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History of Indian Classical music
A Short Survey Of Dances Of India
What is dance? Dancing is an art of rhythm in movements, expressed through the medium of different limbs of the body. It is an outward expression of inner joy and pleasure of human beings. Dancing may be called the most ancient as well as living art of human being. In the prehistoric Indus valley cities, a bronze dancing girl was excavated. In the vedic period maiden with water pitchers used to dance round a fire singing different hymns. Bharata has fully dealt with different types of dance along with different hand poses (mudras), gestures and postures in Natyasastra. He has described dances of ‘lasya’ and ‘tandava’ in connection with classicsl dramatic songs.’ Tandava’ which was meant for men as it was vigorous and lasya was meant for women for its grace. The dances tandava and lasya were included in the category of ‘Nartana’. Nartana was divided into two groups – (i) Nrtya (ii) Nrtta Nartana which was composed of and also used to express emotional sentiments and mood was known as ‘Nrtya’. Nartana which was composed of rhythms and tempo was known as ‘Nrtta’. Again these two were subdivided into two more classes (i) Vigorous tandava (ii) Graceful lasya. From this it is understood that tandava was possessed of ‘veera rasa’ and lasya was possessed of ’sringara rasa’. Different types of classical dances have been mentioned in the works Kalidas, Sudraka, Visnu-sharma and others.
Kalidas (100 B.C. to 400 or 450 A.D.) has described the dance type as (i) Nandyavarta (ii) Caturasra (iii) Ardha-Caturasra In ‘Vikramorvashi’(book) he has mentioned about different technical aspect of music and dance through the character of ‘Chitralekha’ a friend of ‘Urvashi’. Kalidas has described the dance type of (i) Dvipadika (ii) Jambhalika (iii) Khandadhara (iv) Carcari (v) Bhinnaka (vi) Valantika etc. The dance type Khandadhara was one of the varieties of Dvipadika. Similarly Jambhalika was one of the varieties of Dvipadika. So it is understood that dance Dvipadika was the main dance. The dance Caracari which used to be played with the song Caracari, which used to be composed of three or four lines. It was lasya type and female dancers used to perform this. Kavi Sudraka has mentioned different types of classical dances in his ‘Mrcchakatika’ (book). Vishnu-Sarma has described (2nd. Century A.D.)about different dance motif in ‘Panchatantra’(book) In Gupta period the culture of classical dance was much appreciated. Maharaja Chandragupta Vikramaditya was a great patron of dance and music. He constructed dancing and music halls attached to the royal palace. His son ‘Kumargupta’ preserved the tradition. Prabhakar Vardhan of Thaneswer was also a great patron of classical dance. A dancing scene of some ‘natas’ on an open stage is depicted in ‘Udaygiri’ caves near Bhubaneswar, Orissa which proves that distinctive style of classical dance was as described in ‘Natyasastra’. Bharat has mentioned about ‘Marga’ dance which used to be performed in accompaniment of drums.
’Sambhu Maharaj’, Ajamat Ali’, ’Rahat Ali’ and others. At Varanasi, Allahabad, Jaipur and other places in North, different type of classical dances were evolved. The Kathaka dance is purely based on aesthetic sentiments and moods together with ‘Nayaka – Nayika’ veda. A special school of dance was evolved in “Santiniketan’ in connection with ‘Gitinatya’ and ‘Nrtyanatya’, dance dramas composed by Kaviguru Rabindranath Tagore. Rabindranath himself had devised the dances for his song and dramas with the help of different techniques and textures of dances like: ‘Bharatnatyam’,’Kathakoli’,’Manipuri’,’Kathak’,’Raibese’, ‘Kanduyana’ of Ceylon. All the motifs and techniques of all kinds of dance indigenous and foreign were incorporated in his style or school of dance and yet it has a special characteristics of its own. The Bharatnatyam, Kathakoli and other types of dances were evolved in South. The ‘Shiva Nataraja’ of South India is a charming and marvellous example of Indian dance. Every part of the image of Nataraja throbs with dynamic rhythmic movements. A separate temple at ‘Chidambaram’ is constructed with ‘Shiva Nataraja’. In the four ‘gopuram’ of ‘Chidambaram’ temple, 108 beautiful illustration of ‘Karanas’ are there, most of which are engraved according to the rule as laid down by Bharta’s Natyasastra’. On both side walls of temple, each of the long entrance of Nataraja temple of Chidambaram, there are sculptures in dancing poses, curved out of stone pillars, situated near the walls at a reasonable distance from one another. On each side of the entrance, there are seven pillars each having eight compartments. These compartments are of equal size, three figures, one big and two small. Dancing poses or a karna and small ones represents two drummers. Below each compartment, the Sanskrit verse of Natyasastra , describing the picture karna is depicted in that compartment. There are 112 figures, out of which only 108 figures represent 108 karnas of Natyasastra. Indian dance is divided into four main categories as they represent four different types of school. Their techniques, textures, styles and interpretations are also different. The Bharatnatyam is the purest and oldest form of Indian dance. It was evolved in South and has preserved a pure Indian tradition as well as Hindu spirt. It is said that dance form of Bharatnatyam was designed by Munni Bharat. The ‘Brahma’ initiated Bharat into this art of dancing and Bharata cultured and preached it in the world in a new and novel form. Some believes that the term Bharatnatyam was taken from Bha+ ra+ ta means ‘Bhava + raga + tala. So Bharatnatyam is a combination of emotional sentiments, moods, and melodies and
rhythms. Before this Bharata has classified the dance motif into two main classes, nrtta and nritya. Very costly costumes were used. A small group of orchestra, consisting of a singer or a group of them, a flute and a drummer. The music of the orchestra plays the role of commentary on the dance. The ‘bol’s with different tempo is executed by the feet and different part of the body including that of eyes and eyebrows with different hand poses. This elegant style was developed by Devdasis in different temples as well as in the Royal Durbars in South India. Previously it was known as ‘Dasiyattam’. The following features of the dance like (i) allaripu, (ii) yatisvaram, (iii) sabdam,(iv) varnam, (v)padam,(vi) tillana are attached with the present system of Bharat Natyam. In the ancient time: Sadiranatyam Bhagabatmala- nataka Kurubhanji Kuchipudi were in practice with this majestic dance. Sadiranatyam used to be practised with its different phases like (i) desiatyam , (ii) cinumetalam,(iii) bhogamelam, (iv) tanjori et. Bhagobatmalam – religious in nature and used to be practised mostly by ‘Brahmins’. Kurubhanji – was like ballet (group dance) and to be performed by women only. Siddhendra yogi – introduced the dance type ’Kuchipudi’. This type of dance was performed by male dancers. Among the dance features – ‘allaripu is first taken for unfoldment of beautiful lustures of limb to be used. At first performed ‘Purbaranga’ and ask for blessings from the audience. Then slowly and gracefully proceeds to exhibit the different movements of dance. Yatisvaram is taken to elaborate development of dance. This feature is exhibited with the help of sargams and is accompanied by drums. Sabdam- is performed with great skill. This expresses the idea of development of music accompanied by natya, nrytta, nryta. Tillana – is performed with different- tempo like slow, medium, rapid, exhibits primary sentiment of ‘srngara’ , which according to Bharata is the best and most divine sentiment.
At Lucknow , it was accompanied by ‘Pakhawaj’ In Benaras by “tabla’.Other Kathak artists are Acchan Maharaj, Sambhu Maharaj, Sitara devi, Gopi kishan, Roshan Kumari etc. The combination of ‘bhava’, and ‘nritta’ became complete in this art form. In Kathak dance facial expression with hand poses are known as ‘Mudras’ & ‘Abhinaya’. A ‘toda’ is a dramatic sequence with exhibiting actions in a rapid tempo. ‘tukra’ is a brilliant rhythmic sequence which excels the double and triple timing. Generally talas like Dhamar, Trital, Jhaptal, Dadra and musical instrument like ‘Sarengi’, and pair of a table or pakhawaj are used in the performance. Manipuri is essentially a lyrical aesthetic sober serene form of dance and purely religious in nature. An ancient socio-religious dance has been stylized in the new pattern. Some believes that the Manipuri dance reminds us of the ancient epic dance ‘Hallisaka’, which used to be performed by men and women during the time of Mahabharata, Haribansa etc. In the old form of Manipuri dance religio-mythological theme of Lord Shiva-Parvati used to be adopted and performed. But with the advent of Vaisnavism it was replaced by Radha Krishna lila. Manipuri dance is mainly divided into – (i) Laiharoba – This type of dance is obsolete at present (ii) Astra-Vidya – An ancient dance form known as ‘sword’ or ‘spear’ dance. (iii) Calangathan- introduced with the advent of vaisnavism in Manipur. It may be called ‘Kirtan dance’, accompanied by manjeera, kartala, khola etc. At Manipur, khola is known as mrdanga and size of the kartala is large. Kirtana songs accompanies the dance. Raslila type of Manipuri dance is most popular in Assam and Manipur. It represents the sportive play of Sri Krishna and Radha. Raslila is divided into four sections – (i) Kunja (ii) Vasanta (iii) Maha (iv) Nitya. The three are performed in the month of Aswin, Vaiska, Kartika, while the Nitya rasa is performed in the time of any festival. The rasa dances begins with the theme of,Gitagovinda, Lilamahatya and other vaisnava literary work. The sutradhara first explain the subject matter of the dance and introduces the main feature of the play. Dancers begin their dance in a graceful manner.
Gosthalila is performed in the month of Kartika, special type of costumes are used. They are very costly and colourful. They are specially made at Manipur. Chau dance of West Bengal originated first in ‘Saraikela’ and ‘Maurbhanj’, the adjacent state of Orissa. It is known as religious dance type of West Bengal, specially performed on the occasion of ‘Chaitra Parva’ or spring festival in the month of April in honour of ‘Nata Bhairava’ – dancing Shiva. This dance was an integral part of puja of the deity, who will bless the ruler himself. Chau means mask(mukhosh) in saraikela. In Maurbhanj dancers do not wear mask. Both the tradition prove that this form of dance was first known as ‘Chauni-nryta’ (Camp dance). Chauni means a military camp where oriya soldiers known as (Paika) were practicing war technique through dances. Later on it was told that in Maurbhanj this was the form of ‘sword-play’. The participants were known as ‘Farikar or Sword player’. This was done with sword and shield in hand. The play was almost in the form of war dance. Various war drums were only accompanying instrument. The primary aim were to develop the physical exercise and courage in the dancing warrior. Some magical ideas were attached for creating fear and awe in the mind of enemies. The basic principles of chau were known as ‘upalaya’, popularly known as ‘uhuli’ they were again divided into two sub classes (i) Hatiardhara (ii) Kalibhanga. The principles of former type are for male character and later type is for the female character. So it is proved that chau dances of Maurbhanj was different from that of ‘saraikela’ because the former was purely a heroic war dance. From chau nryta, a new type of dance was evolved ‘Asari-chau-nryta’, which was very popular and prominent amongst the people. Initially war form of chau dance were there, gradually the stories of Ramayana, Mahabharata, Purana are displayed. In 19th. Century Krishna Chandra Bhanja Deo took keen interest in this dance form with the help of nryta-guru (dance master) codified the technique of ‘chau’ which was not there before. A peculiar music accompanies the dance, tunes of which are folk. The wind instrument Sanai type known as ‘mahuri’ various types of big war drums known as ‘dhamsa’ and small drums known as ‘Nagara’, ‘Dhol’ and ‘Chadchadi’ are played with the dance. The dance begins with slow footsteps known as ‘Chali’. Gradually speed and tempo is increased which is known as ‘Upalaya’ and last the climax of the dance is performed in quick
Three Karanas make one ‘Kalapaka’ Four Karanas make one ‘Sandaka’ Five Karanas make one ‘Samgathaka’ There are angaharas consists of Six, Seven, Eight or Nine Karanas Bharat has given description of 108 Karanas composed of different movement of hands or feet. Karanas are applicable to dance, fight, personal combat, walking, and movements in general. Among ’Recakas’ the first is known as ‘Pada-reca’ and second as Kate-reca and the third is hasta-reca, and fourth is known as Griva – recas. The movement of these four limbs of the body, foot, waist, hands and neck are connected with recaka. Recaka means idea of moving round of the limbs of the body. In the ancient time dances followed by playing of musical instrument like – Mrdanga, Bheri, Dimdima, Gomikha, Pranava, Dhurdhura accompanied by Lute(vina) and Flute(Venu or vamsa). In Orissa one book was found that has some new type of hand poses, they were evident from the sculpture in different temples in Orissa. The great temple of Puri and Konaraka was built during Ganga dynasty in 12th. Century. These dance poses show that they were designed according to the laws given in ‘Natya sastra’ The hand poses are 58 in number .Single hand poses are 26, double are 24,8 traditional. In Natyasastra number of single hand poses are 24; Orissi dance they are 26 + 8 = 34; Nine sentiments (Nava Rasa): The wise desire of triple symphony (song, dance, and instrument) to be prominent in Rasa. Produced by Cause – Vibhavas , result Anubhavas and Transitory resides in actor, without these he is incomplete as an actor. Nine accepted Rasa: (i) Erotic (sringara) (ii) The Comic (Hasya) (iii) The Pathetic (Karuna) (iv) Odious (Bibhatsa) (v) Furious (Rudra) (vi) Heroic ( Vira) (vii) Fearful (Bhayanaka) (viii) Marvellous ( Adbhuta ) are used during dance performance.
(ix) Tranquil (Santa)
