed by the dancer is called the salami toda. It
is not necessary to do salute or namaskar during this toda. There are separateboles of
salami toda in kathak dance which is done in 3 layas. The salami toda is done for
training the student.

(ii) TODA /TUKDA:

A rhythmic composition of minimum one aavartanof any taal which is made of

dance syllables only is called a toda or a tukda.
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(iii) PARAN:

A pure dance item made up of boles of mridang or pakhawaj is called a paran which
is of atleast 2 or 3 aavartan. The boles used in paran are, ‘dhumakit’, ‘kdan’,
‘nagetit’etc. there are different types of paran like bol paran, sangeet paran, gat
paran, pakshi paran, ganesh paran, shiv paran, kamali paran, farmaishi paran etc.

(iv) AAMAD:

Aamad is a Persian word which means “coming” or “advent of”. This aamad is
performed for the thaat for which the toda is made up of minimum 2-3 aavartans.
The boles used in aamad are: ta, thai, tat, thai, aa, thai, tat, thai etc. these boles are
performed from both the sides from right to left and vice versa in the same manner.
Sometimes the paran is also joined to the aamad which is called ‘paran judi aamad’.

(v) KAVITA TODA:

“KAVITA” is a poetic composition set to some taal. Very often some dance
syllables are affixed to it. The meaning is interpreted by various gestures, while laya
is marked by the feet. Though abhinaya is evident in these compositions it is
classified under the NRITTA category because of the predominant rhythmic part in
it.

(vi) TATKAR:

The dance steps with rhythm and meter are called tatkar in kathak dance. It has its
own syllables which is: ta thai thai tat. Aa thai thai tat. Along with other items of the
repertoire of kathak dance, tatkar is individually develepoed and this is a unique
characteristic of kathak. In this portion the kathak dancer presents various rhythmic
patterns through foot work.

(vii) PADHANT:

The word ‘padhant’ is derived from the Sanskrit word “PATHANA” which means
‘to recite’. The boles of dance which are recited by the dancer or by his/her guruji by
measuring taal with hand and denoting each matra and divisions thereof by tali and
khali is called padhant. This is a very unique practice of kathak dance and to master
it we require to take special training and takes special efforts .

(viii) TIHAI:

When a small rhythmic piece is repeated thrice and ends on sam is called a tihai.
There are 2 types of tihai: bedam and damdar tihai.
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QUE :4: NAME OF THE ANCIENT GURUS OF KATHAK.

ANS :4: 1. Pandit Jailalji

2. Pandit Sundar Prasadji.

3. Pandit Narayan Prasad ji

4. Pandit Bindadeen Maharaj

5. Pandit Kalka Prasadji.

6. Pandit Achchan Maharaj.

7. Pandit Shambhu Maharaj.

8. Pandit Janki Prasadji.

QUE :5: GIVE INFORMATION ABOUT DADRA TAAL.

ANS :5: Dadra taal has 6 beats. It has 2 parts. Each part has 3 beats. There is one taali and
one khali in dadra taal. Taali is on the first beat and khali is on the 4 th beat. It is a taal
of TISHRA jati because there are 3 beats in each part.

QUE :6: ABOUT MY GURU.

ANS :6: My name is _______________________. I am _____________ years of age. I am in

praveshika pratham i.e second year. My teacher’s name is Ms. Parul Sangani. Ms.
Parul did her visharad from Brihad Gujarat Sangeet Samiti. She also did her post
graduation in Commerce from M.S. University. There after she did her Post
graduation in performing arts with dance (kathak) as her major. She learned kathak
under the able guidance of Smt. Narayani Shah, Smt. Jyotsana Mehta, and Shri
Harish Gangani. Our main guru of dance is Pt.Sundarlalji Gangani.
 7

PRAVESHIKA PURNA

[IIIRD YEAR]

25 MARKS

QUE :1: THE MUGHAL INFLUENCE ON KATHAK DANCE.

ANS :1: Due to the change in the political condition of India the art of music, dance,painting
and culture all underwent a tremendous change. Till now dance was a form of
worship in the temples, but with the advent of Muslims in India the art of dance
underwent a tremendous change. The muslim rulers took dancing to the royal courts
from the temples and it served as an entertainment for them as they were did not
believe the religious aspect of dance of the Hindus. This attitude of the new rulers of
India destroyed the piousness and religious value of Indian dance. The dancing in the
royal courts of the Muslim kings gave rise to the existence of the “NAUTCH
GIRLS”. And these nautch girls danced according to the wishes of the kings to
please them.

This situation resulted into many changes in kathak dance. The language, music,
costume, presentation etc all underwent a dramatic change. The mughal era gave this
dance its new costume. The female dancers of this time started wearing churidar,
frock, Turkish cap, chunni, jacket moon shaped ornament called the ZAPAKA on
the head instead of chaniya choli of the ancient times. The male dancers started
wearing, churidar, shervani, Turkish cap, jacket instead of the pitambar.

The presentation of dance also underwent a change the stuti, vandana etc which were
performed in the temples as a form of worship, were replaced by toda, tukda, parans,
aamad, ghazals, salami etc. the language which was predominantly hindi, vraj and
Sanskrit now became, urdu, Persian and Turkish. The dance masters who were
called gurujis now were called ustadjis. The musical instruments also underwent
change. Sarangi and pakhwaj were introduced.

The religious value and the piousness of kathak dance came to an end and the dance
was deteriorated in the Mughal time. People stopped learning dance because of this.
But there were still some scholars who preserved this valuable art in its traditional
and original form. It is due to their untiring efforts that we are able to enjoy and learn
this art in its original form today.
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QUE :2: GIVE NAMES OF ONE ARTISTS EACH OF THE 7 CLASSICAL DANCE
STYLES OF INDIA.

ANS :2: 1. Kathak Smt. Kumudini Lakhiya

2. Bharat Natyam Late Smt. Rukmini Devi Arundale

3. Kathakali Guru Gopinath

4. Manipuri Jhaveri sister.(Nayana, Suvarna, Darshana, Ranjana)

5. Kuchipudi Swapana Sundari

6. Odissi Smt. Kumkum Mohanty

7. Mohiniattam Dr. Kanak Rele

QUE :3: CONTRIBUTION OF NAWAB WAJID ALI SHAH AND RAJA OF

RAIGARH CHAKRADHAR SINH TOWARDS KATHAK DANCE.

ANS :3: WAJID ALI SHAH was the last nawab of Avadh. He has given a valuable
contribution in the development and progress of kathak dance. Being a keen lover of
kathak was himself a dancer too. He appointed the scholars and masters of kathak
dance in his court to teach dance. He was responsible for the formation and
development of lucknow gharana. Wajid Ali Shah appointed Thakur Prasadji the
great guru of Lucknow gharana to teach him dance. He also wrote 2 books on kathak
dance. He played a notable role in the development of music, dance and drama. He
gave patronage to new items like thumri, gat bhav, raasleela etc in kathak dance.
This Wajid Ali Shah is considered as an ardent art lover and scholar of dance. Who
not only gave patronage to this dance but also made serious efforts for its
development and progress.

RAJA CHAKRADHAR SINH of Raigarh has also given valuable contribution in

the development of kathak dance. He appointed various gurus in his court to teach
dance. He himself was a multi faceted artist. He was expert in music, dance,
literature, dramatics, poetry and urdu shayri. tabla and pakhwaj and dancing were his
favourite subjects. He took training of tabla, dance and music from Pt. Jailalji,
Munirkhan, Dhandhekhan, Hanuman Prasadji and Shiv Naryanji. Concerts of music
and dance were held frequently in his court and he used to felicitate every artist with
great respect. He wrote treatise on dance and music. He himself was a very good
dancer, but he danced only in the presence of his specialpeople (scholars). He liked
 9

the tandava type of dance. He also wrote a treatise on kathak and systematized
kathak in a classical style. It was he who gave kathak its present form by uplifting it
from the deterioration of mughal influence. The British government did not like his
love for art and dance and thus dismissed him from his post. He died due to this
great shock. The Indian government gave him a tribute by opening the
CHAKRADHAR NRITYA KENDRA at Bhopal. Thus in preservation of old
tradition of Kathak and development of the Jaipur Gharana the contribution of
Chakradhar sinh is valuable.

QUE :4: GIVE DEFINITIONS OF THE FOLLOWING

ANS :4: (i) THAAT: Thaat is the beginning of kathak dance. The term is generally used in
the sense of “THAAT BANDHANA”. Or “THAAT KA BARATNA” means to
build a structure of dance. in this portion the dancer stands in some typical pose and
moves her eyes, eye-brows, neck, shoulders, arms, chest and wrists to the
accompaniment of slow rhythm played on tabla and nagma. This graceful attitude of
the minor limbs is called ‘kasak-masak’.

(ii) CHAKRADAR TODA: Any toda or tukda repeated 3 times in the same manner
and ends on sum is called a chakradar toda.

(iii) AADI LAYA TODA: In any toda when 1 ½ matra is used in place of 1 matra, it
is called aadi laya toda.

(iv) AAMAD: Aamad is a Persian word which means “advent” or “ to come”. The
aamad is performed for the thaat in which the toda made up of 2-3 aavartans is
performed. The bols used in aamad are ‘ ta thai tat thai aa thai tat thai”. These bols
are performed from both the sides i.e right and left in the same manner. Sometimes a
paran is also joined to it and is called a ‘paran judi aamad’.

(v) PARAN: Paran is a dance piece which is made up of pure dance bols of mridang
or pakhawaj.Paran is essentially a long piece of minimum 3 avartans.The bols used
in paran are, dhumakit, kdan, nagetit etc. There are different types of parans like
pakshi paran, sangeet paran, kamali paran, farmaishi paran, bol paran, ganesh paran,
shiv paran, gat paran etc.

(vi) NIKAS GAT: The meaning of word Nikas is “to come out”. In gat nikas the
dancer takes a gat palta and takes a typical pose. Thereafter she takes a few steps
further and returns in double speed and concludes with tihai.

(vii) PALTA: Palta is a variety of Hastak which is specifically used in Gat Nikas
and Gat Bhav. In this the right hand is moved in upward circular position and the
 10

whole body takes a turn from right side. The same action is repeated by the left part
of the body.

(viii) CHAKRADAR TIHAI: when a tihai is repeated thrice and ends on sum is
called a chakradar tihai.

(ix) MUKHADA: A small composition of 1 or 2 matras used at the end of the taal
circle and faces the sum is called a mukhada.

(x) TUKADA: Tukda means a piece. Any rhythmic composition of the maximum
length of one circle of taal or less is generally called a mukhada.

QUE : 5: GIVE INFORMATION ABOUT JHAPTAAL

ANS :5: Jhaptaal has 10 beats. It has four parts. There are 3 taalis and 1 khali. Taali comes on
1st, 3rd and 8th matras. Khali comes on 6th matra. The jati of this taal is KHAND
because there are 5 beats in sum to khali.

QUE :6: GIVE INFORMATION OF THE THREE MAIN GHARANAS OF KATHAK.

ANS :6: Kathak is an ancient classical dance of North India, which developed from a story
telling tradition in temples. Due to changed political conditions in the Northern part
of India, kathak was patronized by various kings and reached the royal courts from
the temple courtyards. The dance gurus served as teachers in the royal court and this
gave rise to distinct styles of kathak dancing according to the likes and dislikes of
the respective kings. Thus according to the different areas of the maharajas the
different style of dancing flourished and gave rise to the gharana system in kathak
dance. there came in to existence the 3 main gharanas in kathak. The court dancers
and teachers of the muslim rulers gave rise to the Lucknow Gharana where as the
teachers and court dancers of the Hindu kings gave rise to the Jaipur and Banaras
Gharana.

LUCKNOW GHARANA: This gharana is one of the main gharanas of Kathak. It is

famous for its beauty. Graceful body movements and facial expressions are given
more importance in this gharana,while the todas and tukdas are comparatively
smaller.

Thaat, Gat Nikas, Thumri bhaav are often performed in this gharana. As this gharana
developed in Lucknow and surrounding region and under the patronage of muslim
kings the mughal influence is predominant.
 11

Ishwari Prasadji is considered to be the founder of this gharana. Whereas Bindadeen

maharaj and Kalka Prasadji are the main promoters. The next generation includes the
3 sons of Kalka Prasadji viz. Achchan Maharaj,Shambhu Maharaj and Lachchu
Maharaj did pioneering work in the development and promotion of this gharana. The
noted artist Birju Maharaj is the son of Achchan Maharaj belongs to this gharana.

JAIPUR GHARANA: this is the oldest gharana of kathak. This gharana follows the
hindu tradition as the artists of this gharana rose and developed under the patronage
of the rajput kings of the rajputana or rajasthan. Long, and difficult todas, tatkar are
of utmost importance in this gharana.Gatbhav, bhajans, padas etc are performed in
this gharana. Dancing in difficult taals and layakari is the speciality of this gharana.
The dance in this gharana is energetic and Tandav like.

The founder of this gharana is said to be Bhanuji who learnt dance from some saints.
The main artists of this gharana are: Hari Prasadji, Narayan Prasadji, Hanuman
Prasadji, Mohanlal, Sunder Prasadji, Jailalji, Ramgopal, Jaikumari, Pt. Shri
Kundanlalji, Pt. shri Gaurishankarji, Pt. Shri Hazarilalji, and Pt. Shri Sunderlal ji
Gangani and his family members. His two sons, Shri Harish Gangani and shri
Jagdish Gangani are the youngest artists of this gharana.they are serving in the dance
department of the FPA of the M.S.Uni of Baroda.

BANARAS GHARANA: It is also known as the Janki Prasad Gharana. It is a

branch of the Jaipur Gharana. The bols of pure dance (nritta) is used instead of the
bols of other percussion instruments like the Tabla and the Pakhawaj. In this gharan
they strike 6 times for ‘tigdha dig dig’ for more accuracy unlike other gharanas who
strike only 4. Satvika bhav is predominant in this Gharana, and piousness in bhaav
and perfect tatkar and chakradars are a speciality of this gharana. Janki Prasad ji,
Heeralalji, Ganesh Prasadji, Gopal ji, Hanuman Prasadji, Krishna Kumarji, and
Ashok Maharaj are the main Gururs. of this gharana. Sitara Devi and Gopi Krishna
are the main artists of this gharana.
 12

MADHYAMA PRATHAM

[IVTH YEAR]

75 MARKS:

TIME: 2:30 HRS.

QUE 1: GIVE THE NAMES AND THE ORDER OF PRESENTATION OF THE

ITEMS PERFORMED IN KATHAK DANCE PROGRAME.

ANS 1: Kathak dance is a classical dance form of North India specially form Benaras,
Luknow and Jaipur. The items of Kathak dance performance is divided into two
parts.:

i) NRITTA: PURE DANCE

ii) NRITYA: EXPRESSIONAL DANCE OR ABHINAYA.

In Nritta there is no certain meaning of items but the beauty and enjoyment of
various body movements with taal and laya. In this, the artist moves his/her body in
various layakari and taal. The another item is Nritya, in which Abhinaya is
predominant. The artist shows the meaning of the words sung or spoken by the Guru
or the Singer with body movements, facial expression and Satvik Abhinaya.

The items of PURE DANCE (NRITTA) are as follows: Thaat, Tihai, Amad, Paran,
Tukda, Mikhda, Toda, Chakradhar Toda, Parmelu, Tatkar, Palta, Tarana etc.

The items of EXPRESSIONAL DANCE(NRITYA) are as follows: Pad, Bhajan,

Shloka, Vandana, Stuti, Ashtapadi, Thumribhaav, Gatnikas, Gatbhav.

Before starting dance performance, the lehra(Nagma) is played on the Harmonium or

Sarangi. Followed b the Uthaan or tihai by the Tabla player ending on sum. Then
after the dancer comes on the stage and obtains blessings from the Guru, other artists
and audiences and stands with basic mudras of dance.

Dance performance starts with shloka, devstuti, and vandana. After this ganesh
vandana or shiv vandana is performed then after the first item of kathak dance
named thaat is performed. After this aamad salami toda, natwari tukda, paran,
parmelu, kavita toda, gat nikas, gat bhav, ashtapadi, tarana, pad, bhajan, thumri
bhav, tatkar etc are performed. This is the way of presenting kathak dance items one
by one. In this way in between Mukhda, Tukda,Tihai,Real, chala Parna judi Amad,
Adilaya toda, chakkardar toda, dumdar toda bedam toda are also performed. This
dancer does the padhant of the toda and then performs , this is the speciality of
 13

kathak dance. Some times there is jugalbandi (duet competition) between the tabla
player and the dancer.

In Abhinaya(Nritya) portion – In gatbhav, like makhanchori, panihari, matkifod,

draupadi cheerharan, kaliya mardan etc. are also performed. In Gatnikas, murli,
ghoonghat, are performed. In bhajan, and Pad of various poets like Surdas ,tulsidas,
meerabai etc are performed. The thumri bhav is also performed in Abhinaya, which
are written by various gurus like Sunderlalji Gangani, Pt. Bindadeen maharaj.The
kavita toda based on Krishna lila and shiv tandav are also performed.

Thus the complete dance performance ends after doing all these items of Nritta and
Nritya in kathak dance.

QUE:2: COSTUME AND MAKEUP OF KATHAK.( MUGHAL, RAJASTHANI,

ANCIENT AND MODERN)

ANS:2 In any dance form the importance of makeup and costume is unique. The dancer
wears costumes and applies makeup according to the role he/she is going to perform.
The dancer should wear the costumes according to his/her dance styles so the
performance becomes more comfortable and convenient.

In kathak dance there is a variety of costumes that can be worn according to the time
like, Prachin(ancient), Arvachin(modern), Mughal, Rajasthani etc.

ANCIENT TIMES:

In ancient times the dancers wore dresses like that of Krishna and Radha. The male
dancer wears silk pitamber (yellow coloured dhoti), the upper part of the body
remains bare. The green coloured Pataka(turban) is also worn. The necklace of
pearls, bajubandhs(armlets), golden bangles, kundal( earrings), the peacock
feathered crown is also worn on the head. The female dancer wears Chaniya Choli,
Dupatta, bajubandh, kangan, earrings finger rings, necklace, ghunghroo, tika or
damni is also worn on the head. This costume resembles to that of Radha’s costume
of ancient times.

MUGHAL PERIOD:

During the Mughal period, there came a tremendous change in the costumes of
Kathak. The male dancer wore long kurta. Jacket of half sleeves which has golden
embroidery, a long cap on the head, churidar pyjama and dupatta. The female dancer
wears long frock, churidar, jacket, cap and a dupatta. The ornaments like necklace,
earrings, bangles, the moon shaped ornament on the head called Zapaka, which is the
speciality of the Mughal period are also worn by the female dancer.
 14

RAJASTHANI PERIOD:

During the Rajput period, the male dancer wore, churidar pyjama, transparent
angarkha(kurta), pataka (cloth). In ornaments he wore necklace, earrings,
bajubandhs, paghdi or safa(feta) or dulappi cap.

The female dancer wore the costumes of three types (i) saree, (ii) chaniya choli, (iii)
frock and dupatta. In ornaments she wore necklace, earrings, nathni or nose ring,
bindi, bindi or bamani on forehead. Ghunghroo are mandatory for both the male and
female dancers.

MAKE UP:

Make up is not given too much importance like in other classical dance styles. The
dancer applies foundation and pink powder on the face. Kajal is used to make the
eyes look larger and expressive with eyebrow pencil. Lipstick, blushers and bindi are
commonly used.

This is the traditional costume and make up of kathak dance. In modern times much
changes can be seen in the costumes and make up of kathak dance. There is no
rigidity in costumes and make up. The dancer chooses the costume according to
his/her will and wish. In dance drama(ballet) the dancer wears costume and make up
according to the theme and role he/she is performing.

QUE:3: THE MUSIC, INSTRUMENTS AND POETRY (LITERATURE) ETC. USED

IN KATHAK DANCE.

ANS:3: Kathak dance is very ancient classical dance style of North India. In this dance the
Hindustani Music system is used. The North Indian languages like Hindi, Vraj etc
are used in Kathak. Sanskrit language is also used at times. The ragas used in
Hindustani music system is used like, Kafi, Bhupali, Desh, Bhairavi, chandrakauns,
Khamaj, Pilu, Malkauns, Zinzoti, Tilakkamod, Bageshri etc in abhinaya items. The
taal used in kathak dance are trital, jhaptal, rupak, deepchandi, dadra, ektal, dhamar,
sawari, shikhar, ganesh, rudra taal, raas taal etc. The instruments used in Kathak
dance are Tabla, Pakhawaj, Sarangi, Sitar, Sarod, Bansuri, Cymbals, and
Harmonium. In present times the dance drama is also performed so according to the
theme of the dance the modern electronic instruments are also used to produce
special effect and meaning of the theme of the dance. It will be more appropriate and
effective if the raga is chosen according to the time of the dance performance.

The literature of our ancient poets like Surdas, Tulsidas, Meerabai, Chandidas, Kabir
etc are used in the Bhajans, Pads, Ashtapadis, Shlokas etc. Also thumries of various
 15

poets and revered Kathak dancers like Pt. Sunderlalji Gangani of Jaipur gharana, Pt.
Bindadeen Maharaj and Pt. Birju Maharaj of Luknow gharana etc are widely used.

Krishnalila, Shivtandav, Ramlila, Dashavtara, Ashtapadi of the Geetgovind,

description of various devas and praise of lords are the main themes of the abhinaya
items in kathak dance. In Krishnalila stories of the makhanchori, panghatlila,
matkiofod, kaliamardan, draupadi cheerharan, raaslila etc are performed. Raamlila,
Shivtandav, Ashtanayika, Nayak-Nayika bhed, are also widely used in the abhinaya
items of Kathak dance.

QUE: 4: GIVE INFORMATION ABOUT THE FOLLOWING ARTISTS.

ANS: 4: a: PANDIT SUNDERLALJI GANGANI:

Pt. Sunderlalji Gangani hails from Sujangadh, Rajasthan. He is the son of the well
known Tabla player Shri Satyanarayan ji. He took training of kathak dance from
Shiv Narayan, Jagannath, Sunderprasad ji, Hazarilal ji, Gaurishankar ji. He is a well
known and a genius guru, dancer and a table player of Jaipur gharana. He is a master
of layakari. Beauty in dance and perfection in technique are his special traits. He has
also composed many todas, tihais tatkars etc. His poetic genius can be seen in the
numerous kavitas, thumaries, ashtapadis, ghazals, bhajans and pads that he has
composed which are valuable asset for the students of kathak. He is also an expert
table player and a member of the AIR for table playing. He has given dance
performances in various parts of India as well as abroad. He has been awarded
various prestigious awards by the governments of Gujarat and Rajasthan. His
students are settled all over India and abroad and are propagating kathak dance. He
left his native place and migrated to Gujarat in Baroda for the development of
Kathak dance. The position that kathak dance enjoys today in Gujarat is due to the
untiring efforts of Sundarlalji. He served as a guru in dance in the faculty of
performing arts of Maharaja Sayajirao University of Baroda and retired as a Reader
in Dance in 1989. In his long tenure from 1951 to 1989 he not only taught to many
students but also propagated kathak dance in Gujarat, India and abroad by various
dance performances. His students are settled in various places in India and abroad
and are taking his noble cause further. Even after retirement he is still active in his
noble cause. His sons, shri Harish Gangani and Shri Jagdish Gangani are also expert
dancers, tabla players and choreographers. They are rendering their services in the
faculty of performing dance M.S.University.

Pt. Sunderlalji Gangani has received the prestigious President Award of the Govt. of
India. Recently Panditji launched a set of 2 CDs: - (i) Sunder Kathak Katha. (ii) Heri
Sakhi for devotional songs and thumaries, which is a valuable asset for dance
students.
 16

b: SITARA DEVI:

Sitara Devi was born in 1927 on the auspicious day of Dhanteras in Kolkata and so
her father called her Dhanna. (Her nick name was Dhanna). Her father, shri Sukhdev
Mishra was a well known artist of the court of Nepal. Sitara devi started her dance
training at the age of 12 years from shri Shambhu Maharaj. She also learned Bharat
natyam, Manipuri, and Kathak. She has performed extensively in India and abroad.
Gave many performances in Europe and Africa. She has also acted in a film named
“USHAKIRAN”. She has record of dancing continuously for 11 hours. She is a great
dancer of Banares gharana. Her two sisters Tara devi and Alaknanda and two
brothers Pande Maharaj and Chaube Maharaj are also expert dancers. Sitara devi got
inspiration for dancing from Shantiniketan. Ravindra nath Tagore gave her the title
of Kathak Queen. She is also a proud recipient of the prestigious Padmashri award of
the govt. of India.

c: BIRJU MAHARAJ:

Shri Birju Maharaj is one of the most well known and popular dancer of kathak. His
real name is Brij Mohan Mishra. He is the son of the most renowned guru of
Luknow Gharana, Shri Achchan Maharaj. Birju Maharaj started his training of dance
at a very early age from his father. He gave his first dance performance at the age of
7 years which was very successful. His father died when Birju Maharaj was 10 years
of age.

After his father’s death, Birju Maharaj took training from his two uncles, Shambhu
Maharaj and Lachchu Maharaj. Birju Maharaj is appointed as the Dance Teacher at
the Delhi Kathak Kendra. He has choreographed many ballets like Kumar Sambhav,
Malti Madhav etc.. He has widely performed all over India. Govt of India also sent
him as a representative of cultural events in foreign countries which made him
famous all over the world. His command over taal and laya is tremendous. He also
plays Tabla, Dholak and Pakhawaj with ease. And sings thumri very well. He
received the Padma Vibhushan from the Govt. of India, Kalidas Puraskar from the
Govt of Madhya Pradesh, and the Nehru Fellowship from the Soviet Union. His
contribution in the development of the Luknow gharana tradition of Kathak dance is
noteworthy. He retired from the Delhi Kathak Kendra a few years back but is still
active in the field of dance.
 17

e: KUMUDINI LAKHIYA:

Kumudini Lakhiya was inspired by her mother since childhood to learn dance and
music. Kumudini Lakhiya took training of music from shri Narayandas Vyas and
training of dance from Mohan Prasad ji. She also took training from Jankiprasadji
and Radhelal Mishra ji. She met Komaltadatta and with her joined Ramgopal’s
dance troupe. Shetoured extensively in Sweden, Denmark and America and gave
dance performances. She met Mr. Lakhia in London and married him. She also took
training of kathak from gurus like Birju Maharaj, Sunderprasadji, Shambhu Maharaj
etc.. Now she is running a dance institution named KADAMB. She is a committee
member of dance department of Gujarat state.

f: GOPI KRISHNA:

Gopi Krishna is popularly known as “DANCE SAMRAT”. Born in the family of

musicians he received art in heritage. He hails from the family of Pt. Sukhdev
Mishra. He was the brother of Sitara Devi. His initial training started under the able
guidance of Pt. Sukhdev Mishra. He also took training from Shambhu Maharaj. Born
on 22nd August 1934 in Kolkata Gopi Krishna is one the most outstanding exponents
of Banares Gharana of Kathak. Gopi Krishna also learnt Bharat Natyam from
Govind Raj Pillai and Maha Lingam Pillai. Gopi Krishna’s main interest was in the
use of classical dancing in Indian films. His first film success came with Janak Janak
Payal Baje and his role in the celebrated film gave a new dimension and new status
to classical dancing. He received many honours like NATRAJ in ALL BENGAL
MUSIC CONFERENCE. He was honoured with the title of Dance Samrat in the
Prayag Sangit Samiti Allahabad. He toured extensively in East Africa and Western
countries. He has composed a number of solo kathak ballets. He gives a brilliant
demonstration of the same rhythm in three percussion instruments namely table,
pakhawaj and chanda. He is well known for his tandav style of dancing.

g: ROSHAN KUMARI:

Roshan Kumari, daughter of the celebrated Pakhawaj player Shri Fakir Muhammed
and a noted play back singer Begum Joharjan of Ambala received music in heritage.
She took her formal training of dance from Shri K.S. More and shri Gyanshankar.
She then learned kathak under the tutelage of Shri Sunder Prasadji. She also learned
Bharatnatyam from Govind Raj Pillai and Shri Mahalingam Pillai. She performed
extensively throughout India and abroad and earned high acclaim for her
performances. She also worked in Hindi films like Jalsagar, Warris, Basant Bahar,
Parinita, Jhansi ki Rani, Aulad, Mirza Ghalib etc.. Her dance is marked with the
 18

characteristic rigour and perfection in execution of the Jaipur Gharana. She runs a
dance institution in Mumbai. She received the Padmashri from the Govt. of India

QUE: 5: INTRODUCTION OF SEVEN CLASSICAL DANCES OF INDIA IN SHORT.(

WITH REFERENCE TO ITS REGION, ORIGIN, COSTUMES, MAKE UP,
MUSIC, INSTRUMENTS, NRITTA-NRITYA ITEMS, GURUS, ARTISTS
ETC.)

ANS: 5: (i) BHARATNATYAM:

It is classical dance style of South India especially from the TamilNadu region .
The main gharanas of this dance style are Adyar, Tanjore, Chidambaram,
Vazahuvur, Pandanallur, Melatur, Mysore, Kuttalam etc. This dance style follows
the Natyashastra tradition. In ancient times this dance was performed only by
women who were called the Devdasis. Devadasi means, ‘servants of gods’. She used
to dance before the lord at the time of the Aarti in the temples. The dance training
was given by males who were known as gurus or Nattuvanars.

The language used in BN is particularly Tamil. However Sanskrit, Telugu, and

Kannada are also used. The karnatic music system is used which is also called the
south Indian music system.

Taalam (cymbals), mrudangam, violin, veena, venu (flute), Ghatam (pot) Morsang
etc. instruments are used in BN.

The NRITTA items in BN are , aadavus, allaripu, jatiswaram, tillana and mallari.

The NRITYA items in BN are, padam, shabdam, shlokam, varnam, javali, kautvam
etc.

COSTUMES AND MAKE UP: The costume of BN constitutes of a kanjivaram

saree, traditional temple jewellery and heavy make up.

GURUS: Shri Chinnaiya Pillai, shri Pornia Pillai, shri Vadivelu Pillai, shri,
Shivanand Pillai, shri Minakshi Sundaram Pillai, Guru Kittapa Pillai.

ARTISTS: Late Smt. Bala Saraswati, Late Smt. Rukmini Devi Arundale. Shri V.P.
Dhananjay, Smt. Shanta Dhananjay, Prof. C.V. Chandrashekhar, Yamini
Krishnamurti, Smt Geeta Chandran.
 19

(ii) KATHAKALI:

The word Kathakali is made up of 2 words – Katha + Kali. Which means the art of
story telling. The form of this Kathakali is that of a Drama (natya). In ancient times
KK was performed on stage called ‘KUTHAMBALAM’ which was outside the
temple. The KK dance is from South India especially from Kerala and Malabar.

In ancient times KK was performed only by male dancers. The female characters
were also played by males. The languages used in KK are predominantly Malyalam
and Sanskrit.

The Karnatic music system is used however KK has its distinct music system which
belongs to the state of Kerala called the ‘SOPANA SANGIT PADDHATI’ is used.
The main instruments used in Kathakali are Chenda, Maddalam, Taalam. The string
instruments which give SUR are not used in KK. However there is one vocalist and
the rest follow him in chorus.

NRITTA items constitute of Kalasham ,Todayam etc.

NRITYA/NATYA items constitute of Ramayan, Mahabharat, Nalcharitam, Putna

Moksham.

GURUS: Mahakavi Vallathol, Guru Shri Kunju Kurup.

ARTISTS: Guru Gopinath, Guru shri T.T. Raman Kuttynayar.

COSTUMES: The costume is the most distinctive characteristic of Kathakali. 

The makeup is very elaborate and the costumes are very large and heavy.There are
several kinds of costume.  There are: Sathwika (the hero), Kathi (the
villain), Minukku(females), and Thatti.  These basic divisions are further
subdivided in a way which is very well known to Malayali (Keralite) audiences. 
Each character is instantly recognisable by their characteristic makeup and
costume.The makeup is very elaborate.  It is so elaborate that it is more like a
mask than makeup in the usual sense.  The materials that comprise the makeup is
all locally available.  The white is made from rice flour, the red is made from
Vermilion (a red earth such as cinnabar). The black is made from soot. The
colours are not merely decoration, but are also a means of portraying characters. 
For instance, red on the feet is used to symbolise evil character and evil intent.
 20

(iii) MANIPURI:

Manipuri dance style originated from eastern part of India in the state of Manipur
from where it gets its name. The origin of Manipuri dance is from the folk arts of
Manipur like the LAI HAROBA, RAS LILA, KIRTAN, KHUBAKAISHI,
CHOLAM etc.

The languages like the Maithili, Asamese, Martai, Sanskrit, vraj etc are widely used
in this dance form.

The music of Manipuri is basically taken from the folk music of Manipur region.
There is an influence of both Hindustani music system and Karnatic music system in
this dance form. At times Ravindra sangeet is also used.

Instruments like Dholak, pung, thiabang, khol, pakhwaj, khanjari, cymbals, kartaal,
shankh, esraj, pena are used.

Manipuri like other dance styles of India was predominantly a temple art, but has
now reached the prosceniums as well. This dance is performed by both males and
females. Raaslila is performed by females where as kirtan and cholam are performed
by males. Lai haroba and Khuba – Khaishi are performed by both men and women.

NRITTA items include pareng, chali, chati, chalan and sung kirtan.

NRITYA items include nartan, darshan, abhisar,jugal nartan, ashtapadi etc.

COSTUME AND MAKE UP: Traditional make up and costume of Manipuri dance.

GURUS: Guru shri Bipin Singh, Guru shri Amubi Singh, Smt Suryamukhi Devi.

ARTISTS: Jhaveri Sisters – Nayana, Darshana, Ranjhana, Preeti Patel, Reeta Devi,
Latashana Devi.

(iv) ODDISI:

Oddisi originated from the south eastern region of Orissa. Odissi dance was
predominantly as other dance styles a temple art. The dance has a deep influence of
the Geet Govind, Pattachitra and the temples of Orissa. Odissi dance was only
performed by females who were temple servants called the MAHARIS. The male
artists were known as Gotipuas who used to dance in the dress of a woman only.
Now a days they both prefer dance in separate forms.

Oriya or Udiya and Sanskrit are the commonly used languages in Oddisi dance.
Hindustani music and folk music of Orissa are widely used in Odissi Dance
 21

performances. Instruments like the Brahma Veena, Tung gesh, Pakhawaj, Chang,
Chitiri, Sarngi etc are used.

In ancient times Odissi dance was performed in temples at the time of Rathyatra of
Jaggannath ji and at the end of the village but today it is performed on stage.

NRITTA items include Tarizam, Moksha ,Battu nritya, pallavi etc.

NRITYA items include Urmigeet, Ashtapadi etc.

NRITTA-NRITYA items include, manglacharan, bhumi pranam, rangmanch

pravesh.

GURUS: Guru shri Kelucharan Mahapatra, Guru Pankaj charan das, Guru
Gangadhar Pradhan, Guru Debu Prasad Chaudhari.

ARTISTS: Late Smt Pratima Gauri, Late Samyukta Panigrahi, Smt Kumkum
Mohanty, Kiran Sehgal, Sujata Mohapatra, Sonal Mansingh etc.

(v) MOHINIATTAM:

Mohiniattam is belongs to the Malabar coast of India. It is a classical dance style

from the state of Kerala and the Malabar coast. This dance has its origin in the folk
art of KAIKUTTIKALI. This dance can be regarded as the female counterpart of
KATHAKALI. Unlike kathakali, mohiniattam is performed exclusively by women.

Languages used are mainly Malyalam and Sanskrit. At times Tamil is also used.
Karnatic music system and the Sopan sangit padhati is used. Instruments used are
chenda, maddalam, edaka, flute, tanpura, veena, violin etc. this dance as the other
dances was also mainly performed in temples. However now it has made a journey
to the prosceniums as well.

NRITTA items include, chollukuttu, paghattam, jatiswaram, tillana etc.

NRITYA items include padam, varnam, shlokam, ashtapadi.

COSTUMES AND MAKE UP: There is a typical costume for Mohini Attam.  It is

generally simple and white, or off-white.  Usually there is a gold brocade, possibly
with a border of red.  One of the most characteristic signs of the Mohini
Attam dancer is the bun of hair worn off-centre.  This is very much a characteristic
of women from Kerala.

GURUS: Late Kalyani Kutti Amma.

ARTISTS: Dr. Kanak Rele, Smt. Bharti Shivaji.

 22

(vi) KUCHIPUDI:

Kuchipudi is a classical dance style from the state of Andhra Pradesh in Southern
India. The origins of this dance form can be traced to the folk arts of
KUCHELAPURAM like the KURUVANJI and the BHAGVAT MELA
NATAKAM. Originally this dance was performed only by men in the costumes of
women and this is the unique characteristic of this dance style. However now it is
performed both by men and women and men do not dress any longer like women.

The languages used are Telugu and Sanskrit and the Karnatic music system is used.
The main instruments used are mrudangam, ghattam, veena, taalam, flute etc.

In ancient times this dance was performed in the precincts of temple or the outskirts
of the village by erecting a stage. However like other dance styles of India today this
dance has also travelled to the prosceniums.

NRITTA items include purvaranga,tillana, swarjati, salamjati, kautvam balgopal.

NRITYA items include shabdam, dashavtara, tarangam etc.

NATYA ( DRAMA) items include, bhamakalapam, prahlad charitam, usha

parinayam, bhasmasur vadham.

COSTUMES AND MAKE UP: Traditional costume and make up of Kuchipudi

dance.

GURUS: Guru Vempathi Satya Chinnai, Guru Vedant Satya Narayan Sharma.

ARTISTS: Swapna Sundari, Raja Radha Reddy, Shanta rao.

(vii) KATHAK:

Kathak dance originated from the temple dancing tradition of North India, especially
from Rajasthan, Luknow, and Banares. Kathak dance has 3 main gharanas namely,
Jaipur, Lucknow and Banares. In ancient times kathak was performed in temples by
a caste known as the KATHAKS who were story tellers in temples. And the name
kathak was given to them because of their profession, they used to tell religious
stories (kathas) in temples.

The main languages used in this dance are hindi, vraj and Sanskrit. Urdu is also used
and the Hindustani music system is used which is popularly known as the Uttar
Hindustani Sangit Padhati. The instruments used are Tabla, Harmonium, Sarangi,
Pakhawaj, Sitar, Flute etc.

NRITTA items include, tatkar, toda, tukda, paran, aamad, tihai, palta, tarana etc.
 23

NRITYA items include Ganesh vandana, kavita, thumri, gatbhav, pad, bhajan,
ashtapadi etc.

MAKE UP AND COSTUME: mainly mughal and rajasthani costumes are used and
the make up unlike other dance styles remains very light.

GURUS: Pt. Bindadeen Maharaj, Pt. Shri Sundarlalji Gangani, shri Shambhu
Maharaj, Lachchu Maharaj, Pt. Shri Sundarprasad ji , Pt. Jailal ji, Pt. Janaki Prasad
ji, Pt. Gaurishankar ji.

ARTISTS: Madam Menka, Sitara devi, Pt. Birju Maharaj, Late shri Gopishankar,
Late smt. Damyanti Joshi, Smt. Kumudini Lakhiya.

NOTE: the detailed information on the history, origin and gharanas of kathak
is given in the theory of praveshika pratham and praveshika purna.

QUE : 6 WRITE SHORT NOTES ON:

ANS : 6 (i) KAVITTA/KAVITA TODA:

Kavitta is a poetic composition set to taal. The metres used usually are ‘swaiya’ and
‘ghanakshari’.Very often some dance syllables are affixed to it. The meaning is
interpreted by various gestures while the laya is marked through feet. Though
abhinaya is evident in these compositions it is classified under the NRITTA category
because the rhythmic part is predominant. But there are others who opine that it can
be placed under both the heads that is under both NRITTA and NRITYA.

(ii) GAT BHAAV: Gatbhaav is one of the most suggestive and impressive item of
Nritya(abhinaya) of kathak. In this item the dancer takes a theme or a story or an
episode and interprets it through mime. It has no song or recitation but only
suggestive and allusive facial expressions and stylized movements of the body(hands
and feet) and stances make it impressive. In this, the dancer himself/herself performs
all the roles of all the characters of the theme or the story. This item is done in drut
laya. The theme taken in gatbhaav are like. Makhanchori, matkiphod, panghatleela,
draupadi cheerharan, kaliyamardan, hori, sitaharan, govardhanleela etc.

(iii) THUMRI:

Thumri is the richest part of abhinaya in kathak. The dancer interprets the word and
the nuances of the word as interpreted through the vocal rendering of the thumri. The
singer can present several variations and the dancer can also execute as many
variations in the content. It is only through the movements of the eyes, the hands, the
eyebrows that the dancer presents the entire gamut of the emotions and feelings
 24

possible for a particular sthayi bhav. This demands greater imagination on the part of
the dancer who has to represent many analogies and images through movement.
One of the richest parts of the abhinaya is the thumri. This is a musical composition
that is the base for a Kathak dancer's abhinaya. This item deals with the nature of the
nayika or the situation of the nayika. The word thumri came from the word Thumak.
The shringara rasa is predominant in this item. This is a nritya item,in which a same
line is enacted number of times in different sanchari bhavas . This is mainly sung in
Khamaj, Pilu, Kafi, Desh, Jhinjhoti, Bageshri ragas and is mainly composed in
Teental, Deepchandi, Dadra taal.

(iv) TARANA: Tarana is one of the singing styles of North Indian music and there
is no meaning attached to its syllables. These syllables are called ‘shuskakshar’ or
‘stobhakshar’. This is classified under the nritta category of kathak. This is either
performed in Madhya or drut layaand is very impressive. There is much similarity in
tarana and the tillana performed in the Karnatic music style.

(v) PAD: the feet of the song or the fourth or the final part of the song is called a
Pad. It is devotional in nature.

(vi) BHAJAN: this is related to gods and goddesses or a devotional song. the praise
of gods is a peculiar characteristic of this item and is categorized under nrtiya in
kathak dance.

(vii) ASHTAPADI: Ashtapadi is a very precious gift of the 12 th century work of

Geet Govind by Kavi shri Jaidev. The poet composed poems of 8 padas which is
called the Ashtapadi. This work has a beautiful description of the raaslila of Radha,
Krishna and the Gops and Gopis. There are around 24 ashtapadis. Ashtapadis are
performed in all the dance styles of the India. Any poem that has 8 padas in it is
called an ashtapadi.

(viii) PARAMELU: The term ‘parmelu’ is composed of the two words: “ Para” and
“Melu”. ‘para’ meaning different and ‘melu’ meaning union. The paramelu pieces
are composed by cleverly blending the sound syllables of various percussion
instruments such as nagara, pakhawaj, jhanj, manjeera, taasha, dapha etc. with
natwari boles. The sound syllables have however become conventional and some of
these are thari, kyku, jhanaka,divanga, dhilanga,jhangara,jagajaga,thudunga etc.

(ix) NATWARIBOLE TODA: natwari is an epithet of Lord Krishna which means

‘the best among dancers’. It is a belief that when natwar subdued the monster serpent
kaliya and danced on its hoods the sounds ‘ ta, thai and tat’ were produced. It is
perhaps due to this belief that all boles composed of these syllables and their
derivatives such as, ‘digidigi, tram, tigdha etc. are classified are classified as natwari
by katak masters.
 25

(x) THAATA: Thaat in general means, decoration or graceful attitude. These

attitudes or postures are taken (thaat bandhana) before the amad. Thaat is used in
another sense also as ‘thaat ka baratna’. In this the dancer stands with one hand held
to the side and the other highand aloft, and moves his eyes, eyebrows,neck,
shoulders, arms, chest and wrist to the accompaniment of the rhythm played on the
table.

(xi) AAMAD: Aamad is a Persian word which means advent or coming. This piece
is danced in the beginning of the performanceand is composed of a characteristic
pattern of Natwari boles and hence is classified separately as Aamad.
 26

MADHYAMA PURNA

[VTH YEAR]

75 MARKS:

TIME: 2:30 HRS

QUE :1: THE MYTHOLOGICAL STORY OF ORIGIN OF DANCE.

ANS : 1: The origins of Indian dancing can be traced to the most ancient scriptures of India.
Hindus believe that everything in this universe has originated from some super
power that they call GOD, thus it is obvious that they believe that dancing also
originated from the gods and goddesses. According to our scriptures it is believed
that the art of dancing was created by Lord Brahma who created this universe. When
other gods and goddesses once approached Lord Brahma to give them something
which could be seen and heard and by which they can pass their leisure time in a
good way, Lord Brahma agreed with them and he took good elements from all the
four Vedas which were already in existence and created a 5 th Veda called the
NATYAVEDA.

He took lyrics from Rig-Veda, music from Samveda, abhinaya from Yajurveda and
rasa from Atharvaveda and thus created the Natyaveda. Lord Brahma asked Indra to
present it on stage. Indra trusted sages more than gods so he gave this Natyaveda to
Bharatmuni and asked him to propagate with the help of his 100 sons. With the help
of Gandharvas and Apsaras, Bharatmuni presented this in front of Lord Shiva, and
pleased by the performance Shivji in turn asked his Disciple Tandu to teach
Tandava. Also Parvati taught Lasya to Usha, daughter of Banasur who was married
to Lord Krishna’s great grand son, and so this dance form came to Dwarika and she
taught this to the gopis of Dwarika and this is how Dance came to this world and
from there it spread to the entire world.

Bharat muni asked to prepare such a programe to be presented in front of Lord

Brahma in which there is a victory of the Devas and the defeat of the
asuras.Vishwakrama, the architect of the Gods prepared a stage and the play of
Samudramanthan or amrutmanthan was performed in which the asuras were shown
defeated by the devas. Asuras were furious at this and started creating disturbances.
On asking for the reasons of these disturbances by Lord Brahma, the asuras replied
that why were they shown defeated in this play? Then Brahmaji explained the deeper
meaning of the Natyaveda, and said this Natya is not merely an instrument for the
entertainement of the Devas and the asuras, it symbolizes the three wolrds. Natya is
created to present happiness, sorrows, bliss, humour, peace, war, righteousness etc
through abhinaya. People who are righteous in their life get the benefits of this art. It
 27

is created to increase enthusiasm in the warriors and to inculcate values and increase
knowledge; it gives pleasure and happiness to people who are sad. Thus natya is for
everyone without the discrimination of class, creed or race.

QUE : 2: GIVE INFORMATION OF THE DANCES OF SHIVA AND KRISHNA.

ANS : 2: DANCES OF KRISHNA:

Lord Krishna is linked inseparably with the art of dance and music. He is known as
‘NATWAR’. Dances of lord Krishna are world famous and Krishna lila is one of the
items of the abhinaya in kathak. Two of Krishna’s dances are very famous and they
are:

(a) KALIYA MARDAN. (b) RAASLILA.

KALIYA MARDAN:

Lord Krishna always used to play with the gwalas of vrindavan on the banks of the
river Yamuna. One day he came to know that there lived a very poisonous and
dangerous serpent called Kali in the river and it harasses the people and poisons the
water of the river. And the gwalas had also complained about this to Krishna.

Once Krishna was playing the game of ball with the gwalas on the banks of the river
and all of a sudden the ball fell into the river. But because everyone was scared of
the serpent nobody dared to go into the river and fetch the ball. Then Krishna
jumped into the river and asked Kali naag to at once leave the river and go
elsewhere. Seeing such a small boy behaving in such a manner, kaali naag was angry
and a fierce battle took place between kali naag and Krishna. The wives of kali naag
saw that kali naag will be defeated and hence they urged Krishna not to kill kali naag
and to forgive him. But Krishna knew that leaving kali naag like this would be
dangerous and so he beat the kali naag and made him helpless and took him out of
the river and danced on its hood. While dancing on the hood of kali naag, syllables
like, ‘ta, thai, thai, tat, tram thai, tigdha, dig dig’ etc emerged. On seeing the victory
of Krishna over kali naag, the shepherds became very happy and showered flowers
on Krishna. This is the tandav type of dance of Krishna and is known as KALIYA
MARDAN.

RAAS LEELA:

Raslila or rasmandal is one such dance which was very favourite to Krishna. On a
moonlit night, Krishna would dance with the gopis on the banks of the Yamuna. This
is known as the raasmandal or the raaslila.
 28

We find many references of this dance in Sanskrit litereature, foremost is the the
bhagwat puran written by vyasji. In the 10th chapter of this purana a detailed
description is given of this beautiful dancing.

On a moonlit night, as soon as the moon appears on the horizon, Krishna would play
his flute and listening to sweet melody, gopis would leave everything and run to
Krishna on the banks of the Yamuna and would dance all night. This is known as
raaslila or the raasmandal.

Shri Krishna is the lead dancer and would dance with each of the gopis. Each gopi
would feel as if Krishna is dancing with her only. The gopis would be engrossed in
the dance and would dance all night forgetting, hunger, thirst etc, and would enjoy
the ecstasy of the dance.

DANCES OF SHIVA:

According to Hindu mythology, Shiva is the third in the trinity of Gods. He is the
remover of all the obstacles.

Mainly there are four features seen in his dancing:

1: Shrishti – creation

2: Sthiti – maintenance

3: Sanhara – destruction

4: Anugraha – blessing

5: Moksha – salvation

There are 108 types of Tandavas. In mythology, we find references of 64 types of

dances performed at 64 different religious places. Out of it 7 are the most important
which are Anand, Urdhava, Uma, Gauri, Sandhya, Tripur, and Sanhara tandavas and
they all speak about different stories of Shiva.

1: ANANDA TANDAVA: This dance was performed at Tillai (ancient name of

Chidambaram). Shiva came to know that there are many fraudulent saints who for
their own vested interests propagate false practices in the name of religion. To
rectify this Shiva along with Vishnu went in disguise – Shiva as a humble saint and
Vishnu as Mohini. The saints were attracted towards Mohini and the wives of the
saints towards the humble natured saint and they started fighting among themselves.
Soon the saints realized who this humble natured saint and mohini were and they
 29

tried to kill them. The saints created a lion but Shiva killed the lion and wore the skin
around his waist, the saints created a serpent, and Shiva decorated on his neck, then
the saints created a short demon, but Shiva killed the demon and with his one feet on
the demon danced on it. The fraud saints were defeated and Shiva danced in
happiness and this is called the Anand Tandav.

2: URDHVA TANDAVA: Again in the Tillai region, there were 2 temples one of
Shiva and one of goddess Kali. It is believed that once Shiva visited Tillai to bless
sage Patanjali and other devotees. But goddess Kali did not permit Shiva to enter
into Tillai and Shiva did not want to go back without giving the blessings on one
hand and also he did not wanted to upset Kali. To bring a solution to this he
proposed Kali to have a dance competition and the one who wins shall stay and the
other should leave. Kali accepted this challenge. Shiva presented different dances
and so did Kali. Shiva realized that it would not be possible to defeat Kali in this
way and so he found a way where in he could defeat Kali. While dancing he lifted
his right foot and brought it to the leve of his forehead, Kali being a female could not
do this and accepted the defeat gracefully and left Tillai. This dance was thus termed
as Urdhva Tandave because of the lifting of the foot. This dance symbolizes the
power of both Shiva and Shakti.

3: GAURI TANDAVA: Lord Shiva dances with Goddess Gauri and that is why this
dance is called Gauri Tandava. It symbolizes the Tamasic power of Lord Shiva and
it was performed in the Graveyard with Shiva shown as having 10 hands.

4: SANDHYA TANDAVA: This dance was performed on Kailash Parvat in the

evening hours. It is said that when the sun is on the verge of setting and the day light
gets dimmer, Shiva dances with other gods like Vishnu, Brahma and goddess Laxmi.
He dances with all the divinity and inner expressions. The reason for this dance is
not sadness or fear of destruction, it is just danced for inner happiness and joy and to
wipe off all the worries and tensions.

5: UMA TANDAVA: Lord Shiva performs this dance with his consort Uma and
thus it is known as Uma Tandava.

6: TRIPUR TANDAVA: This dance was performed for destroying the demon
named Tripura. Here Shiva is portrayed as the destroyer of the evil power and onw
who makes the soul free from all the bonds.

7: SANHARA TANDAVA: This dance is also called as the dance of death. It is

performed in the crematorium. This symbolizes that just like the body is burned,
similarly all the worldly bondings should be burnt and the evil thoughts should go.
This is a fierce tandava where the dancing of Shiva symbolizes the destruction of the
evil forces of human mind like ego, jealousy, etc.
 30

QUE: 3: GIVE DEFINITIONS AND EXPLAIN THE FOLLOWING TERMS.

ANS: 3: (a): NRITTA: the pure dance form without any expressions and meaning is called
nritta Abhinayadarpan says, ‘bhavabhinayahinam nrittamityabhidhiyate’. There
is a predominance of taal and laya in nritta. Dashrupaka says, ‘nritta taal laya
aashrayam’. The various types of taal and laya are shown through body
movements such dancing is called ‘NRITTA’. There is no expression here, but the
graceful and swift body movements are its beauty and so it is also called ‘PURE
DANCE’.

NRITTA is considered to be the most ancient in all the art forms. The tandav of
shiva is also a nritta. Nritta is also useful in natya. It is considered auspicious and so
it is performed during coronation, child birth, house warming, marriages etc. In
kathak, that, toda, paran, tukda, mukhda, tatkar etc are the nritta items.

(b): NRITYA: is an amalgamation of the natya and nritta. It is full of rasa and
bhaava. Dashrupaka says, ‘anyadbhavashrayam nrityam’. Meaning nritya is based
on the expression of the bhaavas. To express the bhaavas with rhythmic body
movements is called NRITYA. Abhinayadarpanam says, rasabhaava vyanjan aadi
yuktam nrityam iti bhidhiyate’

Of all the three aspects of dancing that is nritta,nritya and natya, nritya is the most
attractive and the most difficult to learn and perform. This art is unique to India, you
will not find rhythmic expression of bhaavas in any other dance form of the world.
Since very ancient times this art of dancing is considered to be very important and
pious in India. On one hand it added to the glory of the courts of the kings whereas
on the other it was performed as a form of worship in the temples. Thumri, bhajan,
pad etc are the nritya items in kathak.

(c): NATYA: the general meaning of natak is drama. When an actor performs some
historical character and imitates his characteristics like the way he walks, he talks,
his costume and even his situations on stage is called NATYA. Simple imitation is
not considered NATYA; natya should include all the four abhinayas. In kathak,
gatbhav is a natya item. Abhinayadarpanam says, ‘natyam tannahakam
chaivpujyam purvakathayuktam’. Natya is an art form based on beautiful stories.
We express the feelings and emotions and bhaavas of the script in our own way
through abhinaya and through this we create interest in the spectators which is called
‘RASANISHPATTI’. Various emotions like, anger,love,happiness, sorrow,etc are
depictedthrough abhinaya.there are four types of abhinaya: (1) aangik, (2) vaachik,
(3) satvik, (4) aaharya.
 31

(d): TAANDAV: the dance performed by Shiva is called tandav. It is very vigorous
and is characterized by hard stamping of the feet. However, all dance forms which
have veer, bibhatsa, raudra and adbhuta rasas and is very fast and energetic and
vigourous is characterized as taandav. Syllables like dhadanna,
tadanna,thunga,dhetta, dhumakit etc are used in taandav. The Pakhavaj paran in
kathak is a taandav item.

In our ancient scriptures there are 7 types of taandav dances which are as follows:

1: AANAND TAANDAV: this was danced by Shiva in happiness and for the
betterment of the universe. The syllables of this tandav are very charming and sweet.

2: SANDHYA TAANDAV: this is danced during the dusk hours. Initially karun rasa
is depicted followed by raudra,bhayanak and bibhatsa rasas.

3: UMA TAANDAV: This is a duet dance by Shiva and his consort Parvati. This
dance depicts the love of a married couple and the syllables are very soft and the
laya is flowing.

4: GAURI TAANDAV: this is a dance form depicting a natural attraction of Shiva

towards Gauri. The syllables are soft and the body movements are also not that swift.

5: KAALIKA TAANDAV: this dance is done by kaali and Shiva to conquer all the
sins of this universe and to conquer the cruel elements from the universe. This dance
depicts the union of man and nature.

6: TRIPUR TAANDAV: this was performed by Shiva to kill the demon named
tripur. The syllables of this dance are either in aadi or biaadi laya.

7: SANHAR TAANDAV: when the bad element in this universe increase to an

unbearable limit, Shiva dances out of rage and anger with his 3rd eye open and burns
everything in his fire of rage. The universe is burnt and a new creation is manifested.
The syllables of this dance are harsh and the dance itself is vigorous. Raudra,
bhayanak and adbhuta rasa are predominant in this dance.

(e): LAASYA: the dance in which shringara, karuna etc rasas are predominant, and
is characterized by graceful body movements and is said to be proper for performing
by females is called laasya. The movements are very soft and graceful. It is
characterized by graceful movements of the neck, wrist, eyebrows, eyes etc. bhaavas
are also depicted very softly. The music is also very soft and soothing. Gat, thumri,
kavita toda, are some of the laasya items in kathak.

There are 3 types of laasya which are as follows:

 32

1: VISHAM LAASYA: here the dancer walks in a twisting pattern which could be
diagonal or circular and the body movements are also very twisting. This has to be
performed with utmost care to avoid any disgraceful movements of the body.

2: VIKAT LAASYA: the syllables of this dance are very difficult and there are
different types of pirouettes and chakkers in this. Special attention is paid towards
expression of bhaavas. The sound of the ghoonghroos and laya depict some
similarity with the taandav style of dancing.

3: LAGHU LAASYA: in this dance the heels of the dancer are lifted and the sound
of the ghoonghroos is produced by stamping the heels on the floor. Layakari is a
predominant aspect but the body movements are soft and graceful. Shringara rasa is
predominant and it is enjoyed most in the Madhya laya. The sound of the
ghoonghroos in a rhythmic pattern is very attractive in this form.

(f): MAARGI: In the 7th century Matang categorized music into two distinct
branches called ‘margi’ and ‘desi’ which we now know as classical and folk music
respectively.

Thus the music which is traditional and is set in the rules and frames and is
systematic and stylized is called “MARGI”. E.g kathak, bharatnatyam, kathakali etc.

In ancient times the tradition of music which was prevalent for the betterment of
cities and had patronage of the royal courts and was primarily for the elite class and
the traditions of Sanskrit drama and dance was termed as MARGI in the
natyashastra.

(g): DESI: In the 7th century Matang categorized music into two distinct branches
called ‘margi’ and ‘desi’ which we now know as classical and folk music
respectively.

The tradition prevalent in the different regions and states of the country and the
music which developed as a rituals and traditions of those particular regions and is
popular among common men is termed as “DESI” in the Natyashastra traditions.e.g
bhangra, ghoomar, garba etc. These arts are the representation of the regional
traditions and the common psyche of the people of different regions in a very artistic
manner and this is called desi.

(h): DHARMI: the word DHARMI generally means fulfilling of duties or a

religion. Thus DHARMI means something that has its own characteristics and
opinions and the believer in this is called a dharmi. Bharatmuni in his Natyashastra
after describing abhinayas has immediately described DHARMI. According to him
 33

abhinaya or the art of drama also has its own characteristics. In this regard, natya has
2 types of dharmis.

(1): LOKDHARMI: The lokdharmi technique is realistic and close to life

representation. It is more mundane and down to earth. According to Sangeet
ratnakar, lokdharmi is keeping with what exists in the world. A very simple and a
realistic imitation of the life around without any stylization is termed as lokdharmi
presentation.

(2): NATYADHARMI: totally in contrast with the lokdharmi presentation,

natyadharmi is a stylized mode of presentation. The natydharmi presentation avoids
life like gesticulations. It is stylized, suggestive and symbolic. Natyadharmi
technique ensures that the presentation will remain stylized and artistic so that the
rasa created will be dignified.

QUE: 4: GIVE INFORMATION ABOUT KUCHIPUDI DANCE.

ANS: 4: Kuchipudi is a traditional dance form from Andhra Pradesh, fully drenched in
Vaishnav sentiments, which now have been accepted by the people at large as a
classical dance form of India.

The period of 6th to 10th century AD is considered to be the period of development of

religious principles in India. It was during this time that a spiritual movement called,
‘BHAKTIMARG’ started in Tamil Nadu. The saints developed such a process in
which the devotees can establish a relationship with the lord through music, dance
and abhinaya. As the story of the Bhagwat was presented in the Natya form these
Brahmins came to be known as ‘BHAGWATULUS’. The Kushilavas of Kuchipudi
had accepted this bhagwat dharma. Kuchipudi is totally based on bhakitmarg. It is
believed that Kuchipudi dance drama may have originated in the 16 th century A.D
and it was fully developed in the 17th century A.D. kushilava is traditional caste of
natas who used to perform the story of Ramayana through song, dance and abhinaya.
For centuries these kushilavas have come to the village of Kuchelapuram or
kushilavapuri and settled there, which with the passage of time came to be known as
KUCHIPUDI. Thus the name kuchipudi is a place oriented name where this art
blossomed. In the 17th century 2 luminaries were responsible for the revival of this
dance drama. They were TEERTHANARYAAN YATI and SIDDHENDRA YOGI.
They were very learned Brahmins who developed this art and propagated this art
from Kuchelapuram to Tanjore. They presented this art in the court of king Veer
Narsinh Rao of Vijaynagar and they were much admired and in the gift they got a
whole village. Siddhendra yogi presented many dance dramas in this village which
included, BHAMA KALAPAM, GOL KALAPAM, and RUKMINI KALAYAM,
 34

USHA PARINAYAM etc. which have become traditional items of Kuchipudi and
are still performed. Teerthanarayan Yatis’s KRISHNALEELA TARANGI is very
famous which depicts the Krishna leela from his birth till Rukmini’s swayamvara.
Items like PARIJAT PAHRAM, BHAMAKALAPAM are still performed in
Kuchipudi. It is a dream of every artist to play the character of Satyabhama and
every artist feels proud of it and at least performs once during their career.

This dance drama is performed in front of the temple in the first quarter of the night.
The audience sits on the floor. Two men stand on both sides holding a coloured
curtain. The musical accompaniment is very limited. Apart from the nayak there is 1
mridang player and 1 cymbal player, veena or naagswaram player. The female
characters are also performed by males. The preliminary devotional part is done
behind the curtains which is called PUNYAVACHAN. The sutradhar enter on the
stage and after a bow to the god, audience and the guru does the Manglacharan in
which he praises either, Vinayaka, Shiva or Venkatesh. A rangoli is decorated on the
stage and apart from this the dancer brings the Indra dhwaja and places it with
proper recitations of shlokas. The rangdev is worshiped with dhup and shlokas.
Pushpanjali is offered by singing a stuti of Ganapati. An actor in the role of Ganesh
ji comes on the stage and showers blessings on everyone. Then goddess Amba is
being praised. Then the sutradhar announces the beginning of the performance and is
always present on the stage with a stick. And without changing the costumes
sometimes enacts the role of nayikas’s sakhi or a friend of nayak. His dialogues are
that of a comedian which makes the audience laugh. He sings the praveshdaru for
each character who enters the stage for which there are rhythmic syllables.
Kuchipudi, apart from being a dance drama is also a solo dance. Just like
Bharatnatyam, in kuchipudi also shabdam, tillana etc are also performed. In the end
a dance is also performed on the edges of a dish.

To maintain the suppleness of the body which is very much required in the dance
form, the artists have to do exercises which include the movements of each and
every part of the body. To gain expertise in this art it requires a minimum of 10 years
of rigorous practice and intensive training.

The costume of Kathakali is very symbolic. All the artists apply natural colours or
powders on their face. Male artists also wear moustaches and beards. Now a days
many artists wear fan like costumes of bharatnatyam instead of a saree. The male
artists wear a dhoti, a coloured jacket, a crown and various ornaments which are
made from peculiar wood from Andhra Pradesh.

Kuchipudi is an amalgamation of nritya, nritta and natya. This dance from follows
the principles of Abhinayadarpanam, natyashastra, alankarshastra, rasmanjari,
sabharanjani, bharat rasa prakranam etc.
 35

The music of Kuchipudi is Karnatak music. The instruments include mridangam,

violin, clarionet etc. the literature includes works of poets like Kshetragna, jayadev,
tyagaraja etc. Ashtapadis of geetgovind has also been a main portion of the literature
used in Kuchipudi.

The credit of bringing the art of Kuchipudi from temple to the stage goes to Shri
Siddhendra Yogi. It is through his efforts that this art has established itself as a
classical dance style.

Lakshminarayan Shastri is a respected artist of Kuchipudi dance. Yamini

Krishnamurthy is the disciple of late shri Chinta Vyankatraman established this
troupe. His son Chinta Krishnamurthy is also conducting dance classes and the credit
of propagating this art goes to him.

QUE:5: GIVE INFORMATION ABOUT ABHINAYADARPAN.

OR

HOW IS ABHINAYADARPANAM IMPORTANT TO THE STUDENTS OF

DANCE?

ANS :5: ‘Abhinaya darpan’ literally means ‘MIRROR OF GESTURES’. Abhinaya is a

sanskrit word. ‘Abhi’ means ‘TOWARDS’ and ‘NI’ means ‘TO TAKE’. Thus
abhinaya means taking the rasa or the sentiments of the natya towards the audience.
The performer with the help of the words, gestures, costumes and inner emotions
and feelings represents himself or herself before the audience.

This book is very ancient and is written in Sanskrit. There is a controversy regarding
the author of this book. Most of the people believe it is written by Nandikeshwar.
This book has been written around 300 years ago. Some believe it was written in the
13th century A.D.

It is said that Nandikeshwar’s mother was a blind lady named Shiladi. She prayed to
lord Shiva for an immortal son. Shiva granter her the wish and a son was born to
Shiladi. She named her Nandi after the lord Nandikeshwar worshipped in South
India.

This is very important book for the students of dance and a treatise for the students
of bharatnatyam. All the four types of abhinaya are described exhaustively in this
book.

AANGIKA ABHINAYA deals with the different parts of the body. It is

representing the bhaavas through body parts and different body gestures like that of
 36

feet, hand,neck, chest, waist, eyes, eyebrows, nose, cheeks, wrist etc. The theme or
the content of the story is expressed by various body movements by the dancer. The
body is divided into 3 major parts: (i) ANGA (ii) UPANAGA (i) PRATYANGA.

(i): ANGA: hands, head, chest, feet, waist.

(ii): UPANGA: eyes, eyebrows, eyelids,eyeball, cheeks, chin, lips, fingers.

(iii): PRATYANGA: neck, shoulders, knees, elbows, wrist, ankle etc.

VAACHIKA ABHINAYA: this is expressed through speech. When the actor

recites a poetry or delivers a dialogue it is done through vaachika abhinaya. In
classical dances like Kathak, when the dancer does the padhant of the toda or a
tukda, or recites the boles of the thumri and expresses the meaning it is called
vaachik abhinaya.

AHARYA ABHINAYA: this deals with the make-up, costume, lighting, sound,
green room activity, stage setting etc. with appropriate costume and settings and
make up it is easy to recognize the character and the audience can readily identify
with the character.

SATVIK ABHINAYA: this deals with the expression of the eyes, face etc. when
the dancer brings out the inner feelings and emotions through the expression of eyes
and facial expression it is called satvik abhinaya.

All the 4 abhinayas are discussed in abhinayadarpan but more detailing is pertaining
to aangik abhinaya.

Other information given in the book is as follows:

1. Nine types of shirobhed. (head gestures)

2. Eight types of drishti bhed. (eye gestures).
3. Four types of griva bhed (neck movement)
4. Twenty eight types of single hand gestures. And twenty four types of double
hand gestures.
5. Sixteen types of mandalas and sthanaks. (static poses)
6. Five types of Utplavanas. (jumping movements)
7. Seven types of Bhramari. ( circles or chakkers)
8. Sixteen types of chaari. ( walking styles)
9. The different types of Angabhang.
10. The different types of feet movements and thaat postures and positions.
11. The different Gaits(chaals) like, gajagamini, mor ki chaal, hans ki chaal, mrug ki
chaal, kings and queens ki chaal, servant ki chaal, rich mans and poor man’s
chaal.etc.
 37

12. Ten avtaars of Vishnu.

13. The hastas of different gods and goddesses.
14. The hastas of nine planets.
15. The hastas of different castes,religion, occupation, relation etc.

This book also describes in detail the qualification and disqualification of a dancer
which is as follows:

PATRA LAKSHANA:

1. Tanvi – slender, slim

2. Roopvati – beautiful
3. Shyama – young
4. Pinnonatta payodhara – having full round breasts
5. Pragalbha – matured
6. Saras – pleasing face
7. Kanta – glowing face
8. Vishala lochana – big and well shaped eyes
9. Kushala graham moksha yoho – well versed in taal and laya.
10. Geet vadyam taalanu vartini- having a sense of music and rhythm
11. Parardhyabhushana sampanna – having splendid dresses and costumes and
make-up
12. Prasanna mukha pankaj – having a pleasant face like that of a lotus.

PAATRA PRAANAH:

There are some inner qualities which a dancer should have. They are as follows:

1. Speed in dance
2. Steadiness
3. Rekha- maintaining a straight line of the head, eyes, hand, shoulder, waist.
4. Bhramari – chakkers or circles
5. Parishrami – enduring
6. Drishti – pleasant glance of eyes
7. Medha – intelligent, having good speech and pronunciation.
8. Having a quality of singing.
 38

THE DISQUALIFICATIONS OF A DANCING GIRL.

1. The defective eye.

2. Without hair.
3. Pendent breast
4. Pendent and big lips
5. Very tall or very short
6. Very fat or very thin
7. Hunch back
8. Without good singing qualities

Nritta, Nritya and Natya are also discussed in abhinayadarpan. Also the information
of origin of natyashastra is also given.

The qualities of a chief guest, president audience etc are also given. Detailed
description of the ghoonghroos and the way it should be tied etc are all given. Also
the information of the Purvaranga is given.

Thus we can see from the above discussion that this book is very exhaustive and
hence it is very important for each and every dance student.

QUE: 6: GIVE INFORMATION OF THE ORIGIN, HISTORY,MAKE-UP,

COSTUME, MUSIC, TECHNIQUE AND LITERATURE OF
BHARATNATYAM.

ANS: 6: Bharatnatyam is considered to be one of the prominent and popular classical dance
styles of India. This dance style originated in South India, particularly form Tanjore
and Tamilnadu. The Vijaynagar Empire gave noteworthy contribution in the
development and preservation of this dance style.

This dance style follows the Natyashastra and Abhinayadarpan. The word BHARAT
is made up of 3 different words – Bha, Ra and Ta. Bha stands for Bhaav, Ra stands
for Raag and Ta stands for Taal.

This dance was originally known as ‘DASIATTAM’. Dasi means Devadasi meaning
servant of the lord and Attam means Play. The dance done by a devdasi was thus
known as DASIATTAM. These Devdasis were learned and well versed in literature
and music and they are responsible for the aesthetical presentation and preservation
of this art form.

The devadasis used to perform this dance in the temples in front of the lord and their
only intention was worshiping the lord. The dance teacher of bharatnatyam is called
 39

a NATTUVNAR. These Nattuvnars are the sons of the devadasis. This art of dance
was handed over from generation to generation and whatever money the devadasi
earned from the state she gave 1/4 th of that to her guru. There were 3 types of
devadasis: (1) Alankar dasi. (2) Raj dasi. (3) Devadasi. And these were responsible
for dancing in social function, courts of the kings and in temples respective.

When the Musilim rulers came to India, these devdasis were exploited and they
became the Nautch girls of the royal courts for the entertainments of the kings. The
religious value of their dance disappeared. They had to dance according to the
wishes of the kings and the dance became cheap and vulgour. Due to this the dance
which was once held in very high esteem, was now considered very cheap and
people from elite class and the upper class stopped learning this dance. Slowly the
degradation of the devadasi tradition started and the devdasis who were once
considered very pious were now considered mere prostitutes.

However, there were some great scholars and artists of bharatnatyam who worked
very hard to restore the dignity of this art. They were responsible for the revival of
this art form which was on the verge of extinction. Some of these artists were late
shri Meenakshi Sundaram Pillai, Smt. Rukmini devi Arundale, Shri E. Krishna Iyer,
Bala Saraswati etc. It is due to the efforts of these luminaries that we are able to see
this art form in its classical and traditional form today.

The credit for the development of the technique of bharatnatyam as we see it today
goes to the 4 Pillai brothers of Pandanallur. These four brothers were the court
dancers in the court of Maharaja Sarfoji. This dance style is also known as Sadir
natya or Sadir kacheri. The bhagwat mela natakam, kuchipudi, kuruvanji are the
traditional dance theatre of this dance form only. The various banis or gharanas of
bharatnatyam are, tanjore, kalakshetra, pandanallur, Chidambaram, velur etc.

Pure karnatik music system is used in this dance form. The language used is Tamil,
Telugu, Kannada and Sanskrit. However now a days the regional languages like
Gujarati, Marathi, Hindi etc are also used. Instruments like mridangam, taalam,
veena, violin, flute, shehnai, clarionet etc are used. Bharatnatyam is basically a solo
dance form and follows the natyashastra and abhinayadarpanam.

The main items of Bharatnayam are Allaripu, Jatiswaram, Shabdam, Padam, Varnam
and Tillana. Allaripu, Jatiswaram and Tillana are pure dance i.e NRITTA items,
where as Shabdam and Padam are Abhinaya i.e NRITYA items. Varnam
incorporates both Nritta and Nritya aspects.

The poetry and literature are from South Indian poets like tyagraj, however works of
Meerabai, Tulsidasa, Jayadev, Surdas etc are also widely used in the abhinaya items.
Apart from this, the themes from the Ramayana, Mahabharat, Geetgovind etc are
 40

also performed. Items describing Shiva, Krishna, Dashavtar etc are also done. In
modern times the contemporary themes are used and bharatnatyam is also done in a
form of a dance ballet.

The costume and make- up of this dance is very attractive and very elaborate. The
female dancer wears a Kanjivaram saree pleated in way to form a fan shape when
she sits in the basic postion that is half sitting posture of bharatnatyam. She wears
Zimakhi Matal earings, armlets, bangles, sun-moon shaped ornaments on the head,
long necklace, waist belt, damani, tikka, nose-ring according to the South Indian
tradition and most importantaly ankle bells of bronze tied on a leather belt are worn.
Hairstyle is very attractively done and adorned with yellow flowers. This new
costume is designed by Smt. Rukmini devi Arundale. Generally only females
perform this dance but now days even males perform.

The makeup is very elaborate. The face is painted with powder with a pinkish
foundation, blushers and dark eyeshadows with kajal in eyes is applied in such a way
as to make the eyes look big. Red lipstick is applied on the lips. Whereas the
eyebrows are done with dark pencils.

The main gurus of Bharatnatyam are, late shri Meenakshi Sundaram Pillai, Smt
Rukmini devi Arundale, Shri E. Krishna Iyer, Bala Saraswati, Ramgopal. The main
artists of this dance are Prof. C.V.Chandrasekhar, late Smt Amjali Merh, Vaijayanti
mala, Padma Subramaniam, Hema malini, Chitra Vishveswaran, Suchita Chapekar,
Shanta Rao,Yamini Krishnamurthy, Mrinalini Sarabhai, Leela Sampson, late Shri
Kubernath Tanjorekar etc.

QUE: 7: EXPLAIN THE MEANING OF FOLK DANCE AND GIVE INFORMATION

ABOUT THE FOLK DANCES OF NORTH INDIA.

ANS: 7: India is divided into various states and union territories. Each of the state has its
distinct culture, tradition, language, rituals, festivals and geographical features. This
is the reason why we find so much of variety in the folk arts of our country. The
folk arts reflect the state’s culture, costume, traditions and religion and the psyche of
the people and the lifestyle of that region. Across the length and breadth of our
beautiful country we find hundreds of folk dances and each differ in their costumes,
presentation, music, choreography, traditions etc. Here we shall be discussing the
folk dances of North India.

Generally the north Indian folk dances are vigorous and energetic, because the
people of north India are very healthy and their physique is strong. Some of the folk
dances are performed only by men while some are performed only by women while
 41

still others are performed by both together. Below are discussed some of the folk
dances of different states of North India:

(a): KASHMIR:

(i): RAUF: is the most popular dance of Kashmir which is performed by only ladies.
It is a very simple dance where participants 2 lines fcing each other and keep one
hand on the other’s shoulder. The steps are forward and backward. They simply sing
the Rauf song and the others repeat it in chorus. No musical accompaniment is used
in this dance form.

(ii): BACHANGAM: this is another important dance form of Kashmir, where the
artists are children and they are professionals. These child artists are known as
‘bachchas’ who perform in a group of 6 or 7. The dance starts with a salami, a short
music piece is played after which the artists perform a namaskar. The dancer takes
circles and then starts singing and then expresses the meaning of the song through
hand gestures and bodymovements. This dance is full of either shringara rasa or the
karuna rasa. The instruments used in this dance are ghatam (pot), sarangi, rabab,
harmonius etc.

(b): PUNJAB:

(i): BHANGADA: This is the most important and the most popular dance not only
in Punjab but in the whole country. This dance is associated with the harvest festival
and is performed in the month of VAISAKH. It is exclusively performed by male
dancers and the rhythm is given by a big dhol and the accompanying vocalist. This is
a very joyful dance and they clap inbetween and shout ‘balle-balle’ to express the
joy. It is danced in a circular movement and sometimes one sings and the others
repeat. To bring out the joy and the vigour they sometimes perform acrobatic
movements like lifting one another on their shoulders etc. The main occupation the
Punjabi people is farming and this dance is also associated with the harvest festival,
so the majority of the movements of this dance are like that of ploughing, harvesting,
cutting etc. Most of the songs include satire in their themes. This dance is also
performed on marriages when both males and females dance.

The dancers wear colourful dresses and tie colourful turbans on their heads. The
male dancers wear a kurta, tahmed, and sometimes they wear a paghdi or a turban,
occasionally they wear jackets. Bhangada dance is very vigorous, energetic and
joyous and is of tandav style.

(ii): GIDDHA: this is another popular dance from the state of Punjab which is
performed by females. Unlike bhangada, giddha is considered to be of lasya style.
Females decorate their hands with mehendi and clap while dancing. This is
 42

performed during marriages. The ladies stand in rows fcing each other and clap on
each other’s hands. The main instruments are dholak and pots and the ladies sing
songs.

(C): UTTAR PRADESH:

(i): KAJARI: this dance is performed only by women to express the joy of the
arrival of monsoon after the scortching heat of the north Indian summers. Kajari of
Mirzapur is very famous. A group of singers sing kajari songs sitting on a swing and
still another group dance with expressing the joy of blossoming of new grass.

(ii): NAUTANKI: Nautank is a very popular dance of Uttar Pradesh not only in
India but throughout the world. The songs and the melodies all are derived from the
day to day life incidents and thus are very familiar with the masses. The themes are
either based on the struggle between the evil and good forces, religious themes, and
episodes from the epics or deeds of historical characters. More often than not,
Nautanki deals with the day to day problems of the life of the people, the social
fabric or with patriotic themes like that of Bhagat Singh.

(D): RAJASTHAN:

(i): GHOOMAR: This dance is performed by the ladies on the festivals of Navratri
and Gangaur. They stand in circle and the movements are also circular with lots of
pirroutes or (chakkers). This is very commonly found in Jaiselmer, Bikaner and also
the Mewar region. Sometimes they clap their hands and have many similarities with
the garba of Gujarat. The dress is very brightly coloured which is characteristic of
Rajasthan. At times it is also done to invoke the goddess and is mainly dedicated to
goddess Jagdamba.

(ii): DAANDIYA: this dance is perfomed by males where a minimum of 10 to

maximum of 25 people can take part. Dancers stand in a circle. The singer and the
musicians sit in the center of the circle. First of all a rhythm is played on the dholak.
Apart from this sitar is also used in this dance. The dancer keep small sticks in their
hands called the daandiyas and they strike the daandiyas in rhythm on their both
sides. This is performed during holi in the marwar region of rajasthan.

(E): WEST BENGAL:

(i): RAIVAMSHI: This is one of the main dances of Bengal. It is danced without
any song and the dancers make different kinds of noises with their mouth and also
clap with their hands. They change the timing and movements in co-ordination with
the beat of the dhol. After the dance is over, the dancers exhibit different types of
exercises and yogasanas.
 43

(ii): JATRA: four hundred years ago a dance drama was performed with the name
‘JATRA’. This dance though still performed in its traditional mode as a dance drama
took a shape of a folk dance. This dance is performed by gypsies and is mainly based
on KRISHNA LEELA, though at times themes of freedom struggle are also
incorporated.

(F): MADHYA PRADESH:

(i): VIVAH NRITYA: In the thick forests of Madhya Pradesh MARIAS, BHEELS
and BANJARAS are some of the nomadic tribes whose dances are very famous.
Their dances are divided in to 2 parts: one danced by males while the others danced
by females. One of the famous dances of the Maria tribes is the VIVAH NRITYA or
the marriage dance. As the name suggests it is performed on marriages. The females
hold sticks in their right hand and stand in a big line. Males stand in the middle and
take circles with different speeds and foot steps. There is no vocal accompaniment
but they dance with accompaniment of THUM. They wear different masks.

(ii): KARMA NRITYA: this is a folk dance of the gond tribes of Madhya Pradesh.
It is symbol of their heroism, adventure and excellence in warfare. The dancers hold
open swords, barchchi and other weapons in their hands. Their dance movements
seem as if they are really fighting a battle. The speed of the dance is slow in the
beginning and gradually increases. This dance is performed in the months from
October to march and is purely a group dance. The music accompaniment and the
costume is very unique and the people of Madhya Pradesh have preserved their
culture till today.

(F): GUJARAT:

(i): GARBA: is a very popular folk dance of Gujarat and is connected with religious
values. It starts with the first day of the month of Ashvin and continues for 9 days.
An earthen pot decorated with flowers called ‘garbi’ is put in the centre and all
females get together in a huge circle and dance around this pot. They wear the
chaniya choli and traditional ornaments. A lady sings and the others follow her in
chorus. The dance steps are very simple and delicate. The main instrument is the
dhol. This dance starts at night and continues till the early hours of the morning. This
dance is not only famous in Gujarat but is now famous world over and many tourists
come to Gujarat just to view the splendor of this 9 day long festival of dance.
Goddess Amba is worshipped and songs are mainly that of the praise of goddess.

(ii): RAAS: this is another important dance of Gujarat performed by men, though
occasionally performed by women as well. It is believed that this dance was done by
lord Krishna with the gopis of vrindavan and we get references of the same in our
 44

ancient scriptures. The raas dance is performed in various styles: (1) dandia raas –
with sticks, (2) taal raas – with clapping hands, (3) lalit raas – with body movements.

Dandiya raas is popular in Gujarat and is performed on janmashtami, sharad purnima

and navratri. The dancer keep 2 sticks in their hands and beat the sticks and dance.
Just like garba, here also one person sings and the others follow in chorus. The main
instruments are dholak, shehnai. In ancient times, the themes of the songs were
mainly that of Shri Krishna however now a days other themes are also sung. The
male dancers wear, dhoti, kedia or kurta and females wear chaniya choli. The speed
in the beginning is very slow and gradually increases and the dance ends up in a very
fast tempo.

(H): ASSAM:

(i): BIHU: is performed in the month of Vaisakh when they celebrate their new
year. Both men and women participate and is performed under the shades of trees in
open space. It can be performed either in the night or in the day. The songs are
mostly of love themes. Men and women stand facing each other in a straight line and
dance in circular movements. Shringara rasa is predominant and the movements are
very delicate.

(ii): HUCHARI: this is performed in front of the house in open space. It is for
welcoming the new yearand to seek blessings of the God. The themes of songs are
mostly religious. This dance is commonly found in Lakhimpur and Naogaon.

(I): HIMACHAL PRADESH:

(i): JHANJAR: this dance is from the Chamba region of Himachal Pradesh which is
situated around 6000 ft above the sea level. Both males and females take part in this
dance.females form a circle and males form a circle outside this circle. They start
with simple movements and slow speed and gradually the speed increases and the
movements become more complex with forward and backward steps and changing
places. Dhol, shehnai and kartal are used in this dance.

(ii): PANGI: this is danced by the Pangi females belonging to the southern region of
Chamba. They wear salwar kurta, their body remains stiff and they move thie face
from left to right very swiftly and move their hands very delicately. They stand in a
circle with the instrument player sometimes standing at the center of the circle and
sometimes on one side.
 45

UPANTYA VISHARAD

[VITH YEAR]

QUE :1: DEFINITION OF ABHINAYA AND TYPES OF ABHINAYA.

ANS :1: The Sanskrit word abhinaya is made up of the prefix ‘abhi’ meaning ‘towards’ and
the root ‘ni’ meaning ‘to carry’. Thus it means representing (carrying) a play to
(towards) the spectators. According to Sahitya Darpan, this representation is called
the imitation or visualization of the conditions (physical and mental) of the
characters in a drama. But the aesthetic significance of the imitation will be clear
when the main object of the Indian plays, viz. of evoking of ras in the spectators is
taken into consideration. For this reason the word abhinaya may be said to be the
means for disclosing to the spectators the beauty or manifold pleasurable aspects of
the play which cannot be adequately appreciated by simply reading its text.
Therefore, inspite of and apparent similarity between abhinaya and acting, the latter
term whenever it is used in connection Indian plays does not mean quite the same
thing.

Bharat Muni in his Natyashastra has categorizwd this abhinaya in to four different
branches viz: (1) Aangika Abhinaya, (2) Vaachika Abhinaya, (3) Aaharya Abhinaya,
(4) Saatvik Abhinaya.

(1) AANGIKA ABHINAYA: ‘Ang’ means a limb or a part of a human body.

Abhinaya which is mainly performed by the different parts of the human body
only is called Angika Abhinaya. It is mainly the use of artistic gestures. In
Natya Shastra and other ancient texts movements of all the major and minor
limbs have been described in detail with their uses. These rules regulate the
actors bearing, walk etcandother activities. Thus the physical expression is
called the Angika Abhinaya.

(2) VAACHIKA ABHINAYA: Vachika means the speech. Thus Vachika

abhinaya means the verbal expression or imitation. It is the use of proper
pronunciation, modulation of voice, accent and rhythm. Though it is mainly
related with the drama but it is also useful in dance while reciting the boles and
singing of the songs for abhinaya items.

(3) AAHARYA ABHINAYA: Green room activities are known as Aharya

abhinaya. The costume and the appearance of the actor help him in his work.
They reveal the sex, race, sect or class, social or other position of the character
 46

represented. Thus the costume and the physical decoration etc of the play and
the characters is called the Aharya Abhinaya.

(4) SAATVIKA ABHINAYA: this is the representation of the eight psychic

conditions arising from the vital principle itself. These eight principles are:
Stambha (motionlessness), Sweda (perspiration), Romancha( horripilation),
vaivaranya(change of colour), Vepathu(trembling), Vaisvarya(change of voice),
Ashru(tears), Pralaya(fainting).

QUE:2: INFORMATION ABOUT ODDISI DANCE.

ANS:2: Oddisi is one of the most traditional dance forms of India. It originated in the
medieval period in the temple of Jagannath puri in Orissa which has always been a
center of arts and literature. Just like bharatnatyam, oddisi was also preserved and
developed by the temple maids called the MAHARIS. However unlike south India,
young boys dressed as females, also danced in the temples and they were called
GOTIPUAS. It’s been 3 decades now that this dance style has come out of the
precincts of the temples and has reached the stage. Oddisi adheres to the principles
of the Natyashastra ans also to the Shilpashastra. The tribhanga pose known as the
Natwar bhanga is an important aspect.

Oddisi originated from the temple dancing traditions of Orissa. It has a very deep
impact of the sculpture of these temples, the patta chitra and the geet govind. In
ancient times, this dance was performed at the time of the annual festival of the
rathyatra of jagannath puri temple in the outskirts of the village, and was patronized
by the kings of Orissa. Today this dance has come out of the precincts of the temples
to the stage and both men and women perform.

The items performed in this dance are as follows:

(i): NRITTA ITEMS: Tarijham, Moksha, Batu nritya, Pallavi etc

(ii): NRITYA ITEMS: Urmigeet, Ashtapadi

(iii):NRITTA-NRITYA ITEMS: Manglacharan, BhumiPranam, RangmanchPravesh

The performance begins with the Manglacharan, bhumi pranam and the vighnaraj
puja. The bhumi pranam incorporates only rhythmic body movements with the
percussion accompaniment of mridang, while in vighnaraj puja a shloka is also
performed. After the manglacharan comes the batunritya. The essence of Oddisi can
be seen in this item. It starts in a slow tempo with the body posture called
‘CHAUKA’ and gradually with the use of the charis, bhangis, karanas etc. the speed
 47

increases. Just like the parans of kathak and the teermanams of bharatnatyam, the
dancer beautifies the item in a taal chakra.

Apart from batunritya, there is ISHTADEVA vandana which is either in Sanskrit

oriya. This is basically a praise of the the lord and is an abhinaya item dotted with
some pure dance numbers which gives it a magical impact.

Vandana is followed by SWARAPALLAVI nritya. This is a pure dance form in

which a raga or a pattern of swaras is played and is depicted through body
movements and hastabhinaya.

Then comes the GEETABHINAYA or the SABHINAYA nritya. This is the true test
of the dancer. It can be compared with the Padams of bharatnatyam and thumris of
Kathak.

The Dashavtar stuti and the Ashtapadis of Geetgovinda by Jayadev are the well
known abhinaya items of Oddisi. Just like the tillanas of bharatnatyam and the
taranas of kathak the last item in the presentation of Oddisi is TARIJHAM. There is
an amalgamation of the swara, taal and nritta which is performed in druta or atidruta
laya.

Recently many new items have been introduced in Odissi which are set in different
swarapallavis and ragas. The dance is concluded through moksha nritya.

Languages used in Oddisi are either Oriya or Sanskrit. The folk music of Orissa or
the Hindustani sangeet is used. Instruments used are the Brahmaveena, Tung gosh,
Pakhwaj, Chang, Chitri, Sarangi, Flute and sometimes Mridangam. The musicians
are very limited in this dance form, one male singer, one female singer, one
percussionist, one flutist and sometimes a sarangi player. The guru gives the taal on
the manjira and conducts the dance through reciting the boles.

Literature used in this dance form is mostly from the geetgovind of Jayadev and
works of poets like Upendra bhanj, Vanmalidas, and sometimes works of Tulsidasa.

The costume depicts the beauty of the Oddisi folk arts. The Orissan silk saree is
draped in such a way that the pallu is hung in the front. A silver waistbelt is worn
and other ornaments are also that of silver. Prabhamandal is worn on the head bun by
which the dancer looks like a nymph.

Gurus: the revered gurus of this dance form are Guru shri Kelucharna Mahapatra,
Guru shri Pankaj Charan Das, Guru shri Gangadhar Pradhan and Guru shri Debu
Prasad Chaudhari.
 48

ARTISTS: the famous artists of this dance style are late smt. Pratima Gauri, Late smt
Samyukta Panigrahi, smt Kumkum Mohanty, Kiran Sehgal, Sujata Mahapatra,
Madhavi Muddgal, Sonal Mansingh.

QUE: 3: INFORMATION ABOUT MANIPURI DANCE.

ANS: 3: This dance style originated from the eastern state of Manipur from the folk arts of
this region like the Raas leela, Lai Haroba, Keertan, Khubakaishi, Cholam etc.

The state of Manipur is dotted with high mountains and beautiful valleys and there is
a folk lore saying that Manipur was created as a stage for the dancing of the
divinities. Once while Krishna was performing the maharas with the gopis he
allowed Lord Shiva to see the performance on a condition that he will just listen to
the music and stand facing the other side and not see but just hear. Lord Shiva
agreed to this and then when Parvati also came the impact of the bells and flute and
mridang was so mesmerizing that they forgot the promise and went to the Himalayas
and decided to perform ras and for this they chose the place of Manipur. Lord Shiva
also invented the ‘PENGA’ or the ‘PENA’ which was played with the dance. The
whole province was illuminated with the gem stone of the Sheshnaag and thus got its
name MANIPUR.

According to a popular myth in Manipur, Shiva took birth as Khamba and Parvati as
Thaibi. Thaibi was a princess, on growing young, they met each other and recalled
their Rasa dance which they had performed as Shiva and Parvati. They again
performed the dance which came to be known as LAI HAROBA. It is believed that
this is the first dance in the region of Manipur and is now performed on many
occasions. Lai Haroba is performed to please the village deities. The male priests are
called MAIBA and the female priest is called MAIBI. They have played a very
important role in the development of these dances. To a great extent, this dance is a
religious ceremony in which the dance element is dominant which keeps the
audience tied. In the early 15th century, Vaishnavism started spreading in this region
and with this spreaded the NAAM SANKEERTAN.

NRITTA ITEMS: Pareng, Chali, Chati, Chalan, Sankeertan, Pung Cholam, Kartal
Cholam etc.

NRITYA ITEMS: Nartan, Darshan, Abhisar, Jugal Nartan, Ashtapadi etc.

NRITTA-NRITYA ITEMS: Raasleela, vasant ras, kunj raas, maha raas, nitya raas,
gopa raas, ullukh raas.
 49

Even today great arrangements are made for the performance of ‘KEERTANS’.
Kartal, dhol and manjeera are mainly used in these keertans. This is performed in
semi circle or circular forms with white costumes and chandan pasted foreheads and
white turbans. The costumes include dhoti and uttareeya (a dupatta). These
keertankars dance playing their instruments and create a supernatural absorbtion and
pleasure. This is a very significant contribution of the Vaishnav culture. Raseeshwar
is also a very popular form of keertan which is performed only by ladies especially
of the royal family. This is performed when somebody dies in the royal family.

Manipur’s most popular dance is the RAAS LEELA. This is a marvelous example of
the Indian Opera. Though there are dialogues and acting but dance is dominant. This
is based on the story of the immortal affairs of Krishna, Radha and the Gopis. Role
of Krishna is performed only by a boy of 10-12 years of age, but the role of Radha
and the Gopis are to be performed by perfect female dancers. There are 4 types of
raasleelas.

1. VASANT RAAS: takes place in the month of Vaishakh of the Hindu calendar.
Here it is shown that radha is angry and that Krishna tries to please her.
2. KUNJ RAAS: is done during the month of Ashwin. It is a dance of communion
sentiments of Radha and Krishna.
3. MAHARAAS: this depicts the separation of Radha and Krishna but in the end
they unite.
4. NITYA RAAS: can be performed at any time. It represents the continuos union
and separation of the divine lovers.

The music of Manipuri dance is basically taken from the folk music of this region.
There is an influence of both the Hindustani and Karnatic music system. At times
Ravindra Sangeet is also used. Mainly, instruments like Dholak, Pung, Thaibung,
Khol, Pakhwaj, Khanjari, Cymbals, Kartal, Shankh, Esraj, Pena, Flute etc are used.

The costume of Raasleela is very attractive and costly. Maharaj Jaisingh of Manipur
designed this dress.Radha and gopis wear a winding lehenga of either red or green
colour.the lehenga is stiffened by hard board or cane sticks at the lower part of the
lehenga. A small skirt is worn over this lehenga which covers it till half the
length.small pieces of mica are tied on the skirts, lehenga nd blouse to make it shine
in the light. A transparent dupatta swings from the head covering the face yet the
facial expressions are seen clearly. The face is painted with sandal and other natural
coloured pastes and hairstyles are also done according to the different moods. Juda is
done in the center during maha raas, at the left side during kunj ras, at the back in
 50

vasant ras. Krishna’s costume is shown by peacock feather, vaijaiyanti mala,

pitambar, flute etc.

Languages used are Maithili, Assamese, Matai, Sanskrit etc.

This dance style is highly influenced by Vaishnavisim; the literature of this dance
style is taken from the works of poets like, Jaidev, Chandidas, Vidyapati, Chaitany
Mahaprabhuji etc.

King Bhagyachandra has given noteworthy contribution for the development of this
dance. Zaveri sisters have also done a great job in upbringing of this dance form.
Gurudev Tagore installed this dance in his institute Shantiniketan; also the
government of India established the Manipur Dance Academy at Imphal.

Gurus: Guru shri Binpin Sinha, Guru shri Amubi Sinh, Smt. Suryamukhi Devi.

Artists: Jhaveri Sisters – Nayana, ranjana, suverna, darshna. Preeti Patel, Reeta Devi,
Latashana Devi.

QUE: 4: INFORMATION ABOUT NATYASHASTRA.

ANS: 4: Natyashastra is an ancinet treatise on the Indian Theatrical Arts. It deals with the arts
of nritta, nritya, natya, music, sculpture, etc and hence it is an important source of
information. It is written in a form of dialogue and there are 6000 shlokas divided
into 36 chapters.

There is no authentic information regarding the period during which it was written
however, scholars believe it to be written in 2nd century A.d. also there is a debate
regarding the author however most of the scholars opine that Bharatmuni is the
author. It is believed that Bharatmuni got the knowledge of the performing arts from
Lord Brahma and he wrote this book. This treatise is considered as the fifth veda.

Below is discussed the 36 chapters of the Natyashastra:

CHAPTER:1: It deals with the origin of the art of Natya and the story of the origin
of Natya is discussed,

CHAPTER:2: It deals with the types of stages. How the divine architect,
Vishwakarma built the stage and the different types of stage like square,
rectangular,triangular, big, small, medium etc.

CHAPTER:3: this chapter deals with the religious rituals to be performed after
constructing the stage. It is called the RANGDAIVAT PUJAN.
 51

CHAPTER:4: the 4th chapter is that of Tandav Lakshanam and deals with the Tandav
dance, its description, origin, its essence etc. the 3 elements of Tandav i.e. Karan,
Rechak, and the Angahara are discussed here. It is a very important chapter for the
students of dance. The combined movements of hand and feet are called Karan and
they are of 108 types.more than 1 karan make an Angahara and they are of 32 types.
More than 1 Angahara make a Rechaka and they are of 4 types.

\ CHAPTER:5: this chapter deals with the Purvaranga vidhan, and there is a detailed
description about the rituals to be performed before the commencing of a
performance. A detailed description regarding the placement of the musicians, the
sitting arrangements of the singers etc is given in this chapter.

CHAPTER:6: this is the Rasadhyay. It deals with the Rasa. Natyashastra enlists 8
types of rasas which are: 1. Shringara ras, 2. Hasya rasa, 3. Karuna rasa, 4. Raudra
rasa, 5. Veera rasa, 6. Bhayanak rasa, 7. Bibhatsa rasa, 8. Adbhuta rasa. Also there is
a detailed information about the sthayibhava, sanchari bhava, vibhava, anubhava
and satvik bhav are also given. The information about the 4 abhinayas are also given
in this chapter.

CHAPTER:7: this is the Bhav Vyanjak. Here there is a description of the emotional
feelings and its bhava like the sthayi, sanchari, vibhav etc and the 8 satvik bhavas are
discussed.

CHAPTER:8: this chapter is called the Upangavidhan. The 4 types of abhinaya are
discussed in detail in this chapter and the definition of abhinaya is given in this
chapter.Angik abhinaya is discussed in detail and the 6 types of Angas, 6 types of
upangas and pratyangas are also discussed.

CHAPTER:9: this chapter is called the Hastabhinaya vyanjak. Here the 24 single
handed gestures, 13 double handed gestures and the 30 nritta hastas are discussed.

CHAPTER:10: this chapter discusses the movements of the different parts of the
body like the chest, waist, legs etc in detail.

CHAPTER:11: This is called the Chari Vidhan. Here you will find a detailed
description of the 16 types of the earthly charis and 16 types of the aerial charis.

CHAPTER:12: this chapter is the Mandal Vidhan and describes in detail about the
different types of mandals created by the combinations of the different charis.

CHAPTER:13: this chapter is called the Gati Prachar. It describes the different styles
of walking and the walking of different characters.
 52

CHAPTER:14: this chapter is called the Pravrutti dharma Vyanjak. This chapter
deals as to how the different objects like house, garden etc are supposed to be shown
on the stage. It is said here that all the objects should be symbolically represented.
Also the four types of activities like the Dakshinatya, sukumar etc and 2 types of
drama performances i.e the religious and non-religious rituals are also described.

CHAPTER:15: this is the Chchand Vidhan. This is a chapter regarding the language
and grammer and the meters .

CHAPTER:16: here there is a description and rules regarding the appropriate usage
of the meters in spoken action.

CHAPTER:17: here there is a description of the 26 characters of the poetry and the
Alanakars. This chapter is named Vaag Abhinaya.

CHAPTER:18: this is the Bhasha Vidhan. Here there is a description of the four fold
language used in drama and the seven sub languages.

CHAPTER:19: this is Kaku Swar Vyanajk. Here the rules of the usage of grammer,
intonation and pronunciation are described in detail.

CHAPTER:20: This is the Dashrupa Vidhan. Here the 10 types of drama are
described.

CHAPTER:21: this is the Sandhang Vikalp. Here the rules of Sandhi are described.

CHAPTER:22: this is the Vritti Vikalp. The four types of vrittis i.e bharti, arbhati,
satwati and kaishiki are described in detail.

CHAPTER:23: this is the Aharya Abhinaya. It has a thorough detailing of the back
stage activities. Like the make-up, stage setting, lighting, sound etc.

CHAPTER:24: this is the Samanya Abhinaya. The description of Satwik abhinaya is

in thorough detail and also deals with the Nayak and nayika bhed.

CHAPTER:25: this chapter has a description on the universal entities and the
concubines and is named as Bahyopchar.

CHAPTER:26: this is called the Chittabhinaya. All that is left out about the bodily
movements is explained here.

CHAPTER:27: this chapter is called the Siddhivyanjak. How can a drama be

successful and what should be done to avoid a failure of a drama presentation is
discussed here in detail. Also the 2 types of Siddhis :- DEVKI and MANVI are
discussed here.
 53

CHAPTER:28: this is the Swaradhyay, here there is a detailed description of the

swaras, the murchana, shruti, grama etc.

CHAPTER:29: this chapter describes the different classes based on the rasas. The
form of Varnas and Alankaras based on the varna like sthyai etc.

CHAPTER:30: the forms of flute and the different procedures to play it are
discussed here.

CHAPTER:31: here there is a description of the AVANADHA vadhya and a

detailed study of the Taal and Laya.

CHAPTER:32: this is the Dhruvadhyay. The songs that are played during the entry
and exit, the type of music used to show the entry and the exit of different characters
is discussed here. Also the qualifications and the disqualifications of the singer, the
musician and the conductor are discussed.

CHAPTER:33: this chapter is called the Vadhyadhyay. The origin of different

musicl instruments, their way of playing etc is discussed.

CHAPTER:34: the characteristics and nature of different types of ladies and gents is
discussed at length.

CHAPTER:35: this is the Bhumika Patra Vikalp adhyay. There is a description of

different types of drama like the Sukumar and Avidha drama.

CHAPTER:36: this is the last chapter and here there is a story of this divine art of
natya descended on earth. And also some tips as to how to make a programe
beautiful and successful.

Thus this book is an exhaustive material on the Indian performing arts and is a very
useful book for the performing artists.

QUE: 5: GIVE INFORMATION ABOUT THE INSTITUTIONS PROVIDING

EDUCATION ON THE CLASSICAL DANCES AT VARIOUS PLACES IN
INDIA.

ANS: 5: (a): FACULTY OF PERFORMING ARTS, VADODARA:

The faculty of performing arts is located in Vadodara, the cultural capital of Gujarat.
It was established as SANGEET SHAALA on the 26 th February 1886 by the art
lover maharaja, Sir Sayajirao Gaekwad. Sangeet Sartaj, Maula Baksh Khan Saheb
served as the first principle of this institute followed by luminaries like Aftab-e-
 54

mausiki Ustad Faiyaz Khan and Nissar Hussain khan. The syllabus was prepared by
the famous musician Pt. Bhatkhande ji. After the inception of the Baroda college in
1953, the Sangeet Shaala became the college of Indian music, dance and drama
under the faculty of fine arts of the Baroda college. Later in the year 1986, it gained
its independent status as the faculty of performing arts under the M.S. University of
Baroda. Gurus not only from Baroda but from all over were appointed. Luminaries
like Pt. Shivkumar Shukla, Madhusudan Joshi, Pt. Sunderlal Gangani, Guru shri
Kubernath Tanjorkar, Smt. Anjali Merh, Prof. Markand Bhatt, Prof.
C.V.Chandrashekhar,, Prof. Yashwant Kelkar, Shri Kikani, Shri Anwarkhan, Shri
Madanlalji Gangani, Shri Sudhirkumar Saxena and many others have given their
valuable contribution in making this institute one of the premier institutes for
providing education in performing arts not only in India but throughout the world.

Course from part time diplomas for children to full time under graduate post
graduate and doctoral programs are offered under one roof. Different performing arts
like instrumental, vocal, dance (kathak and bharatnatyam) and dramatics are all
offered under one roof.

For Kathak, Pt. Sunderlalji Gangani was invited as the Nritya guru in the year 1954.
A very highly qualified not only in kathk but also in tabla and literature has created
many items and has written various kavitts and thumris as well. Presently his two
sons shri Harish Gangani and Shri Jagdish Gangani are rendering their services at
the faculty.

(b): DELHI KATHAK KENDRA:

A constituent unit of the Sangeet Natak Academi, it is situated at the Bhawalpura

house and is one of the leading institutes of the country. Established in 1964, it
offers various courses in Kathak and allied subjects like vocal music and Pakhawaj.

The Kendra has its staff teachers of eminence in various disciplines. It houses a
production unit that strives to enrich the repertoire and technique of Kathak through
experimental works. Well known artists like Shambhu Maharaj, Lachchu Maharaj
have served here. Famous guru of Lucknow gharana Shri Birju Maharaj served here
and retired in 1998. During his tenure at the Kendra, he directed many dance ballets
like the Malti madhav, Kumar sambhav, Jag bahar etc.. having a marvelous control
over taal and laya he has travelled to many countries and propagated kathak dance
world over.
 55

(c): SHANTINIKETAN, KOLKATA:

Rabindra nath Tagore founded Shantiniketan in 1901, where he experimented with

his new education methods. The students led a very simple life and were encouraged
to live in a close communication with nature. The school later became a university.
The atmosphere here was very free without any rules as gurudev insisted on the
inner discipline of the soul. Shantiniketan attracted some of the foremost thinkers
and humanitarians from the East and West. It was Tagore’s inspiration which made
this a great meeting place of the best minds.

Although the curriculum included general academic subjects like Maths, Science etc.
yet, great stress was laid on the arts like painting, sculpture and music. Tagore
himself wrote plays which were regularly produced at Shantiniketan.

(d): JAIPUR KATHAK KENDRA:

A very famous and a dignified institute of India, the Jaipur Kathak Kendra imparts
training in traditional Jaipur gharana of Kathak. Late shri. Bhanot was the chief
secretary and late shri Babulal Patni was the first Nritya guru. The famous guru of
jaipur gharana shri Gaurishankar was appointed as nrityacharya who popularized
kathak of Jaipur gharana.Pt. Jailalji’s son Shri Ramgopalji also served here for some
time. Shri Madan Prakashji was appointed as vocal artist and nagma player. Pt. Shri
Jagdish Gangani also served at the Kendra for some time as nrityacharya. Presently
Smt. Renuka Mathur is serving here as a director. Shri Rajkumar Javda is serving as
main dance teacher and Smt. Rekha Thakur as Nrityaguru. Jaipur Kathak Kendra
offers courses from diploma to post graduate diplomas.

(e): KALAKSHETRA, CHENNAI:

Kalakshetra literally means a place for arts. Kala meaning art and kshetra meaning
place. With the sole purpose of reinstating in modern India, for recognition of
priceless artistic traditions of India and of imparting to the young the true spirit of art
devoid of vulgarity and commercialism, Smt. Rukmini Devi Arundale established
the Kalakshetra. Imparting training to the young and talented people by the masters
of arts with the background of a religious spirit, has been its main aim.

Kalakshetra is a cultural academy for the preservation of traditional values in Indian

arts especially in the field of dance and music, founded in January 1936. Smt.
Arundale not only invited the best of the students but also noted teachers, musicians
and artists to be a part of this institution. Situated in Adyar near Chennai, under
Arundale’s guidance, the institution achieved recognition for its unique style and
perfection. In 1962, kalakshetra shifted to new campus in Tiruvannayur, Chennai
India.
 56

In the year 1993 through an act, the Parliament of India declared Kalakshtra as an
institution of National importance. Some of the noted students of this institution are,
shri C.V.Chandrashekhar, Smt. Anjali Merh, Leela Sampson, V.P.Dhananjayan,
Sarada Hoffman, Kamaladevi Chattopadhyay, Sanyukta Panigrahi, Adyar
Lakshaman, Krishnarani, Radha Burnier, Ambika Buch etc.

Kalakshetra focused on Bharatnatyam, Karnatik vocal music, the visual arts,

traditional crafts, textile design, aesthetics, history and philosophy.

Kalakshetra foundation comprises of Kalakshetra, The Bessant theosophical high

school, The Arundale senior secondary school, a craft foundation and Research
centre including weaving department, the kalamkari, natural dye printing unit, the
visual arts centre, the bharat kalakshetra auditorium, Rukmini arangam literaries, the
rukmini museum.

The staff of Kalakshetra consider themselves as links in a living chain and commit
themselves to preserving and sharing the purity and beauty of the arts in every
possible form.

QUE: 6: GIVE INFORMATION ABOUT THE TYPE OF FOLK DANCES.

ANS: 6: (a): ADIVASI NRITYA / PRIMITIVE DANCING:

Though considered as a folk dance, Adivasi nritya or the primitive dancing is a tribal
dance. Adivasis are tribal people who are still not a part of the main stream of the
civilization. They have preserved their, costumes, culture, thoughts, religious and
social practices. These tribes live in the remote areas of the jungles away from the
main centres of civilizations. Bhil, Gond, korku, yega, naga, santhal, mundiya etc are
some of the tribes who inhabit various jungles in the different regions of India like,
Vindhyachal, Aravalli, Himachal, Assam etc. They are totally dependent on nature.
They are fond of dance and music. They have strong beliefs on the supernatural
powers and this can be seen in their dancing and music. Their dancing include
themes like fire, forest, earthquake, war, lightening, rain hunting etc. Usually they
dance to offer worship to their deities for relief from natural calamities and for
fertility.

The dances of any community show peculiar characteristics of their culture,

surroundings and customs. The dances of the Adivasis also exhibit certin
characteristics like:
 57

1. Very graceful, powerful and very simple in laya, taal and body movements.
2. They usually dance in one line or a circle or a semi circle with fast and furious
movements.
3. Most of the dances are based on the feelings of both man and woman and their
dancing movements are steady and natural.
4. The music and songs are simple and with oneness of feelings. Sometimes they
not use instrumental music and if at all they use the music is very simple but the
instruments are decorated very artistically.
5. The songs of the dance have fewer words but more humming sounds that the
dancers make while dancing.
6. Mostly their dances are social dances and dances based on stories.
7. The ornaments and costumes are very attractive and are made from natural
material like bones of animals or wood or dried fruits.

All these characteristics are seen in almost all Adivasi dancing. All these dances are
different from the dances of the people living in the main civilization and hence their
dancing is classified under different folk dances of India.

(b): SOCIAL AND GROUP DANCING:

These dances are generally seen in all rural areas performed on occasions like
marriages, festivals or any other social functions where people get together and
dance out of joy and happiness. People dance without the distinction of caste creed
and and such dances are seen more in villages than in towns and cities. Some of the
famous folk dances are ghoomar, raas, garba, dandia, rauf, kummi, kalatam etc. these
dances are not only famous in India but throughout the world. The main colours of
these dances are their vivid costumes, songs, raga and sur. These dances are the
mirror of the society. It reflects the culture, clothing, behavior, thoughts and their
day to day living. These dances are easy to perform and some changes in the
costume and movements can be made according to the occasions, time and place.
The adivasi nritya depicts the beauty of the place where they live, whereas the folk
dances also beautify the cities where they are now commonly performed.

(c): PROFESSIONAL DANCES:

These are developed dances and their purpose is to earn money. These dances are
developed from the folk and the tribal dances and they have some very intricate steps
and are done with utmost grace and with special effects on the prosceniums for the
sole purpose of earning money. As we know all art forms are affected by the
political and cultural situations of a particular region, the dances of north India are
much more varied and different as North India was largely affected by the Mughal
and the European invasions. We can find such dances more in UP, MP, Rajasthan
 58

than in South India. In South India dances are more related to social or religious
festivals and hence we find fewer communities of professional dancers.

Professional dancing is again divided in to 2 categories –

1. For some social tradition where these dancers are called by the landlord or some
leader of the village and they perform at his house. These include dances like
Terah Tali, Bhavai etc.
2. This is also out of some social tradition but, here the dancers dance on anybody’s
call and at anybody’s house who invite them and offer money in return. These
include, Kathputli, Kachi ghodi, Sanchi-kajari etc.

These dances depict individual grace and artistic proficiency as they are
professionally paid. More elaborate makeup and colourful costumes are the
characteristics of this type of dancing. These dancers are mostly illiterate and are
looked down in the society. Sometimes to make more money they incorporate
vulgarity in their dancing. They have a very low social status and at times female
characters are played by males.

FOLK DANCES OF SOUTH INDIA:

(a): MAHARASHTRA:

(i):KOLI NRITYA: This is a dance of the fishermen community in the Konkan

region of Maharashtra. This dance is very popular and is performed on various
occasions and on full moon nights on the seashore. Both men and women perform
this dance and they stand in pairs or in rows opposite each other. Men hold oars in
their hands while women carry baskets on their heads. Men perform actions like that
of rowing a boat or fishing and women do the actions of collecting the fish in the
baskets. This dance reflects the lifestyle of the fishermen. Men wear short lungi and
a vest and a cap while women wear the Maharashtrian style saree and a pearl nathani
in their nose with other suitable ornaments.

(ii): LAZIM: The main instrument of this dance is the Lazim. It is played with hard
upward and downward movement. This instrument is made up of a wooden stick
with chain attached with metal plates to it. This chain is attached on 2 sides of the
stick. The shape is like a bow. The dancers synchronize the lazims with the beat of
the drum and foot movements. The dancers keep the wooden stick in one hand and
the chain in the other. This dance can be seen in all pats of Maharashtra and is of and
acrobatic nature and is done as a part of an exercise.
 59

(b): ANDHRA PRADESH:

(i): MATHURI: This dance is performed by both men and women. They stand in
rows opposite each other and men hold sticks in their hands and strike these while
dancing whereas women dance with clapping their hands. This dance is mainly
performed on weddings and other such social events.

(ii): LAMBADI: The nomadic tribes perform this dance. The costume is very
colourful with multi- coloured ghaghra and long colourful cholis and dupatta and lot
of jewellery. It is usually performed during marriages or any other festive occasion.
It is danced in a circle with very simple steps with a variety of hand movements and
graceful body movements. Sometimes brass pots are taken on heads while dancing.
It is also danced during Holi to welcome spring. At times it is danced at night around
a camp fire in an open place. The theme is mostly of shringara rasa narrating the
stories of Rati and Manmada. Another folk dance of AP is Dapu Vadyam which is
performed by men with a dholak in their hands in which foot work is important.

(c): KERALA:

(i): VELKALI: The main dance of Kerala is Velkali, performed by the Nayar
community. The families of Travancore are being performing this dance
traditionally. The main sentiment of this dance is Veer rasa. The dancer dances with
a sword and stick in his hand. They wear dhoti and a red cloth is tied on it. They
wear red salwar with golden border.

(ii): KAIKOTTIKALI: This word is made up of 3 different words: KAI- meaning

hands, KOTTI – meaning clap and KALI – meaning play. This is the main folk
dance of Kerala performed by women in a circle by clapping their hands and singing
a song. The theme of the songs is that of Kamdeva going to Shiva while he is
meditating and the disturbed Shiva then opens his third eye and burns Kamdeva. The
women wear white sarees and perform this dance during Onam.

(d): TAMILNADU:

(i): KUMMI: This dance is performed during the festival of Pongal which is also a
new year for the Tamil people. They gather at a common place and prepare a sweet
called chakker pongal and perform the Gau Puja in which they worship the cow by
appliying a tilak on its head and garlanding it and tying cowbells and also by feeding
it. The ladies and girls form a circle by keeping a lamp in the center and dance by
clapping hands and singing a song. It depicts the joy of the festival, the tune is fixed
and mostly religious songs are sung, where one person sings and the others follow in
chorus. It is also performed on other religious occasions in temples. Kummi and
 60

Kolattam are the most important folk dances of Tamilnadu and Kummi resembles
Garba of Gujarat whereas Kolattam resembles Raas dance of Gujarat.

(ii): KAZIATTAM: Perfromed by fishermen to praise lord Kartikeya, this dance is

done by holding small sticks in hands in various rhythmic patterns. They wera
colourful clothes and keep a handkerchief or a napkin on their head. Dholak and
taalam are the main instruments of this dance.

(e): ORISSA:

(i): YUDDHA NRITYA: This is a dance of the ancient farmers and soldiers of
Orissa to entertain themselves. This is not a folk dance but it is an ancestral dance
which has become a part of the life of the people of Paik caste. This dance is known
as ‘ Ram Nritya’ in the northern Orissaand their dance troupes consider themselves
as the representatives of Mathura’s dance style. This dance is performed either
before or after war in ancient times. It has forceful body movements and the group is
divided in to 2 parts and they dance with swords in their hands in fast tempo. The
movements resemble that of a war.

The dancers dance on the rhythm of instruments like ghausa, mahuri, and dhol which
accompanies the forceful movements. The dancers wear costumes like that of
ancient soldiers and they apply turmeric and clay on their body.

(ii): GHUMRA NRITYA: This dance is based on a strange instrument called

‘Yantra Madhur’ which is a typical drum of Orissa. A ‘Todi’ is played on this
instrument and then the dance starts. Some mythological story is described in the
songs. The steps composed to the beats of drums are very simple and emphasis is
laid on the rhythm. Dancers wear colourful costumes and dance in circles or semi
circles. The musicians also dance. Mostly men participate in this dance holding
peacock feathers in their hands.

(f): KARNATAKA:

(i): BHUTTARI: This is a folk dance from Mysore. Coorg is a very feautiful place
in Karnataka and the residents of this place are mainly farmers and they perform this
dance in their fields for good harvest. The theme of the songs is mainly describing
the beauty of their fields.
 61

QUE: 7: GIVE THE NAMES OF THE SANYUKTA AND ASANYUKTA HASTAS

AND ALSO STATE THEIR USES.

ANS: 7: (a): ASANYUKTA HASTA (SINGLE HAND GESTURES: The gestures done
using single hand are called the Asanyukta hastas or the single hand gestures. The
names and uses of Asanyukta hastas are as follows:

(1): PATAKA:

USES: it is used in the beginning of the natya, to denote, clouds, forests,forbidding

things, strong sunlight, river, taking an oath, shield, touching things etc.

(2): TRIPATAKA:

USES: It is used to denote crown, tree, vajra, the ketki flower, lamp, raising flames
etc.

(3): ARDHAPATAKA:

USES: It is used to denote leaves, a bank of a river, knife, banner, tower and a horn.

(4): KARTARIMUKHA:

USES: It is used to denote the separation of man and woman, opposition, a corner of
an eye etc.

(5): MAYURA:

USES: It is used to denote peacock’s neck, creeper, a bird, removing hair, tilak,etc.

(6): ARDHACHANDRA:

USES: It is used to denote the phases of the moon on the eighth day of the dark
fortnight,a hand seizing the throat, a spear.etc.

(7): ARAALA:

USES: It is used to denote drinking of poison etc, violent winds etc.

(8): SHUKATUNDA:

USES: It is used to denote shooting an arrow, remembering one’s abode,violent

mood etc.

(9): MUSHTI:

USES: It is used to denote steadfastness, grasping of hair, holding things and the
fighting mood of the wrestlers.
 62

(10): SHIKHARA:

USES: It is used to denote bow, pillar, a phallic symbol, and sounding bell.

(11): KAPITHA:

USES: It is used to denote Lakshmi, Saraswati,milking cows, grasping the end of

ropes, holding a flower etc.

(12): KATAKAMUKHA:

USES: It is used to denote plucking of flowers, holding a pearl necklace or a garland

of flowers, offering betel leaves, etc.

(13): SUCHI:

USES: It is used to denote the number one, a braid of hair, to point at something etc.

(14): CHANDRAKALA:

USES: It is used to denote the moon, forefinger and objects of that shape, crown of
Shiva, ganga etc.

(15): PADMAKOSHA:

USES: It is used to denote fruits such as bell, a circular movement, ball, scattering
of flowers, egg etc.

(16): SARPASHIRSHA:

USES: It is used to denote snake,giving water to gods, the arm of wrestlers etc.

(17): MRIGASHIRSHA:

USES: It is used to denote cheek, limit fear, tripundraka mark on the forehead etc.

(18): SIMHAMUKHA:

USES: It is used to denote homa, a hare, an elephant, a lion’s face etc.

(19): KANGULA:

USES: It is used to denote bells worn by children, a white water lily, the Chataka
bird etc.

(20): ALAPADMA:
 63

USES: It is used to denote a full blown lotus, circular movement, separation from the
beloved, the full moon etc.

(21): CHATURA:

USES: It is used to denote gold, copper, iron, aesthetic pleasure, proof, etc.

(22): BHRAMARA:

USES: It is used to denote a bee, a parrot, a wing, a cuckko and similar birds.

(23): HAMSASYA:

USES: It is used to denote a pearl, flame of a lamp romance, etc.

(24): HANSAPAKSHA: It is used to show, the number 6, or scratching someone

with nails etc.

(25): SAMDANSHA: It is used to show the number 5, wound, sacrifice etc.

(26): MUKULA: it is used to show a bite of food, a flower of banana etc.

(27): TAMRACHUDA: It is used to show hen, camel, crow, childetc.

(28): TRISHULA: It is used to show the number 3, for tilak of lord Shiva, etc.

(29): VYAGHRA: It is used to show tiger, frog, monkey etc.

(30): ARDHASUCHI: It is used to show the number one, a big insect, to point at
something etc.

(31): KATKA: It is used to show the expressions of calling, seeing,etc.

(32): PALLI: It is used to show a village or a hut.

(b): SANYUKTA HASTA (DOUBLE HAND GESTURES):

1): ANJALI: It is used to do namaskar.

2): KAPOT: It is used to do pranam, to accept things with respect.

3): KARKATA: It is used to show the blowing of a conch, bending of limbs.

4): SWASTIKA: It is used to show the

5): DOLA HASTA: It is used to begin the dance.

6): PUSHPAPUTA: It is used to offer water, fruits etcto the lord.

 64

7): UTSANGA: It is used to show embracing.

8) SHIVALINGA: used to show the Shivlinga.

9): KATAKAVARDHAN: to show the weddin

10): KARTARISWASTIKA: branch, peak, tress.

11): SHAKATAM: demons

12): SHANKHA: conch

13): CHAKRA: wheel

14): SAMPUTA: to cover something or to show a trunk.

15): PASHA: to show quarrel

16): KILAKA: to show conversation with love and affection.

17): MATSYA: to show fish.

18): KURMA: turtle

19): VARAHA: boar

20): GARUDA: to show eagle.

21): NAGABANDHA: pair of snakes.

22): KHATVA: palanquin

23): BHERUNDA: a pair of birds.

VISHARAD
 65

[VIITH YEAR]

150 MARKS:

QUE: 1: COMPARITIVE STUDY OF ABHINAYADARPANAM AND

NATYASHASTRA.

ANS: 1:

NATYASHASTRA ABHINAYADARPANAM

It is written in chapters and it has 36 It is a continuous text and just have

chapters. headings for different topics.

12 chapters are dance related. Entire text is dance related

All the four abhinayas are in detail Angika abhinaya is discussed in detail and
that too only shariraj abhinaya in special.

There is a complete chapter on Tandava Only the term Tandav lakshanam is used
lakshanam and the angaharas, karanas and no detailing is done.
and rechakas are named and explained.

Bharat muni has propounded a whole No mention of Rasa is found in the

rasa theory stating the rasa siddhant and Abhinaya darpanam.
how a rasa is evoked and also
mentioned and explained the 8 rasas.

It states 6 anga, upanga and pratyanga. It also states 6 angas, upangas and
pratyangas but with different names.

There are 24 asanyukta hastas with a There are 28 asanyukta hastas. Majority
special hasta “ urnanal”. are the same as Natyashastra, except for
ardhapataka, sinhamukha, chandrakala,
tamrachuda etc are extra here and Urnanal
is not there in A.D.

It has detailed mention of Nayak and There is no mention of nayak and nayika
Nayika bheda. bheda.

Different types of Chchands are No mention of this in A.D.

mentioned and rules pertaining to their
recitation are also explained
 66

Characteristics of Nataka and the use of It does not contain any of this
language is explained

Characteristics of good drama are also It does not contain this.

mentioned.

There is a detailed description of tala The present edition does not provide any
and laya information on this.

There is a description of different types It does not contain this.

of instruments

Kinkini lakshanam is not mentioned Kinkini lakshanam is described very

here elaborately

Different types of hastas like the All these and many more hastas like raja,
Navgraha, bandhava, jati, dashavtar, nadi, jeev-jantu etc are mentioned here.
devta,etc are not mentioned here.

The gati bheda is according to the Rasa There are types of gati bhedas like
hansini, mayuri, mrugi. Etc.

We don’t find any reference of this in There is a variety of Pada Bheda like
the N.S. sthanak, chari, utplavan etc

Sanyukta hasta are 13 in N.S. Sanyukta hastas are 23 in A.D.

According to the Natyashastra, a A.D. agrees to the definition of charis, but

movement with one foot is called a it does not have different categories. It has
chari. N.S. categorizes charis in Akashi only 8 types of charis.
and Bhaumi charis. Each of these again
have 16 different types of charis and
thus a total of 32 charis

There are 5 pada bhedas like udghatitta, It has 4 pada bhedas like mandala,
sama, agratalsanchara, anchita and bhramari, chari and utplavana.
kunchita

According to N.S. mandala is a Here mandala is a type of a pada bheda.

combination of different charis and There is no classification of mandalas and
mandalas are again classified in to 2 straight forward 10 mandalas are
categories – Akashi and Bhaumi. There mentioned.
are 10 akashi and 10 bhaumi mandalas.
 67

According to N.S there are 6 sthanaks It also has 6 sthankas but only one is
similar to that of N.S that is Samapada.

Hastabhinaya are of mainly 2 types – Many varieties of hastabhinaya like

asanyukta – sanyukta and nritta hastas vruksha hasta, dashavtara hasta, raja
hasta, bandhava hasta, navgrah hasta, jati
hasta, pakshi hasta, digpala hasta etc are
mentioned in A.D.

The words like Uddhata and Sukomal Tandava and Lasya are just mentioned
are used to describe Tandava and Lasya and not described in any manner.
respectively.

Types of characters, roles, distribution The available text of A.D. does not give
of roles, duties of a sutradhar, etc are any information on these.
described in detail

There is a description of different types No such mention is found in A.D.

of females according to nature, jati, etc.
Also there is a description of different
types of female categories like a female
messenger, 3 types of women like
uttama, madhyama and adhama etc.

The clothing, make-up, ornaments and Detailed description of Aharya abhinaya

different anga rachna constitutes of the is not given in A.D. according to A.D.
Aharya abhinaya. There is a detailed aharya abhinaya constitutes of only
description of the Nepathya, alankaras, ornaments, make-up and costume and
ornaments for men and women, types of does not include anga rachana.
beards and moustaches, make-up for
different characters, types of weapons
to be used, types of head gears. Also it
is mentioned that actual things should
not be used and only symbolic gestures
must be used.
According to N.S. Satvika bhava arises In A.D satvika abhinaya is believed to be
from emotions, genuineness of mind. a form of Shiva and it is a form of
This is possible only when the mind is benediction for Shiva. Satvika bhava is
composed which leads to immediate done only by a the person who knows it.
satisfaction. They must be emoted
correctly.

There is no mention of Sabha rachana A.D has a detailed description of sabha

or sabha pati lakshana rachana and sabha pati lakshana.
 68

There are 9 greeva bhedas. There are only 4 greeva bhedas.

Utplavanas are not mentioned in N.S. 5 types of Utplavanas are mentioned here.

N.S. states 30 nritta hastas out of which There are 13 nritta hastas.
Swastika and Alapadma are common to
A.D.

In N.S. the drishti bhedas are according Here there are 8 basic drishti bhedas.
to the rasa.

QUE: 2: REVIVAL OF DANCE IN INDIA AND ITS PIONEERS.

ANS: 2: Dance in India was an art associated with worship and ritual and therefore was
clothed in sanctity. In the age of Aryans and during the later Vedic age, dance held a
dignified position in the society and the people of the upper strata of the society
considered it to be an asset and pursued it seriously. This state of affairs continued
throughout the Brahmanical period from 1000 B.C to 500 B.C.

Dance is mentioned as a mode of attaining salvation in the sacred texts in Vedas and
Upanishads.With the rise of Buddhisim however, there was a setback in this divine
form.

In South India dance was associated with the temples and was done as offering to the
God. It was considered very pios and even the upper caste people gave away their
daughters as dancing girls called “DEVADASIS” in the temples.

As time passed the once highly dignified art of dance lost its true identity and
samctity and was dragged from the temples to the courts of the kings and became an
instrument of mere entertainment.The degenerated status of dance continued till the
first 25 years of the 20th century.

We are grateful to some great artists and gurus for this revival of dance in India,
without whose pioneering efforts this art would have been lost. These artists mainly
include Shri Uday Shanker, Gurudev Rabindranath Tagore, Madam Menaka,
Rukmini Devi Arundale, E. Krishna Iyer, Vallathol Narayan Menon, Bala
Saraswathi, Shri RamGopal and many more.
 69

It is worth noticing her that in the case of revival of dance unlike other fields, the
initiative was taken by foreigners and then the Indians did the pioneering work for
revival.

The Indian dance was first presented in the West by an American artist Ruth. St.
Denis. She was interested in dances of the east. In 1904 she first time created Indian
dance for the West and got tremendous success and fame by a production called
“RADHA”. Her compostion “Doli aur Yogi” was also highly acclaimed. In 1925,
she came to India with her husband Ted Shawn. After returning to America she
created other dances like the Dance of Shiva. It is to be noted that the names and
themes of these dances were Indian but they were not at all based on Indian style of
dancing and inspite of this they were very popular and the foreigners started taking
interest in Indian dancing.

Ana Pavlova’s contribution in the revival of Indian dance is of great importance.

When she came to India in 1922, she was disappointed as she could not see the pure
form of Indian dance. During her tour of India she created productions based on
Indian styles namely “Radha – Krishna”, and “Hindu Wedding”.

The credit for accelerating the revival of Indian dance goes to 2 women who were
not of Indian origin. One is Ana Pavlova of Russia and the other is La Marie of
USA.

Ana Pavlova spotted Uday Shanker in London in 1920’s and La Marie spotted Ram
Gopal later on. Both of them were inspired by these foreigners to turn to their culture
and dance traditions.

Uday Shanker put Indian dance on the World map. His ballets were huge success
and awakened Indians to discover their glorious heritage.

Ram Gopal went upto the roots of classical dance forms and learnt Bharatnatyam
form great teachers like Meenakshi Sundaram Pillai and Kathakali form Kunju
Kurup. He was a pioneer to show to the world the grandeur of Indian classical dance.

In 1928, Ana Pavlova revisited India and performed simple roles in various dance
dramas. In this way she created interest in the minds of Indians towards their own
arts and the seeds of revival of Indian dance were sown.

Uday Shanker, after spending many years in Europe came to India and established
his own dance troupe in 1930 and toured extensively in Europe, Americas and the
East. In 1939 he established Indian cultural centre in Almora after returning from
London.
 70

Learned and high caliber gurus like Shanker Nambudari for Kathakali, Kitappa Pillai
for Bharatnatyam and Amubi Singh for Manipuri were appointed in this institution .
Ustad Allauddin Khan also taught music.

Apart from Ana Pavlova, La Marie and Ragini Devi also came to India and took
thorough training of the classical dances of India.

In 1936, La Marie came to India to learn dance. She undertook training from the
famous gurus of Bharatnatyam and Kathakali.

Ragini Devi also came to India and deeply studied Indian dance. She learned
Kathakali from Kerela Kala Mandalam from the great guru Kunju Kurup. She had
great love and value for Indian dance and runs an institution in Bombay.

Thus it is clear, that foreigners had taken first interest in Indian dance and due to
their efforts and influence only Indians could get an idea of their culture and
heritage.

The 4 major dance forms i.e Bhatatnatyam, Kathakali, Manipuri and Kathak were
thus speedily revived.

Besides Uday shanker and other pioneers other initiators whose contribution is
noteworthy are Gurudev Tagore, Mahakavi Vallathol Narayan Menon, E Krishna
Iyer, Rukmini Devi etc.

GRURU DEV RABINDRANATH TAGORE:

Gurudev Tagore saw a group of boys perform Manipuri in Sylhet (now in

Bangladesh) and was impressed and decided immediately to introduce it at
Shantiniketan. In yet another incidence he saw Manipuri dance in Agartala and his
conviction was strengthened to appoint a teacher, The Maharaja of Agartala sent
Buddhimanta singh his prinpal dance teacher to Shantiniketan in 1920.

In 1926 after the establishment of Vishwabharti at shantiniketan Nabha kumar was

appointed to teach the Raas Leela aspect of Manipuri.

Because of deep prejudice towards dancing and art, these were introduced as
exercises for boys.

Later Kathakali and Moihiniattam were also introduced. Slowly the girls started
taking interest and the antagonism was toned down and particularly in Bengal people
began to take interest in dance.

MAHAKAVI VALLATHOL NARAYAN MENON

 71

Vallathol worked hard for the renaissance of the art of Kathakali. The few dancers
were demoralized and there was a lack of patronage from the public. He organizd a
lottery and collected funds of rs 70000. He established the Kerela Kala Mandalam
and from the very beginning appointed great masters like Kunju Kurup, Ravvunni
Menon, Kalyani Kutti Amma, Krishna Panicker etc. He was successful in
convincing a few people of the upper caste to take up dancing as a profession and
thus inspired other to learn dance and this art was saved from extinction. It was
difficult and a mammoth task to locate and find and appoint gurus and teachers who
were located in remote areas and bring them together and start an institution.

E. KRISHNA IYER

In 1920 E. Krishna Iyer a high caste Brahmin advocate played an important role in
the revival of Bharatnatyam. He practiced law during the day time and dooned as a
female and performed Bharatnatyam in the night to remove the stigma attached to
this wonderful art.

In 1927, he organized the All India Music conference in Chennai. In 1928, an

academy was born and the anti nautch movement gathered momentum. The recital of
Kalyani daughters advocated by Iyer on 1st January 1933 drew large audiences.

E. Krishna Iyer invited BalaSaraswathi to Benaras to perform in All India Music

Conference.

By the year 1937, 2 cultured artists, Kalanidhi, daughter of Ganpat Iyer and Rukmini
Devi, wife of George Arundale both high caste Brahmins shocked the Brahmin
community by performing on stage.

Both the ladies inspired young girls of middle class families and thus a momentum
was accelerated and the dieng art of sadir was saved.

Rukmini Devi established the Kalakshetra and also designed the present day
bhartnatyam costume.

MADAM MENAKA

As the same time as Bharatnatyam and Kathakali were revived in the south, Kathak
was on emergence in the North.

Madam Menaka played a notable role in the revival of Kathak. Hailing from an
aristocratic Brhamin family Menak faced severe social opposition. She acquired
knowledge of technique of Kathak from great masters like Pt. Sitaram Mishra,
Maharaj Vidyanath Mishra etc. and appeared on stage in 1926 in Bombay. Menaka
mastered in Lucknow gharana. She also studied Kathakali and Manipuri. She
 72

participated in the International ballet Olympiad held in Berlin for Indian classical
dance. She established “NRITYODAYA” in Khandala.

During the 1920’s the revival of the 4 dance styles i.e Bharatnatyam, Kathakali,
Manipuri and Kathak had begum. The other dance styles i.e Mohiniattam, Oddisi
and Kuchipudi came in light after independence.

REVIVAL IN OTHER DANCE STYLES:

After independence the dance forms like Mohiniattam, odissi, kuchipudi received
fresh impetus.

Odissi was performed in temples and very few people knew about this beautiful art.
The credit goes to Indrani Rehman for bringing it to public platform by her
performances and research in the 1950’s.

Sanjukta Panigrahi, Kumkum Das, Ritha Devi, Sonal Mansingh have all preserved
this dance with great expertise and propagated it to far off lands.

Kuchipudi was revived by Vedantam Satyam who impersonated female roles and his
nephew followed his footsteps. Yamini Krishnamurthy did the pioneering work of
bringing this art to the proscenium.

Mohiniattam received a fresh impetus with the efforts of Mahakavi Vallathol

Narayan Menon and Shri Mukund Raja. The syllabus of Kerela Kala Mandalam
included Mohiniattam but due to the social stigma teachers and girls were not
available. It was only in 1960’s and 70’s that this dance form was taken seriously.
The credit goes to Shri Vallathol Menon, Mukumd Raja, Kalyani Kuttiamma, and
artists like Kanak Rele, Bharti Sivaji, and Krishna Panicker etc.

Thus the revival of 4 classical dance styles started around 1920’s while the other 3
were r evived post independence. The foreigners were the first to take keen interest
in Indian arts and it was because of them that the social stigma was possible ot
remove. The pioneers of revival had to do a tremendous job to find out gurus and
devdasis who stayed in remote areas due to the social stigma.

QUE: 3: ORIGIN, HISTORY, TECHNIQUE, REPEROTIRE, COSTUME, MAKEUP,

LITERATURE, AND MUSIC OF MOHINIATTAM.

ANS: 3: INTRODUCTION:

The amazing feature of the arts of India, as indeed of her cultures and civilization
has been the genius of absorbing exotic elements and transforming them into our
own idioms.
 73

Until very recently it was presumed that there were only 4 classical dance styles of
Indian dance. Then in an imperceptible yet dramatic manner styles like Kuchipudi,
Mohiniattam and Odissi were discovered in their native settings and brought on to
the urban stage to the delight and wonder of art lovers.

Since in traditional Indian art there has never been a clear differentiation between the
classical and folk styles, both being governed by the same motivation and norms the
subtle permeation of folk elements into the classical arts was natural and has often
added to their beauty and enjoyment.

Mohiniattam is perhaps the best example of such a fusion. Born out of the wedlock
of Bharatnatyam and Kathakali, it was accepted in its framework, the beautiful
lyrical elements of the secular social folk dances of the graceful women of Kerela.
The origin and growth of this dance style is a fascinating study.

Mohiniattam is deemed to have achieved its present classical form and repertoire
during the reign of Maharaja Swathi Thiruanal of Kerela. This was during the advent
of Vadivelu one of the brothers of the Tanjore quartet in his court.

The stern and severe demands of Kathakali and its exclusive admission of men into
its holy precincts for participation seemed to seek a naturally more graceful and soft
dance form suited to the women folk. The existing matrix of the secular – social
dancing by women on festive occasions provided a skeleton which could be filled
with the sinews of classicism of Bharatnatyam repertoire. Thus Mohiniattam grew
under the shadow of Kathakali and Bharatnatyam and could not escape to imbibe the
finer points of both.

In an inspired moment some highly enlightened sould christened this art

“MOHINIATTAM”, an apt and beautiful name for a vivacious and voluptuous
dance. Perhaps he had in his mind the primeaval enchantress in whose guise Vishnu
enticed and confounded the demons; or the supple movements and swaying of the
body around the waist may have suggested the “MOHINI” which lures men away.
Anyhow this art from became a highly developed dance, which generations of
Kerela people have enjoyed during their frequent festivals and fairs.

ORIGIN OF MOHINIATTAM:

To understand the origins and development of one of the particular forms of dance
art the psychological background of the people who created it must be understood.

The home of Mohiniattam is Kerela. The name Mohiniattam comesfrom 2 words

“Mohini” - meaning beautiful woman, and “Attam” – meaning dance. According to
Hindu mythology there is a legend that Vishnu took the form of “Mohini” to entice
 74

the demons and asuras to drive them away and keep them away form the nectar that
would make them immortal. Another story suggests that Vishnu in disguise as a
beautiful woman Mohini enticed the demon Bhasmasur and lured the evin creature
to a dance contest and destroyed him.

Mohiniattam literally means the dance of the enchantress. It focuses on feminine

moods and emotions and graceful body movements.

Of all the arts like Chakiarkoothu, Prabandhakoothu, Krishnattam, Ramanattam, the

3 thullals, Kaikottikali, Kolattam etc, the only art where women of Kerela were
provided a chance of self expression through dance was in Kaikottikali and certain
parts of Chakiarkoothy. Also all the major and all classical arts were not merely
dances but were definitely theatrical with a very noticeable preponderance of the
Natya element. The lack of a beautiful art form which was chiefly a dance form on
the classical percepts as laid down in Shilapadikaram and the Natyashastra etc and
other Indian treatises on dance as suitable for feminine interpretation. This
shortcoming was sought to be redresses by lyrical and enchanting dnace style created
solely for feminine interpretation and on the lines guiding the other classical dance
styles like the Dasiattam and Sadir.

HISTORY AND PERIODICAL DEVELOPMENTS:

In Kerela, by 800 A.D. the temple arts could be said to have been revived and
emancipated with the emergence of the Chera Dynasty. This period stands out most
distinctively in the cultural and religious history of Kerela. It was marked by an
upsurge of great social, cultural and religious activity.

In 932 A.D.; during the reign of Raja Goda Ravi Varman, Dasiyattam – the
precursor of Mohiniattam flourished. Evidence of which can be found in temple
inscription at Chokkur. There are references to suggest that the Devadasis were
known as Mohinis which implies that the enticing aspect was already there along
with the devotional mood in which it was originally nurtured.

By the 16th Century, mohiniattam seemed to have established itself as a classical art
in its own right in Kerela. This is evident from the reference of distributing royalty to
the Mohiniattam dancers found in the commentary written by Mahisha Mangalam
Narayan Namboodari in 1709. Gradually the various dance drama traditions and
other regional art forms in Kerela appeared on the scene and gained popularity.

It was only in the 19th Century during the reign of Maharaja Swathi Thirunal that
Mohinattam assumed its present form. In his attempt to revive this art form the
Maharaja invited the famous Tanjore quartet.
 75

Maharaja Swathi Thirunal could undoubtedly be said to be the pioneer of

Mohiniattam that we see today. In his efforts to reshape and revive Mohiniattam his
knowledge of Bharatnatyam and influence of the Tanjore quarter seemed to have
played a vital role.

As they found that most of the original padams and songs of Mohiniattam which
used to be employed in the earlier days had either been lost or forgotten, the
Maharaja Irrayiman Thampi composed a number of Varnams and Padams especially
for Mohiniattam. By now Mohiniattam came to be performed in the courts than in
the temples.

Maharja Swathi Thirunal did not live long unfortunately and his successor Uttiram
Thirunal was a fanatic supporter of Kathakali. The Royalty did not take much
interest in Mohiniattam and thus it started declining not only due to lack of much
needed institutional support but also due to the fact that the spectators got more
interested in “Mohini” rather than Attam. Jut for their survival the Mohiniattam
dancers included some cheap items in their bid to please the common man.

Yet there were a few noted artists who in the face of several setbacks retained the
luster of Mohiniaatam. We owe great debt to Mahakavi Vallathol Narayan Menon
and his colleague Shri Mukund Raja for their valiant efforts not only in locating
Kalyani Kutti Amma as teacher and Krishna Panicker as Nattuvnar but also in
persuading a few girls from good families to take up training in Mohiniattam.

To summarize, Mohiniattam is not of as great an antiquity as Shilapadikaram. If not

entirely a new art it was certainly in vogue in the beginning of the 17th century and
thus must have had its origin before that. It is between 300 – 600 years old.

There is evidence that it was not temple art but a social or rather a palace art and it
received impetus from Swathi Thirunal. It has already been shown how decadence in
the form of absurdities, contributed to a large extent towards the downfall of
Mohiniattam.

The present day popularity of Mohiniattam can be contributed entirely to the single
minded devotion and efforts of Mahakavi Vallathol. Though he faced tremendous
difficulties of social stigma attached to the dance.

REPERTOIRE OF MOHINIATTAM:

The repertoire of Mohiattam runs almost parallel to that of Bharatnatyam. This it

appears to be almost certain, may be attributed to the Tanjore quarter in the court of
Swathi Thirunal.
 76

The quartet brought with them many well known Bharatnatyam dancers form
Tanjore. Parmeshwar Bhagwatar of Palghat alongwith the 2 brothers shaped
Mohiniattam in to a classical art by systematizing the dance and giving it a
consistent form. Thus we find that the items in Mohiniattam have the same names as
those of Bharatnatyam excepting a few dissimilarities.

CHOLLUKUTTU: Instead of Allaripu of Bharatnatyam, Chollukutu is danced as

an opening number in Mohiniattam. It is an invocatory item, but the practice
appearts to date back to ancient times.

SWARAJATI/ JATISWARAM: Chollukuttu is followed by either swarajati or

jatiswaram.

The Shabdam of Bharatnatyam is omitted in Mohiniattam because as in

Bharatnatyam Allripu is a pure dance item, Chollukuttu of Mohiniattam which is
equivalent of Allaripu, we find in the beginning there are a few lines of praise of
Bhagwati. Thus it may be presumed that there may have been an item called
Shabdam in olden days but somewhere it was merged with Chollukuttu.

PADAVARNAS: These Padavarnas are just as in Bharatnatyam but almost to be by

Swathi Thirruanl and thus it may be presumed that this item was introduced in to
Mohiniattam repertoire on the promptings of the Tanjore brothers. Mohiniattam
varnams do not have spoken jatis.

PADAMS: There are plenty of padams in Mohiniattam where generally the krittis of
Swathi Thirunal or Irrayiman Thampi are used.

Eyewitnesses are emphatic in stating that tillana, shlokam and javali were performed
in Mohiniattam. It is said that Kalyani Kuti Amma who was a teacher at Kerela Kala
Mandalam when Mohiniattam was first introduced in 1933-34 performed an item
known as Hindustani. The structure and music were almost similar to tillana.
Likewise an item known as Viruthan was performed.

COSTUME AND MAKE-UP OF MOHINIATTAM:

It is very difficult to ascertain or visualize with certainity what was the mode of
dress formerly employed by Mohiniattam dancers. The costume employed by
dancers of a particular land is usually influenced by the everyday mode of the
society in general. Ofcourse stylized and so modified as to render it suitable for the
dance which is definitely stylized.

The costume of Mohiniattam dancer comprises of a white sari with a wide gold
border and a blouse which may be white or of any bright colour. The sari is worn in
 77

such a manner that a pleated fan is formed like an apron in front. The waist band of
gold is sometimes worn over the sari.

The hair is gathered to one side to form a bun and adorned with white jasmine
flowers.

The face make-up is very simple. The eyes and eyebrows are drawn with collyrium,
lips reddened with paint and face given a shinning look. Formerly decorative spots
mostly white but occasionally also black were also added to cheeks and chin but this
practice has practically ceased totally.

The ornaments include:

Netti Chuthi: Head ornaments

Todas or Kundals: Large shield shaped ear studs of gold

Mukuti: Nose ring or a stud

Matal: chains fixed to earrings

Kalchutti Padakam: Necklace, gold chains

Hasta Katakas: Large gold bangles

Udayanam: Gold waist belt

MUSIC OF MOHINIATTAM:

The musical content of Mohiniattam is almost the same as in Bharatnatyam. The

other Kerela dances follow a highly individual style of singing. But Mohiniattam
stands apart from the main stream of musical content that envelops the rest of Kerela
dances.

This individuality of the other Kerela arts is the actual manner in which the songs are
sung the style being known a Sopana. Mohiniattam stands all on its own as far as the
musical content is concerned. In Mohiniattam in the Swara and Chollu passages the
same technique is followed. But when the free ranging abhinaya is enacted as in
Padam the freedom of Kathakali is seen to be coming into play.

Another striking feature of Mohiniattam as practiced in the last century or so is that

the jatis are never danced to the bols or chollus being simply recited.

The Chollus have to be sung in the framework of the raga employed for the item.
Thus a Varnam in Mohiniattam has only Swara and sahitya patterns and not swara,
sahitya nd jati patterns as followed in Bharatnatyam.
 78

The ragas employed for the items are invariably chosen according to the basic mood
of the item. This particular aspect appears to be very well developed in Mohiniattam;
where the musical content is deeply emotional. Also ragas which have definite
lyrical structure tend to be more frequently used than the others. Thus the following
pattern is invariably followed:

MOOD RAGA

Sadness Suruti, Mukhari, Nilambari

Shringara Khamaj, Bihag, Anandabhairavi

Devotional Sindhu, Desh, Darbari, Kanada

Pure Dance Hindolam, Kalyani, Bhairavi

The taals used are Roopakam, Champa, Adanta, Kumbham, Adi etc. The instruments
used in Mohiniattam are drums similar to Kathakali – Edakka and Maddalam, other
instruments used for accompaniment are talam, violin, veena, flute, chenda etc.

LITERATURE OF MOHINIATTAM:

The lyrics composed by Maharaja Swathi Thirunal and Irrayiman Thampi are mainly
used.

TECHNIQUE OF MOHINIATTAM:

Mohiniattam follows the theory of revolution: a style abounding in beautiful lyrical

movements, nevertheless exhibiting a conspicuous strength of purpose. The
presentation emerges with deep impact, to envelop the spectator in an aura of grace,
charm, lyricism and vivacity.

Scholars also give a generalized division of this classical dance into 3 categories:
Nritta, Nritya and Natya.

All the classical dance styles with the exception of Kathakali use only nritya and
nritta. Mohiniattam also concerns itself with nritta and nritya.

NRITTA: is a part of angika abhinaya. Nritta in Mohiniattam chiefly consists of

dance movements known as advus. Advu is a composite dance unit of a short
duration and forms the basis from which more complicated nritta sequences are
created. It is the shortest possible dance sequence.

The prime basic posture in Mohiniattam very much resembles to that of Kahtakali
where 2 feet are placed at a distance of almost 1.5 feet with knees bent so as to be in
the half sitting posture.
 79

The next in sequence would be the movement of the feet (Chari) used to moving
from one place to another.

The last aspect in an advu is the movement of the hand or gestures. The hastas that
are most freely used in Mohiniattam are from the treatise calld HASTALAKSHANA
DEEPIKA.

SATVIKA ABHINAYA: The themes consist of love and devotion to the God.
Vishnu or Krishna is most often the hero.Due to slow and medium tempo, the dancer
can find adequate space for improvisations and bhaavs to express. The dancer may
depict the verses from the Meghdootam, Geet govind; Ramayan etc. majority items
have earthly flavours. The dramas and emotions of the Nayika are expressed through
delicate footsteps, circular movements and subtle expressions.

QUE: 4: BALLET: HISTORY AND DEVELOPMENT

ANS : 4: Ballet a relatively recent development of dance did not beging until the last quarter
of the 16th century. Before this, ther were dance performances which were very
similar to ballet but not exactly ballet.

The history of ballet can be categorized into 3 parts:

(i) Origin in Italy and development in France.

(ii) Romantic period
(iii) Classical period.

THE ORIGIN OF BALLET IN ITALY AND ITS DEVELOPMENT IN

FRANCE:

The art of theatre which we call ballet emerges some 500 years ago in renaissance
period. During this time, the rulers in Italy were cunning in intrigue and diplomacy
and were adept in furthering their personal prestige and so they made every effort to
give brilliance to their courts. This was the setting for the appearance of the earliest
professional dancing masters who were often important figures at Italian courts.
Under their influence dancing developed from pass time and folk art into an art
possessing a definite technique which evolved, elaborated and codified and thus
sprung the present day ballet technique.

The first of these masters was Domenico, around 1400 A.D.. He has written a book
on dancing which is the earliest known woek of its kind. Domenico created dances
many of which expressed some interplay of feelings between performers. These
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“Balli” or “Balleti” as they were called began to penetrate nealy evey form of
spectacle to be seen in Italy and always held an important feature of the festivities.
During the 16th Century the dance was to find a place in the developing arts of
drama, pastorale and opera.

No expense would be spared by the Italian kings and the greatest of artists of the
time would contribute their services which increased the magnificence and the
dazzle of the Italian courts.

In 1458, a performance was organized and staged in Milan in which 100 dancers
participated. The costumes of the dancers and some marvelous effects were designed
by Leonardo Da Vinci.

DEVELOPMENT IN FRANCE:

When king Charles VIII of France came to Italy to claim the throne of Naples, he
was astonished at the wealth of dancing in Italian courts. The French discovery of
Italian culture was to have far reaching consequences in the development of Ballet.

For a long time dancing had been a courtly recreation in France, where there had
been entertainment called “Mascarades” which bore primitive resemblance to ballets
of the later time and in which the king himself has sometime taken part.

Catherine De Medicci had witnessed dance entertainments in Italy and had brought a
group of strolling players to the court of France. The first performance that can be
considered anything even vaguely resembling a ballet performance was the
“BALLET COMIQUE DE LA REINE” which was performed in 1581 at the court of
Henry II and Catherine De Medicci.

We can say that it was only with the appearance of the Italian dancers at the French
court that dancing became a refined and essential courtly accomplishment and the
seeds of French court ballet were sown.

Mostly the performances were done for the entertainments of the royals and as a
reason the themes were of their praise. From here started the actual development of
ballet.

The death of Catherine De Medicci made little difference to the development of

Ballet and her successors contributed a lot. King Loius XIV was himself a great
dancer.In 1654, in La Ballet de la Nuitt; he performed the Sun God and achieved the
title of APOLLO.
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The court ballet maintained its popularity in France for nealy a 100 years. In the mid
17th century, ballet emerged after restoration and showed a tendency towards Opera
and it soon became an integral part of that style of theatrical art.

This was the period when mostly ballets were done in courts. The costumes were
very heavy with big head dresses and masks. The movements therefore were limited.
The themes mainly depicted the praise of the kings. Only males used to perform and
female roles were also played by males. Until 1630 general public was not allowed
to see the ballet performance.

The court ballet entered its final and most brialliant phase under the reign of Louis
XIV. The ballets of his time were more refined than those of his pre decessors.

Having been well trained as a dancer Louis XIV appreciated the value of good
teaching and in 1661 he founded the”ACADEMIE ROYALE DE DANSE” It
consisted of 13 teachers. In 1669 he established the “PARIS OPERA.”. Jean Baptist
Luli who had served in the court of Louis XIV gave the system of notation for
recording dances.

The king retired from dancing in 1670 and by this time court ballet was fast
declining. This resulted into the removal of incentives for his dancers in the court. It
was only the professional dancers who now had a real interest in keeping the art of
ballet alive in France and being no longer be able to exercise their talents fully at the
court they turned to the theatre for employment.

In 1681 for the first time, female dancers appeared on stage. The first ballerina of the
Opera was LaFonteine. She became the “Prima Ballerina” of the Paris Opera along
with 3 other ballerinas.

The hall marks of French school were grace, charm and elegance. Already the
technical vocabulary of dance included many steps like ‘entrechats’, ‘sissonnes’,
‘cabrioles’, ‘coupes’ and ‘chasses’.

With the appearance of famous rival ballerinas like Camargo and Salle, the
supremacy of the male dancers was seriously challenged for the first time.

Marie Camargo appeared in 1726 at the Paris Opera. She danced like a man and
performed steps like entrchats which no woman had previously performed. She
shortened the length of the skirt for better and free movements.

Next was Marie Salle in 1727. She further went to freeing the costumes and
anticipated the flowing draperies of Isadora Duncan.
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At the time Ballet was developing in France, its was also growing stronger in its land
of origin. Speed and brialliance in jumps and turns was the hall mark of Barbarina
who brought it with her to Paris in 1739.

Expression and dance technique are the 2 main elements in choreography and at nay
given moment in the history one is in greater fervor than the other. The mid of the
18th century saw the beginning of just such a period of reform and the ideas which
were formed and developed proved a lasting consequenceto the history of ballet. For
the first time ballet broke away from Opera to exist as an independent art of the
theatre and hence the choreographer was brought into a greater prominence than ever
before.s

Jean Goerges Noverre one of the principal figures in the history of ballet made his
debut in 1743 in Paris Opera where he was appointed as a master 4 years later. He
was the first to advocate reforms in costumes and opposed to wearing masks which
were finally discarded in 1773.

With very advanced thoughts for France, Noverre went to England where he
received a very hostile reception due to warring countries. He was finally appointed
as the Ballet Master again in 1775 at the Paris Opera but fled to England during the
French Revolution.

During the French Revolution the ballet costumes underwent great change. The
dancers wore tunics of transparent material. There was further change when
Camargo suggested wearing skin coloured tights called ‘mailots’. When the barriers
of costumes were broken, the technical expansion of Ballet went ahead at much
greated speed than before. In 1830 Carlo Blasis published the book – CODE OF
TERPISCHORE, the first comprehensive book for dancers and teachers.

Thus born in Italy 500 years ago, Ballet owes its development to France. During this
period we see a slow but gradual development in the themes, costume and technique
of ballet. It was no longer a property of the elite and the royals and came down to the
common man. Different artists have contributed to the development of its technique,
form and style and the kings have given patronage to this art and its artists.

BALLET IN ROMANTIC PERIOD:

The 30’s of the 19th century ushered in one of the most glorious periods of Ballet -
The Romantic Period. This is probably the most familiar and appealing of all periods
in the history of Ballet.

The Romantic Ballet is given its name because it is a part of the Romantic
Movement which breathed new vitality in to evey form of art in the early 19 th
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century. This movement arose at a time when the social order was in a state of
change and new ideas were bubbling up to the surface of man’s mind.

The artists were so obsessed with classicism around 1800 that they paid more
attention to form of the workthan to its content. Romantic Movement was to a large
extent a revolt against this obsession with form. The great significance in the
Romantic period lay in the fact that ballets became more poetic and appealed more
directly and more profoundly to the emotions of the audience than they had done in
earlier times.

Three great dancers made distinct contributions to the glory of the romantic period
and possibly made the period a reality. They were Marie Taglioni, Fanny Elssler,
and Carlotta Grissi.

MARIE TAGLIONI (1803-1884): The first ballerina of the romantic period was the
daughter of ballet dancer and teacher Fillipo Taglioni. In 1827 she made her debut at
the Paris Opera, in 1832 she played the lead role in La Sylphide. This was the first
ballet which showed the characteristics of the Romantic Period.

Marie Taglioni made several reforms in the costumes. For the first time a technique
on toes was introduced by her. During this period, the ballets were written by good
writers and not by choreographers. For the first time the importance was given to
ballerinas. She designed a new type of slipper which were helpful in performing the
new technique.

Taglioni was also known for shortening her skirt in La Sylphide which was
considered highly scandalous. She shortened all her skirts to show off her excellent
‘pointe’ work which the long skirts hid. She achieved great success in Europe and
came to Londin and became famous due to her ability to remain in the air at the
highest point of ascent before descending.

She retired from dancing in 1847. Later she taught social dance to children and
society ladies. She also took limited number of ballet pupils and choreographed “La
Papillon” in 1860.

FANNY ELSLER (1810-1884): Born on 23rd June 1810, she was an Austrian
ballerina of the Romantic Period. She studied dancing with Jeane Pierre, Aumer and
Frederick Horschelt and went to Naples in 1827. In 1830, a series of triumphs for
Fanny’s personal beauty and skill in dancing began.

Her meeting with Taglioni took place in 1833, when both the dancers were engaged
to appear at the King’s Theatre in London. When she saw Taglioni, she realized it
ws not easy to compete with Taglioni. Elsler’s type of dancing was known as “Danse
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Tacquetee.” Unlike Taglioni she performed small and quick steps which were close
to earth.

In September 1834, Elsler appeared with the Ballet du Theatre del Academie Royale
de Musique. (Paris Opera). It was conspicuously in her performance of the Spanish
“La Cachucha” that Elsler outshone all her rivals.

She made her debut at the Paris Opera in 1834 in La Tempete by Jean Coralle which
was derived from Shakespearan play The Tempest, which gave her immediate
success. Her other productions like La Gypsy (1839), La Tarentule (1839) etc,
revealed her extraordinary pantomimic ability. Her sensational success in “Le Diable
Boiteux” (1836) challenged Taglioni’s supremacy. She attempted La Sylphide to
unseat her rival but was very unsuccessful as Fanny lacked the lightness and
elevation. Fanny made use of her entire body in her dancing and she realized that her
success lay in the character of the dance. After La Sylphide she left for America.

Between 1840 and 1842, Elsler toured the United States, winning extravagant
adulation and earning enormous sums. She broke her contract with Paris Opera to
extend her tour of America and could not return their, but she danced with
continuing success in England, Germany, Italy and Russia until her retirement in
1851. In 1843, Oxford University bestowed upon her the honaray degree of Doctor
of Choreographie art.

CARLOTTA GRISSI: (1819-1899): The youngest of the 3 ballerinas danced in

Theophile Gautiers’s masterpiece Giselle on June 28, 1841. During this period
everything underwent change. The subject matter, the music, the choreography,
costume etc. The themes changed from heroic to romantic, fairy tales and folk
themes etc. The women began to reign the supreme in the ballet. The theatricalized
court costumes were abandoned for more or less standardized costume. The footwear
was changed to soft heel less shoes. Attention was being paid to the artistic value of
music.

Born in Milan, Grissi went to Naples when she was 14, where she met Jules Perrot
who took her to Paris and later married her. Apart from the masterpiece Giselle,
Grissi’s other major roles were “La Peri”, “Pas de Quatre”, “La Emerald”, “Paquita”.

There were other famous ballerinas of the Romantic Period like Fenny Cerito,
Carolina Rosati, Amelia Ferrari etc, other stars like Jean Baptist Luli, Fillipo
Taglioni, Theophile Gautiere, Jules Perrot etc.

By 1850, the Romantic Ballet was losing its importance in Western Europe and the
cente of interest shifted to Russia.
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Practically unknown to the outside world, Russia had an Imperial school of Ballet
since 1728. But unfortunately Russian dancers of that period were not considered to
carry enough prestige and glamour. In1801, Charles Louis Didelot, pupil of Auguste
Vestris became teacher and ballet master at the Imperial Theatre. His management of
the Imperial Theatre was of greatest importance.

Marius Petipa came to Russia in 1847. A few years later became ballet master and in
1862 with his production “Fille du Pharoan” ruled the Imperial Theatre. He was the
one who gave the world the Classic Ballets which are still considered among the
greatest of all time.

BALLET IN THE CLASSICAL PERIOD:

From the mid 19th century the popularity of ballet started declining in Western
Europe. As we know that this was the time when the centre of ballet shifted from
Paris to Russia. This was the time when Marius Petipa came into the scenario. He
took the ballet from the Romantic to the Classical period.

Marius Petipa came to Russia in 1847. French by origin married a Russian lady and
stayed back in Russia. Marius Petipa is considered to be the father of classical ballet.
When Petipa came to St. Petersburg in 1847 on a contract as ‘Premiere Dansuse”,
ballet in Russia was only a 100 years old. He taught for 50 years. His technique is
followed till today.

He used to emphasize more on the technique. Mixing French and Italian styles was
his key area. He gave importance to female characters and dancers. He used a
combination of story, music, and dance in his productions. He used to produce in
groups and solos as well. H used both classical and folk techniques.

He employed a musician names Vio-Kothis. He gave importance to choreography.

In 1890, he produced the “Sleeping Beauty”. It was in his time that full length ballets
were produced. He produced “Swan Lake” at the age of 75 in 1895. He produced
another ballet called “The Nutcracker” in 1892 for children. It was during this time
that he took ill and his assistant Ivanov had to complete his work. He worked with
younger generations and hence new ideas constantly evolved in his mind.

It was Petipa who by strict adherence to and constant repetition of principles in the
compositions of ballet developed the rules or rather the tradition of classical ballet.
The term “CLASSIC” as applied to ballet is arbitrary. It denotes a style in the dance
rather than a period. The word “ACADEMIC” would be more appropriate but it has
never got general acceptance.
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RUSSIAN BALLET:

The Russian people are known for their exceptional talent in the field of music, song
and dance. This talent proved to be fertile ground for the growth of remarkable art of
Russian Ballet. To Russian dancers foreign choreographic influences of the 17 th and
18th century were merely a starting point from which to move boldly to new images
and forms of the national ballet.

The first hint of Russia’s interest in the art of ballet came during the reign of Peter
the great (1694-1725). It was an art in which Russia was to become so supreme that
many people still think of all ballet as “Russian Ballet”.

Ballet in Russia is inseparably linked to its origins in Tsaris Russia. The first Russian
school of ballet was opened in 1738 in St. Petersburg for palace children under the
French man named Lande during the reign of Empress Anne. This school eventually
became the Leningrad School and Kirov Ballet. In 1773 a dance wing was attached
to the orphanage in Moscow with Fillipo Beccari as director which developed into
the present Bolshoi school of ballet.

At the same time many wealthy land owners had their own troupes of serf dancers
who performed not only national dances but also ballet. These serfs formed their
own ballet companies.

During this time the state dancing originations in Petersburg and Moscow either
inherited or purchased most of these private companies and the end of serf system
came about in 1861.The ballet which started during the reign of Empress Anne
continued in the succeeding reign of Catherine II as well.

The first ballet master in St. Petersburg school and inspector of ballet was Ivan
Valburkh. The school and the company were further consolidated and strengthened
under Didelot between (1801-1811) and (1816-1833) and this was an era of
unprecedented ballet activity.

The 3 men responsible for the complete triumph of Russian Ballet were Marius
Petipa (French), Christian Johansen (Dane) and Enrico Cechetti (Italian).

Petipa taught in Russia for 50 years. By the time he died Russian ballet had reached
the heights never before dreamed of in Russia. It was practically extinct in the
countries of its birth.

The companies those chiefly run by Diaghileff and Ana Pavlova enjoyed terrific
success in every country they visited. The most famous of all Russain dancers are
Ana Pavlova and Vaslav Nijinsky.
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Marie Taglioni’s debut at St. Petersburg as “La Sylphide” in 1832 introduced the
Romantic Ballet movement in Russia.

Perrot worked in ST. Petersburg between 1848-59, staging all his Paris and London
hits and was succeeded by Saint Leon 1859-69.

There was a splendid array of ballerina nd primere danseuse. To name a few,

Diaghileff, Anna Pavlova, Vaslav Nijinsky, Tamara Karsavina and many more.

Nijinsky was not only an extraordinary dancer but an extraordinary character and
stood our in Diaghileff company which was full of exceptional dancers.

Ana Pavlova’s compamy mostly consisted of English dancers and with her tours
Pavlova not only popularized ballet but also won recruits.Tamara Karsavina was
described as the most complete ballerina of all times. She was exceptional in her
ability to fill any role with distinction.

Tsarist ballet’s most glorious era was under Marius Petioa, who was first a dancer
and then a ballet director (1847-1903). He was responsible for the first production of
Don Quizote, La Bayadere, Sleeping Beauty, Swan Lake, Nutcracker etc.

The Moscow Bolshoi Ballet was always more realistically oriented than the St.
Petersburg Maryinsky Ballet and under Gorsky it became a strong hold of dramatic
ballet in the early 20th century. St. Petersburg lost many of its best dancers including
Pavlova, Karasavina and Nijinsky to the West.

The 2 men who have lot to do with the universal triumphs of allet during this period
were George Balanchine and Leonide Massine. They both were great dancers, clever
and ingenious choreographers. Both of them worked America and made ballet
popular in America.Another important name in the Russian period is Michael
Fokine. A great dancer and choreographer of St. Petersburg.

It can be said that during the period of Didelot and Petipa, Russia enjoyed the
classical period of ballet. Russian ballet had gained the highest popularity in the
world, when Petipa died.

After the Russian revolution, the ballet companies of Diagheliff and Pavlova toured
West and made ballet again popular in Europe and these companies remained in
Europe after the revolution or migrated to the U.S and Russian ballet then became
the means of entertainment in U.S.

Untill 1 year after the revolution ballet could not be seem. After 1 year, St.
Petersburg school was restarted and eversince producing new talents and productions
in ballet.
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