The History of Kuchipudi: An Indian Classical Dance Form
Throughout India, there are a diverse range of arts, and even dance forms. The ten most popular classical dance styles include Kathak, Bharatanatyam, and Kuchipudi. Kuchipudi, in particular, is more common in Andhra Pradesh, a state within India.
The origins of Kuchipudi are traced back to Kuchipudi (also called Kuchelapuram), a small village in Andhra Pradesh. This dance form has been around since the Bhakti Movement from approximately the seventh century A.D. However, it was not as widespread at that time. In fact, it did not become more prominent until the 14th century when Siddhendra Yogi became a leading figure of the dance form.
Something important to note is that Kuchipudi has evolved over time. Today, when people search up “kuchipudi,” the pictures associated with that are mostly female. Yet, Kuchipudi began as an art for men of the time, who would go traveling from village to village to perform for the people.
Even though performances often called for female roles (as performances were based upon Hindu mythology), the men would be able to perform it. This disparity lasted for a long time, as women have only participated in Kuchipudi classical dances since the past ten decades. Now, women outnumber the men . Another difference is that dances were originally performed in ensembles, but after solos were introduced, solos are being performed as well, allowing one person to portray several characters at once.
Most of the modern key changes are attributed to Vedanta Lakshmi Narayana Sastri, pictured above, who in the 1900s, introduced women to the dance, started solo choreographies, and opened the dance form up to various castes (Brahmins were the original caste to take part in this style of dance). History aside, the dance form today is being practiced in America, too, as people young and old (largely from India) continue to diffuse the dance through dance schools and community performances.
https://www.livemint.com/Sundayapp/0irwa2rMY1lUJKtPEtX4sO/A-brief-history-of-the-Bhakti-movement.html
https://www.thenewsminute.com/article/once-all-male-now-women-kuchipudi-dancers-outnumber-men-58256
https://www.tifr.res.in/~prahladh/kuchipudi/about.html
https://www.culturalindia.net/indian-dance/classical/kuchipudi.html
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How is Kuchipudi Dance Different from Bharatanatyam?
There are 4 main differences between Kuchipudi and Bharatanatyam.
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What does Kuchipudi mean?
Kuchipudi is a classical dance form that originated in Andhra Pradesh, it derives its name from a village named Kuchelapuram located at a distance of 65 Km from Vijayawada. Kuchipudi is a dance-drama of Nritta (pure dance), Nritya (expressional dance) and Natya (drama).
When was Kuchipudi invented?
Kuchipudi can be traced back to 1st Century B.C. As per some popular stories, it was invented in 1502 A.D. Initially it was practised by men only, later on, women were allowed to participate.
Who is the God of Kuchipudi?
Kuchipudi was developed as a form of worship to Hindu God, Krishna.
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Kuchipudi Dance: Origin, History, Purpose and Other Information
- Classical Dance
Kuchipudi dance is a vibrant dance form which originated in Andhra Pradesh. It is one of the eight classical dance forms in India . This dance form is known because of its fast moves, lively eye expressions, hand gestures and so on. It is a mixture of the laya of the Tandava dance form and of the Lasya or the slow movement in dance speed. The unique concept of the dance form is that the brass plate is moved in accordance with the Carnatic music. The Kuchipudi dancer should also possess the additional quality of knowing the Telegu and Sanskrit language so that they can understand the texts of this dance.
Origin of Kuchipudi Dance
A brief history of kuchipudi dance, difference between kuchipudi and bharatanatyam dance forms, purpose of kuchipudi dance, kuchipudi instruments, who is the god of kuchipudi, how long does it take to learn kuchipudi, various kuchipudi dance styles, kuchipudi costumes, tarangam and kavutvams in kuchipudi, closing comments about kuchipudi.
This dance form originated from the village in Krishna district in Andhra Pradesh. This also is known to have named after a village of Andhra Pradesh Kuchelapuram and is 65 km away from Vijayawada. At that time this dance was performed by the Brahmins of these villages.
Please read this to know more details on the origin of the dance form .
Like other classical dance forms, this dance form is also taken to have emerged from Natya Shastra . This also constitutes of the three components of Nritya, Nritta and Natya. This text constitutes of almost 6000 verses.
This dance form is also said to have evolved from the bards who used to move from one place to other reciting poems, spiritual texts and also from the Hindu temples. Its trace can be seen back from the 10 th and 15 th centuries in copper inscriptions of Machupalli Kaifat.
The modern form of this dance can be credited to the sage Tirtha Narayan Yati and his son from the 17 th century. This dance form started to get associated with Vaishnavism and the songs and dances which were on the life of Krishna. Previously this dance form was mainly performed by only male troupes.
The main points of difference are as follows:
- While Kuchipudi originated in Andhra Pradesh, Bharatanatyam originated in Tamil Nadu. Although both the dances originated in South India yet their places are entirely different.
- The dance form was traditionally performed by the males, the dance form- Bharatanatyam was traditionally performed by females in temples and religious places and also in king’s courts by females who were called the devadasi.
- Kuchipudi was mainly spread by the bards who wrote poems, on the other hand, the Bharatanatyam was performed and got spread from temples and courts of various kings.
- The dance was actually performed on the verses which were sung as odes to Lord Krishna while Bharatanatyam was performed on varied Mythological texts. Bharatanatyam includes the mythologies of Ramayana, Mahabharata and so on.
The purpose of this dance drama is to perform the dance in an expressive and vibrant manner. It does not only include dance but one of the most important components of the dance form is Vachikavinayam and involves drama as well. This dance is mainly done to depict the life stories of Lord Krishna. It expresses the dance through the Samyukta and Asamyukta Hastas, Karana, Chari, Angahara, Mandala and so on. The main aim of the dance is to depict slokas through the various gestures, expressions and body movements.
The musical instruments which are used in Kuchipudi dance are actually the ones associated with Carnatic music. They are the Mridangam , Saraswati Veena or the South Indian Veena , the Manjira, Sarpeti, the Tanpura, Violin , and Kanjira.
Siddhendra Yogi is considered to be the pioneer of the dance form. Popular Kuchipudi dancers include Vedantam Narayan Narayana Shastri, Chinta Krishnamurthy, Tadepalli Perayya. These were the famous dancers of traditional Kuchipudi. In modern India, both males and females perform this dance. The best contemporary Kuchipudi dancers include Raja and Radha Reddy, Bhavana Reddy, Yamini Reddy and so on.
It needs seven to ten years to master this dance drama completely. Any classical dance has specific postures, movements, hand gestures and expressions to be learnt. It also involves a rigorous practice to master the dance which is performed in various laya and along with music and beats.
This dance form constitutes of various styles which are called the “Banis”. This adds to the exclusiveness in this dance form. This dance form is divided into Margi style which is a traditional one. The traditional style, Margi, includes Vedayata, Veddangam, Bommalata, Perani, Chindu, Bahurupam, Pagativeshalu. On the other hand, the modern style or the Desi style includes Rasaka, Charchari, Bhandika, Kollata.
It was also divided into two other types which are Nattuva Mela and Natya Mela. The Nattuva Mela has subtypes which are known as the Balipitha dance and the Kalika dance. Natya mala constitutes of a ritual dance of gods, Kalika dance and the Bhagavatam dance.
The dance form was previously only for males who used to wear the Agnivastra which included a dhoti. The dress of males was also called Bagalbandi. Women mainly wear a colourful and vibrant saree and dress similarly as in Bharatanatyam. It also includes a fan-like pleated cloth in front to make the dress look more gorgeous with body movements. The dress also includes a belt which is worn in the waist by the females. The jewellery is also quite elaborate with necklaces, armlets, bracelets, earrings, hair accessories and so on. Adding to that ankle bells are also worn.
Tarangam is a dance in Kudipudi whereby the dancer performs the dance on the edges of a brass plate with a pot on their head. This pot consists of water and is considered to be a form of meditation in this dance form.
Kavutvams include the Nritya in the dance whereby acrobatic moves are performed in Kuchipudi.
Kuchipudi constitutes of a dance form which is unique in its styles. It consists of a lot of types and styles in it which needs to be learnt with proper guidance and regular practice. This dance form is exquisite and vibrant and adds to the greatest classical dance forms performed in India.
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Indian Classical Dances
India has thousands of year old tradition of fine arts and classical and folk music and dances. Some of the world-famous dance forms that originated and evolved in India are Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam and Odissi. All these dance forms use basically the same 'mudras' or signs of hand as a common language of expression and were originally performed in the temples to entertain various Gods and Goddesses. They were also effective in carrying forward the various mythological stories from generation to generation while entertaining the audiences. It eventually became a part of 'Natya Shashtra', as propounded by Sage Bharata to compile and forge some rules and regulations of entertaining arts.
With time, the classical dances evolved to include the expressions and themes from social life and experiences. Lord Shiva is said to be the 'Nataraja' meaning 'King of All Dances', who is said to perform the Cosmic Dance that delicately balances life and death and all that is happening in the Universe in harmonious cycles. Bharatnatyam, popular in Tamil Nadu and Karnataka, is said to be revealed by Lord Brahma to Bharata. Kathak is the art to tell a story and is a form of North Indian classical dance. Later, it became courtly entertainment.
Kathakali from Kerala makes use of colorful masks and costumes and belongs to Kerala. Kuchipudi is the dance drama of Andhra Pradesh that combines Natya, Nritta and Nritya. Manipuri, as the name suggests, is from Manipur, the Northeastern state of India, and is a combination of many dances prevalent in the region. Mohiniattam from Kerala is a solo female dance and is known for its rhythmic and unbroken flow of the body movements. Odissi from Orissa is a dance of love, joy and intense passion.
Bharatnatyam
Bharatnatyam is one of the most popular classical Indian dances. Bharatnatyam is more popular in South Indian states of Tamil Nadu and Karnataka. Bharatnatyam dance is almost 2,000 years old. It is believed that Bharatnatyam was revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance in a Sanskrit text called the Natya Shastra. The Natya Shastra is one of the fundamental treatises on Indian drama and aesthetics.
Kathak is one of the most important classical dances of India. Kathak is said to be derived from the word katha, meaning "the art of storytelling." The Kathak dance form originated in north India and was very similar to the Bharatnatyam dance form. In ancient India, there were Kathakars or bards who used to recite religious and mythological tales to the accompaniment music, mime and dance.
Kathakali is the classical dance form of Kerala. The word Kathakali literally means "Story-Play". Kathakali is known for its heavy, elaborate makeup and costumes. In fact, the colorful and fascinating costumes of Kathakali have become the most recognized icon of Kerala. Kathakali is considered as one of the most magnificent theatres of imagination and creativity. Kathakali dance presents themes derived from the Ramayana, the Mahabharata and other Hindu epics, mythologies and legends.
Kuchipudi is one of the classical dance forms of the South India. Kuchipudi derives its name from the Kuchipudi village of Andhra Pradesh. In the seventeenth century the Kuchipudi village was presented to the Brahmins, who were experts in staging dance and drama. Kuchipudi exhibits scenes from the Hindu Epics, legends and mythological tales through a combination of music, dance and acting. Like other classical dances, Kuchipudi also comprises pure dance, mime and histrionics but it is the use of speech that distinguishes Kuchipudi's presentation as dance drama.
Manipuri is one of the six major classical dances of India. Manipuri dance is indigenous to Manipur, the North eastern state of India. The Manipuri dance style is inextricably woven into the life pattern of Manipuri people. The most striking part of Manipur dance is its colorful decoration, lightness of dancing foot, delicacy of abhinaya (drama), lilting music and poetic charm. The Manipuri dance form is mostly ritualistic and draws heavily from the rich culture of the state of Manipur.
Mohiniattam
Mohiniattam is a classical dance form of Kerala. Mohiniattam is derived from the words "Mohini" (meaning beautiful women) and "attam"(meaning dance). Thus, Mohiniattam dance form is a beautiful feminine style with surging flow of body movements. Mohiniattam dance in Kerala developed in the tradition of Devadasi system, which later grew and developed a classical status.
Odissi is one of the famous classical Indian dances from Orissa state. The history of Odissi dance is almost two thousand years old. Odissi is a highly inspired, passionate, ecstatic and sensuous form of dance. Like most of the South Indian classical dances of India Odissi too had its origin in the Devadasi tradition. The state of Orissa has a great cultural history.
Essay on Kuchipudi Dance
Kuchipudi is a dance style from the southern state of Andhra Pradesh. It can be rightly called a dance drama. Kuchipudi, in effect, is the concept of total theatre where there is the combination of all the four abhinayas like vaachika – spoken words, aangika – physical movements, saattvika – that which has to do with the sentiments human emotions and aaharya – the costuming.
Kuchipudi is a small little village in the Krishna district of Andhra Pradesh. And the dance style or dance drama is traditionally practiced by very high caste Brahmins. It is believed that it was created in the 15th century A.D. and later the saint Siddhendra Yogi added a lot of vim and vigour into the dancing. The most characteristic feature of this dance style is its scintillating and very vivacious footwork and body movements. It has a lot of conquettery in it because it has to do a lot with the feminine aspect.
The basic purpose of Kuchipudi is extollation of the virtues and great deeds of Lord Vishnu and it follows the Bhaagavatam . In Kuchipudi traditionally no woman is allowed to take part and the female roles are enacted by nubile Brahmin boys. It is also a composite art in the sense that different actors enact different roles but no art can be static. In the past three or four decades solo items have been created and are being performed.
In the development of Kuchipudi two yogis appear to have played a key role. These are Tirtha Narayana Yati and his disciple Siddhendra Yogi. Both of them were devout bhaktas of Shri Krishna. Their great love manifested into outpouring of exquisite bhakti literature. Tirtha Narayana wrote the Krishna Leelaa Tarangini in the form of a musical opera. The disciple Siddhendra Yogi wrote the famous shringaara kaavya Paarijaatapaharana . While presenting this in the form of dance-drama he shunned the devadasis and, instead, selected nubile Brahmin boys to enact the roles. This dance drama is performed even today and stands as a masterpiece in this genre.
The technique of Kuchipudi exhibits a fine balance between nritta, nritta and naatya elements, the last preponderating in the vaachika abhinaya . Thus the Kuchipudi actor/dancer not only sings his pieces and dances them but also himself/herself speaks the dialogues.
Two very characteristic facets of Kuchipudi performance are the character of the Sutradhaara (conductor) of the performance and the praveshadaru which is a small composition of dance and song whereby each character announces himself/herself and reveals his or her identity in the most skillfull manner.
Another special feature of the presentation is pagati veshamu which is a comic sequence in a play but which is not from the original text. This is added to relieve the seriousness of some of the original sequences and is acted out impromptu.
Related posts:
- Essay on Bharatanatyam Dance
- Essay on Mohiniyattam Dance
- Essay on Kathakali Dance
- Essay on Kathak Dance
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Kuchipudi an established dance form originated in Andhra Pradesh. This classical dance is named after a village Kuchelapuram, 65 Kms from Vijaywada in Andhra Pradesh and became popular due to the patronage of the Brahmins practicing it.
Kuchipudi is known for its impressive, quick footwork, dramatic characterization, expressive eye movements and spirited narrative. It is a blend of tandava and lasya elements. A distinctive feature of this dance is the execution on a brass plate and moving the plate to the accompaniment of carnatic music. The Kuchipudi performer apart from being a dancer and actor has to be skilled in Sanskrit and Telugu languages, music and manuscripts of the performance.
It takes at least seven to ten years to master this art form. There were two parallel dance forms Nattuva Mela and Natya Mela. The former developed into Bharathanatyam and Natya Mela into Kuchipudi – usually performed by both women and men in conjunction.
The Kuchipudi is a dance-drama of Nritta, Nritya and Natya. The Nritta consists of Theermanams and Jatis, the Nritya of Sabdams, and the Natya of acting with Mudras (hand gestures) for the songs. Nritta encompasses steps and movements in the form of patterns of dance which, though beautiful, have no meaning to convey. While fast becoming a solo presentation, Kuchipudi still has strong ties to the dance-drama tradition. It combines the elements of speech, mime and pure dance.
Kuchipudi Dance Form ( Image; wikimedia)
Origin and History
The history of Kuchipudi dance can be traced to 1st century B.C. But the popular story was in 1502 A.D. According to local legends, there was an orphan in Srikakulam who was raised by the village and married off in childhood. To acquire knowledge of Vedic studies he went to Udipi and adopted the name Sidhendra Yogi.
After completing his studies he returned to the village where he was advised to take up his familial duties. Traveling to his wife’s village he had to cross a river and started swimming. On reaching a point in the river, he found he couldn’t swim any further. He prayed to God to provide him the strength to swim across and on reaching the river banks vowed to devote his life to religious affairs. He settled in Kuchelapuram and began teaching Brahmin boy’s devotional dance which were later presented as offerings to God and termed Natya Shastra.
The group spearheaded by the Brahmin Bhagavathulu of Kuchipudi in the year 1502 A.D made this classical dance popular, although women were not allowed to participate.
Attire & Style
The Kuchipudi dancers wear light make-up and ornaments like the Rakudi (head ornament), Chandra Vanki (arm band), Adda Bhasa and Kasina Sara (necklace). A long plait is decorated with flowers and jewelry. The ornaments are made of light wood called Boorugu. The costumes are similar to the one worn in Bharatnatyam- The saree is worn with a fan shaped cloth in front and a Pallu (portion of saree hanging over the shoulder) at the back that is stitched. Ghungroos (anklets0 are worn on the feet – these are specially made for creating the sound to the rhythm of the footwork and are an arrangement of bells stitched in a cloth tied to the feet.
Tarangam is a popular style unique to Kuchipudi – source literature being Narayana Teertha’s Sree Krishna Tarangini. This is the form where the dancer places a pot filled with water on her head and feet balanced on the rim of a plate and manipulates the brass plate with gestures without spilling a single drop of water. The Natya –mala is a dance troupe consisting of men who enact the feminine roles.
Present Day Scenario
Kuchipudi is majorly done as a Solo performance by the female dancers. The narrator has been done away with as also the expressional numbers, which were sung by vocalists in the background – now the same is enacted by the dancer herself. The element of devotion to gods has been replaced by a lot of ‘sringar’ or erotic flavour. The drama aspect has been reduced. The main expressional numbers are from: Jaidev’s Ashthapadi, the Ramayana, the Puranas and Tyagaraja’s compositions.
Innovations
Aspects not indigenous to Kuchipudi dance drama such as stances and freezes based on iconographic forms, motifs, shapes have been incorporated into the recitals to make it more competitive with other current dance forms. Apart from mythology, social themes are also subjects of Kuchipudi.
Kuchipudi Dance (Image: IndianFusion)
Influences over the years
Vempati Chinna Satyam is one of the leading exponents of Kuchipudi, along with Vedantam Lakshmi Narayana Shastry who have worked hard to restore this art form and bring it back to prominence. Vempati is responsible for setting up Kuchipudi Art Academy in Chennai – the oldest dance school in this dance India.
Other well-known proponents of Kuchipudi are Sobha Naidu (recipient of the Padma Shri civilian award) Raja & Radha Reddy, Swapnasundari (an exceptional dancer and author), Arunima Kumar, Yamini Reddy and Kaushalya Reddy.
Interesting Facts and Comparisons
- Kuchipudi dancers earlier wielded a lot of power, and a play/ social commentary was performed to highlight the unfair treatment of a king in 1502, against abusive practices. The dancers succeeded and even got the help of the army.
- On December 26, 2010, over 2,800 dancers including 200 plus dance teachers, created a Guinness World record at Hyderabad. This amazing event was performed by dancers in over 15 countries and was for 11 minutes.
- This is a unique dance form as it makes use of four Abhinayas namely, Angika, Vachika, Aharya and Satvica respectively.
- Rumya Sree Putcha, a scholar provides an analysis of this traditional dance in Indian cinema, in her doctoral dissertation ‘Revisiting the classical: A critical history of Kuchipudi dance’.
- http://en.wikipedia.org/wiki/Kuchipudi
- http://chandrakantha.com/articles/indian_music/nritya/kuchipudi.html
- http://readanddigest.com/kuchipudi-dancers-and-dance-in-india/
- http://kuchipudiknowledge.blogspot.in/2007/08/kuchipudi-notes.html
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6 Classical Dances of India
The curation of this content is at the discretion of the author, and not necessarily reflective of the views of Encyclopaedia Britannica or its editorial staff. For the most accurate and up-to-date information, consult individual encyclopedia entries about the topics.
Dance is an ancient and celebrated cultural tradition in India. Folk dances abound all across the country, and huge crowds of people can be found dancing at festivals and weddings. Dance and song features heavily in Indian cinema (so-called “Bollywood” films), too. But where does Indian dance draw its roots from? Here are six of the most important classical dance forms of India.
Bharatanatyam
Bharatanatyam is a dance of Tamil Nadu in southern India. It traces its origins back to the Natyashastra, an ancient treatise on theatre written by the mythic priest Bharata. Originally a temple dance for women, bharatanatyam often is used to express Hindu religious stories and devotions. It was not commonly seen on the public stage until the 20th century. The dance movements are characterized by bent legs, while feet keep rhythm. Hands may be used in a series of mudras, or symbolic hand gestures, to tell a story.
Kathakali comes from southwestern India, around the state of Kerala. Like bharatanatyam, kathakali is a religious dance. It draws inspiration from the Ramayana and stories from Shaiva traditions. Kathakali is traditionally performed by boys and men, even for female roles. The costumes and makeup are especially elaborate, with faces made to look like painted masks and enormous headdresses.
A dance of northern India, Kathak is often a dance of love. It is performed by both men and women. The movements include intricate footwork accented by bells worn around the ankles and stylized gestures adapted from normal body language. It was originated by Kathakas, professional storytellers who used a mixture of dance, song, and drama. Like other Indian dances it began as a temple dance, but soon moved into the courts of ruling houses.
Manipuri comes from Manipur in northeastern India. It has its roots in that state’s folk traditions and rituals, and often depicts scenes from the life of the god Krishna. Unlike some of the other, more rhythmic dances, Manipuri is characterized by smooth and graceful movements. Female roles are especially fluid in the arms and hands, while male roles tend to have more forceful movements. The dance may be accompanied by narrative chanting and choral singing.
Unlike the other styles mentioned, kuchipudi requires talent in both dancing and singing. This dance, from the state of Andhra Pradesh in southeastern India, is highly ritualized, with a formalized song-and-dance introduction, sprinkling of holy water, and burning of incense, along with invocations of goddesses. Traditionally the dance was performed by men, even the female roles, although now it is predominantly performed by women.
Odissi is indigenous to Orissa in eastern India. It is predominantly a dance for women, with postures that replicate those found in temple sculptures. Based on archaeological findings, odissi is belived to be the oldest of the surviving Indian classical dances. Odissi is a very complex and expressive dance, with over fifty mudras (symbolic hand gestures) commonly used.
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Classical Dances of India: Everything you need to know about
Last updated on September 30, 2017 by ClearIAS Team
Table of Contents
Origin of classical dances
Most of the classical dance forms originated in temples. Worshipping was the main aim. Although every dance form evolved from different regions, their roots are the same. The roots can be traced from the Sanskrit text – ‘Natya Shastra’ . The first compilation of Natya Shastra is dated between 200BCE and 200CE.
As time passed, artists improvised many classical dances which resulted in the present day forms. Today, Indian classical dances are very popular dance all over the world.
Rasanubhuti: The 8 Rasas
The Rasanubhuti is the ultimate aim of these dance forms. Natya Shastra speaks of Eight Rasas . They are as following:
- Shringar: Love
- Hasya: Humorous
- Karuna: Sorrow
- Raudra: Anger
- Veer: Heroism
- Bhayanak: Fear
- Bibhats: Disgust
- Adbhoot: Wonder
Note: Later Abhinav Gupta added a ninth one to it, Shanta: Peace.
What are classical dances?
Unlike folk dances, classical dances are all about technicalities and strict rules. Acharya Nandikeshawara’s ‘Abhinaya Darpan’ and Sharangdev’s ‘Sangeeth Ratnakar’ (Nartanadhyaya), along with the Natya Shastra forms the foundation of technicalities of all the classical dance forms (which includes their body movements, rasa, bhava etc).
There are Nine Classical Dances as recognized by Ministry of Culture, Government of India . Let’s have a look at these classical dances – one by one.
Bharatnatyam
A dance that encompasses Bhav, Rag, Ras and Taal is ‘Bharatanatyam’. Also called as ‘Sadir’ , it was conventionally performed by Devadasis (girls offered to God in the temple) in Hindu Temples of South India. Thus, also known as ‘Dasiattam’ . Developed in the Tanjore and other regions of South India prominently Tamil Nadu, this could possibly be the Oldest Classical Dance form of India (around 2000 years old). It follows the convention of Natya Shastra in true spirit. Abhinaya Darpan and Sangeet Ratnakar guide the technique and grammar of body movements.
The word meaning of Bharatnatyam
- Bha: Bhava which means emotions
- Ra: Rag meaning musical notes.
- Ta: Taal meaning the Rhythm.
- Natyam: The Sanskrit word for Drama .
The evidence of Bharatanatyam
- Silappatikaram (where its existence was mentioned in this ancient Tamil epic).
- Brihaddeshwara temple was a major center for Bharatnatyam since 1000CE.
- The Gopurams of Chidambaram display the poses of Bharatnatyam, chaaris, and Karanas that are carved in the stones.
The makeup used for Bharatanatyam
- Immense and charismatic makeup (hair as a single bun is tied just before the plaits).
- The eye-catching costume (bright colored Sari- today the costume comes in 7 pieces that are worn simply, for men – dhoti).
- Glowing ornaments.
The repertoire of Bharatanatyam
- Alarippu – Invocation
- Jatiswaram – Nritta part
- Shabdam – Short compositions with word
- Varnam – a story, that includes both Nritta and Nritya
- Padam – Religious prayer, Bhajan, Keertanam.
- Thillana – Origin in the Tarana of Hindustani Music
- Ends with Mangalam.
The music and instruments used for the Bharatanatyam
- Carnatic Style, Vocalists Called – Nattuvanar (normally Guru).
- Verses are usually in Tamil, Telugu, Kannada, Sanskrit.
- Mridangam, Nadaswaram, Nattuvangam, Flute, Violin veena etc.
The revival of Bharatanatyam from ancient to modern day platform
- Rukmini Devi Arundale created a Renaissance. Before her, this art was almost dead. She raised this art form to a Puritan form.
- Also, T.Balasaraswati ‘s efforts helped to uplift this art form to the form known today.
- Rukmini Devi founded the Kalakshetra in Adyar and thus gave a new hope to the promotion of this Dance form.
- The famous Bharatanatyam dancers are Yamini Krishnamurthy, Meenakshi Sundaram Pillai, Saroja Vaidyanathan, Janaki Rangarajan Etc.
The graceful dance of North India origin ‘ Kathaa’ ‘Kahe’ so ‘Kathak’ ‘Kahave’ , the one who tells stories is Kathakaar or Kathak . Also known as ‘Natwari Nrutya’. Kathak is one of the most charming dance forms of India. The themes of Kathak revolve around Stories of Ramayan, Mahabharat, and Krishna. Apart from this, Kathak encompasses presentations on manifold subjects. Raslila of Braj is quite akin to Kathak. A Solo Dance form but group compositions on themes with perfect synchronization steals the heart.
The specialties of Kathak
- Kathak is world famous for its spectacular footwork, amazing spins, Nazakat and Padhant (Chanting of bols, toda, tukdas by dancer himself and then performing). This is the distinctive feature of Kathak.
- It creates a nexus between the dancer and audience.
- The body movements are quite straight as compared to Bend movements of South Indian Dances.
- The heavy ghunghroos are worn by the Dancers – 100/200/250 on one leg.
- There is a wide variety of sounds are hidden in these ghunghroos like running train, heavy rains, Sound of Horse riding,( Ghode ki chaal) and much more. This adds more beauty to the performance.
The four main Gharanas, or schools of kathak dance
- These are the Jaipur, Lucknow, Raigarh and the Benares gharanas.
- These schools are named according to the geographical area in which they developed.
- Each has a slight difference in interpretation and repertoire and can be recognized from their presentations.
The Sequence of Kathak dance
- Starts with Vandana ( Worshipping God).
- Aamad (sequence of That Aamad Uthaan may be different in different gharanas).
- Toda Tukdas.
- Gatbhaav (Story)
- Ladi-Tatkaar(Footwork)
- End with a Bhajan, Thumri, Tarana or Ashtapadi, Kajri, Chaiti, Chaturang etc.
The costume, makeup, and ornaments used for Kathak
- Traditionally, Sari, Ghagra-Choli, Chudidar Frock – Jacket, Dupatta for women and men can wear Chudidar Kurta and Dupatta tied at the waist.
- This dance-drama may have costumes as per the character.
- Makeup is not much heavy but is quite sharp and Fine to reflect the expressions. A bun or long plaits with garland looks beautiful.
- Mostly white—yellow pearl ornaments are used.
The music and instruments used for Kathak dance form
- Hindustani Music: Lyrics may be in Hindi, Brij, Sanskrit or any other regional language.
- Instruments like Pakhawaj, Tabla, Sarangi, Sitar, Harmonium, Flute, Sarod, etc. are used.
The revival of Kathak dance forms
- The value of this dance form diminished during the Moghul period but still, there were certain good technical changes like inclusion of Thumri in Kathak.
- The period of Nawab Wajidali Shah was a golden age for Kathak. He himself was a great artist and extensively promoted Kathak.
- The King of Raigarh Raja Chakradhar Singh who himself was a Kathak dancer gave birth to Raigarh Gharana of Kathak—greatest contribution to Kathak.
- Achhan Maharaj, Shambhu Maharaj, Gopi Krishna, Pandit Birju Maharaj, Pandit Rajendra Ganagani ji, Sitara Devi, Rohini Bhate, Maya Rao, Mandvi Singh, Shama Bhate, Shovana Narayana and many more artists gave their priceless contribution in Kathak .
- Kathak Kendra Delhi, a constituent Body of Sangeet Natak Akademi and many other governments and private institutes all over the world strive hard continuously for the training and promotion of Kathak.
The long-established dance form in the serene surroundings of Shri Jagannath Temple in Odisha is famous as ‘Odissi’ . It has its mention in the oldest Sanskrit Text – Natya Shastra as Audramagdhi . In ancient days this dance form filled with Bhakti ras was a part of worship to God at Jagannath temples . Thus we find many sculptures in dance position inside the temple.
It has a combination of Lasya and Tandav. Graceful and mesmerizing, it appears like waves of the ocean. Odissi is famous for its presentations on poet Jayadev’s fabulous work.
Two styles of traditional Odissi
- Maharis (Devadasis or Temple Girls).
- Gotipua ( Performed by Boys).
The sequence
- Managalacharan (Worshipping Lord Jagannath or other gods, goddesses).
- This will be followed by Pushpanjali (Offering of flowers) and salutation to mother earth. This also includes Trikhandi Pranam- Devas, Gurus, and Rasikas.
- The next comes the Batu Nrutya—Fast dance pure dance which we call it as Nritta which is then followed by Nritya which include, Abhinay- Expressions on some devotional poems or songs.
- The verses may be in Sanskrit or Odia language. Ashtapadis—Dashavtar, Ardhanari etc. Are quite famous.
- Then comes the Dance Drama in sequence. The themes generally relate to the Hindu gods and goddesses. Modern day expressive theme presentations go beyond the horizon.
The costumes used for the Odissi dance forms
- It is made up of traditional material (Dhoti for men- Sari for women) from Odisha. Today fully stitched costume is available.
- A crown is worn by female dancers which are prepared in Jagannathpuri.
- White colored flowers are adorned on the bun.
- Like every other dance form, jewelry remains the same but is of silver colored. Ghunghroos too form part of this dance.
The music and instruments used
- The South Indian, as well as North Indian Music, is employed for the dance.
- The Pakhavaj, Tabla, Swarmandal, Harmonium, Sitar, Flute, Violin, and Cymbals.
The revival of Odissi dance forms
- Kelucharan Mahapatra, Gangadhar Pradhan, Pankaj Charan Das etc.revived this dance form in the late forties and early fifties.
- Sanjukta Panigrahi, Sonal Mansingh, Kumkum Mohanty, Anita Babu, Sujata Mohapatra etc. contributed to the upliftment and popularization of Odissi.
- Recently, the Odissi has now been included in the syllabus of IIT Bhubaneshwar’s B.Tech syllabus since 2015. It became the first national technical institute to introduce any Indian Classical Dance form in their syllabus.
The Kuchipudi was originated from the place named ‘Kuchipudi’ in Krishna district of Andhra Pradesh around 3 rd century BCE, Kuchipudi Dance form is a long-established dance-drama style.
Tirtha Narayana Yati and his disciple Siddhendra Yogi organized and founded the modern version of Kuchipudi which we see today. Kuchipudi gradually developed as a solo dance form and today we can see both male and female performing it. Kuchipudi are themes related to Vaishnavism, Lord Krishna, Rukmini, Satyabhama and other myths. Kuchipudi also holds certain specialties of Bharatnatyam and Odissi as well.
Kuchipudi vs Bharatanatyam
- Bharatnatyam costume has three fans of dissimilar lengths. While Kuchipudi dress has only one frill/fan lengthier than the lengthiest fan in the former.
- In Bharatnatyam, there is no side Pallu but in Kuchipudi separate pallu is stitched seen on the left side.
- Two buns are used in Kuchipudi while only one in Bharatnatyam.
The repertoire of Kuchipudi
- The repertoire of Kuchipudi is similar to that of Bharatanatyam:
- Kuchipudi has a specialty called- ‘ Tarangam ’ in which the dancer performs on the top of the brass plates.
- And sometimes balances some pot on the head. This makes the dance form extremely unique.
The costume and makeup of Kuchipudi
- The makeup is similar to that of Bharatnatnatyam.
- A dancer in a female role would wear a Sari with light makeup. Today the stitched costume is available.
- The traditional Kuchipudi was performed by all males and their attire was quite simple ‘Angivastra’ also known as Bagalbandi and a dhoti .
The music and instruments used for the Kuchipudi dance
- Based on Carnatic music the language is usually Telugu.
- Mridangam, cymbals, veena, flute and Tambura.
The famous dancers in Kuchipudi
- Raja-Radha Reddy.
- Yamini Reddy.
- Vaijayanti Kashi.
- Uma Rama Rao etc.
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Dazzling classical dance of Kerala is Kathakali. ‘Katha’= Story or tale, ‘Kali’= Performance and Art. Its roots are in ancient ‘Kutiyattam’ (Classical Sanskrit Dance Drama) and ‘Krishnattam’ (Dance-Drama depicting Stories of Hindu God Krishna). Movements in Kathakali are influenced by ancient martial arts and athletic tradition. It is basically a Dance-Drama. Kathakali was traditionally a male-dominated dance and now females are too welcomed in this dance form. Kathakali is also famous for its huge elaborate costumes, amazing make-up style, face masks, and ornaments.
Unlike other Classical Dances, Kathakali art form developed in the courts and theaters of Hindu principalities. The traditional performances were used to be as long from Dusk to dawn. Modern day presentations are short as per the time limit of the program. The Kerala Kalamandalam is the main center for Kathakali Artists. Kathakali has similarities with other dance forms like that of the Japanese ‘ Noh’ and ‘Kabuki’ dance forms have similarities with Kathakali.
The main themes used in Kathakali
- Mythological themes include Ramayan, Mahabharat, Bhagvat Purana, etc.
- Also modern day Kathakali dancers present stories and plays of Shakespeare.
The makeup for Kathakali
- According to the role of the dancer, his face is colored/painted.
- The colors are made in rice paste with vegetable colors and applied on the face.
- The Green for Noble characters.
- Tati (Red) for evil like Ravana.
- Kari (black) for hunters and monsters.
- Yellow for women etc.
The famous artists of Kathakali
- Kalamandalam Krishna Prasad.
- Kalamandalam Kesavan Namboodiri.
- Kalamandalam Gopi etc.
Mohiniattam
Another graceful Classical Dance of Kerala, Mohiniattam is Lasya inspired dance with soft, calm and gentle movements. Characterized as Feminine, usually done by women. The word ‘Mohini’ is related to the charming women avatar of Lord Vishnu – to end the evil powers. Mohiniattam also connotes, beautiful dancing women. The graceful and most beautiful, Mohiniattam is mesmerizing. The text ‘Hastha Lakshanadeepika’ is followed (for hand gestures and facial expressions) that has an elaborate description of mudras.
The costumes for Mohiniyatam
- Mohiniyattam has a unique White/Off-White Costume.
- the prominent one-sided hairstyle (bun) also called as ‘Kuduma’.
- Adorable ornaments make it unique.
The sequence of Mohiniyattam
- Invocation.
- Jatiswaram.
The revival of Mohiniyattam
- In 1930, Nationalist Malayalam poet Vallathol Narayan Menon helped to repeal the ban on temple dancing in Kerala as well as established the Kerala Kalmandalam dance school and gave encouragement for its training and practice.
- Mukundraj, Krishna Panicker, Thankamony as well as Guru and Dancer Kalamandalam Kalyanikutty Amma gave their heroic contribution in reviving the traditional art form.
The Manipuri dance form named after its region of origin, ‘Manipur’ is also known as ‘Jogai’ . It was traditionally performed as a dance – drama on devotional songs, Manipuri showcases the love between Radha- Krishna through Raaslila. Manipuri is a combination of two culture- Indian and South-East Asian. The Manipuri dance form is categorized as Tandav or Lasya.
The beautifully soft and graceful dance form, Manipuri has significant movements of hands and upper body. A curvy body structure with a pleasant smile, decorative, shiny costumes, and ornaments, Manipuri is indeed a mesmerizing dance form. Another uniqueness of this dance form is that, while Ghunghroos (Bells) glorify the classical dances of India, they are not worn in Manipuri.
The themes used in Manipuri dance forms
- Mostly influenced by Hindu Vaishnavism themes.
- It also includes themes related to Shaivism and Shaktism and regional deities.
- Tandav Manipuri depicts themes of Shiv, Shakti or Krishna as warrior.
- Lasya theme includes Love inspired stories of Radha-Krishna.
The Manipuri Raslila: Three styles
- Tal Rasak: It is accompanied by clapping.
- Danda Rasak: The synchronous beat of two sticks where dancers position creates geometric patterns.
- Mandal Rasak: The Gopis make a circle while Krishna attains the center.
Different types of Manipuri Dance Styles
- Nata-Sankirtan.
- Pung Cholam.
- Dhola Cholam.
- Kartal Cholam.
- Thang ta ( a Martial art of Manipuri) etc.
The Music and instruments used in Manipuri dance
- The expressions used in Manipuri are from the poetry of Jayadev, Vidyapti, Chandidas, Govindadas and Gyandas that may be in Sanskrit, Maithili, Brij or any other language.
- Pung ( A barrel Drum ) and small kartals (Cymbals) are employed in dance as well and not restricted to accompaniment alone.
- Other instruments include Sembong, Harmonium, Pena (String Instrument), Flute(Wind Instrument), Esraj and Shankh (conch).
The costumes of Manipuri dance
- The female dancers wear decorative barrel-shaped drum like long stiff skirt till bottom with decorative embellishments. Dark colored velvet blouse covers the upper part of the body and a traditional veil is worn over hair that falls gracefully over the face.
- The male dancers adorn themselves with dhoti kurta white turban, a folded shawl over the left shoulder and the drum strap over the right shoulder.
- The costume for the character of Lord Krishna is Yellow dhoti, dark velvet jacket, and crown of peacock feathers.
The revival and recent developments of Manipuri dance
- There are several private institutes as well as few Government aided centers that provide training in Manipuri Dance.
- The prominent among them is, Jawaharlal Nehru Manipuri Dance Academy, Imphal which is the constituent body of Sangeet Natak Akademi, Delhi.
Manipuri dancers
- Guru Bipin Sinha.
- Nirmala Mehta.
- Savita Mehta.
- Yumlembam Gambhini Devi.
- Darshana Jhaveri and many others.
Sattriya is the traditional dance –drama of Assam. Sattriya was recognized in 2000 as Classical Dance by Sangeet Natak Akademi. It is influenced by Vaishnavism and the modern form of Sattriya is attributed to the 15 th century Bhakti Movement Scholar and Saint Srimanta Sankaradev . Since 15 th Century, Sattriya grew as a part of Vaishnav Bhakti Movemen t in Hindu Monasteries called ‘Sattra’ . Sattras are the dance community halls (namghar) of monastery temples. Today it is popular worldwide.
The themes and styles used in Sattriya
- The themes performed are mostly on Radha-Krishna and other myths.
- Dramas written by Sankardev are typically presented.
- Sattriya performance integrated two styles: One Masculine (Paurashik Bhangi — energetic and with jumps) and Feminine (Stri Bhangi—Lasya or delicate).
- Both male and female perform this beautiful, expressive dance openly on the modern platform.
The costumes used for Sattriya
- Male—Dhoti, chadar, paguri (turban).
- Female—Ghuri, chadar, Kanchi (waist cloth) made up of materials manufactured in Assam.
- The play and Character specific costumes are also seen in Sattriya.
- Masks are used for special characters (like demons) sometimes.
- Traditional Assamese jewelry is employed.
The music and instruments used for Sattriya
- Borgeet of Sankardev and Madhavdev.
- Khol (two faced asymmetrical drum).
- Cymbals- Manjira Bhortal.
- Flute, Violin, Harmonium etc.
The revival of Sattriya dance
- Conventionally, it was only performed by ‘Bhokots’/ ‘ Monks’ as a part of their daily rituals not before the idol but before the copy of Bhagvat Purana placed in the eastern corner of dance community hall (namghar).
- After the second half of the 20 th century, this dance form moved from the den of Assam’s Monasteries to the modern day stage.
- Sattriya received patronage outside Assam and Outside India too.
- Sattriya Kendra Guwahati is a constituent body of Sangeet Natak Akademi established for preserving, promoting and providing training to young aspirants of Sattriya.
- Today Sattriya performances are a part of Major Dance Festivals in India and Abroad.
The famous Artists of Sattriya
- Guru Indira P.P Bora.
- Late Pradip Chaliha.
- Jatin Goswami.
- Anita Sarma etc.
Chhau Dance
The Chhau is a blend of folk, tribal and martial arts. ‘Chhau’ – is derived from the Sanskrit word ‘Chaaya’, meaning Shadow, image or mask. Also, Chhau is defined by Sitakanta Mahapatra to be derived from Chhauni ( Military Camp) in Odia language. Traditionally performed by Males – Male troupes.
The Chhau has three different types originating from three different regions. Every type has its own unique feature, pattern, and style of performing and ornamentation as well.
Types of Chhau Dances
The themes in chhau.
- Vaishnavism.
The costumes used in Chhau
- Bright colored costumes.
- Huge ornamental headgears.
- Masks depend upon the role you play in the story.
The music and instruments used for Chhau
- The music is based on folk melodies.
- Mohuri, Shehnai, Dhol, Dhumsa, Kharka or Chadchadi are few instruments employed to create the music.
The revival, recognition and recent developments of Chhau
- In 2010, Chhau was listed in the UNESCO’S Representative List of the Intangible Cultural Heritage of Humanity.
- The Government has established Government Chhau Centre in Seraikella in 1960 and Myurbhanj Chhau Nritya Pratishthan at Baripada in 1962.
- The Sangeet Natak Akademi established a National Centre for Chhau Dance at Baripada, Odisha.
Efforts from the government of India to revive Indian Classical Dances
- The government of India puts continuous efforts in preserving, promoting the Indian classical dances in India and abroad as well.
- The establishment of Sangeet Natak Akademi , Delhi and its allied centers and constituent bodies boosted the development of these classical dances.
- The grand Classical dance festivals like Khajuraho, Konark, Dhauli Kalinga, Kalidas, Mukteshwar, Soorya, Ellora, Nishagandhi etc., displays the beautiful representation of Indian Classical Dances.
- The classical dances flourished and developed further with the establishment of Music and Dance Universities like Indira Kala Sangeet Vishwavidyalaya , Khairagarh, Raja Mansingh Tomar University, Gwalior etc. and the various Institutions like Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Prayag Sangeet Samiti. They not only added to the development of it but also helped the classical dance forms to reach till common people.
Article by: Ruhi Masodkar. The author is a Kathak dancer from Nagpur.
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June 29, 2017 at 1:30 pm
Is chhau dance a classical dance?? It is not yet recognized by sangeet natya academy as classical i think…
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November 4, 2017 at 12:47 pm
Namaskaram,
I would like to give one suggestion in kuchipudi category. Apart from the names given in masters section–mention of names such as –Padmabhushan Dr.Vempati China Satyam, Padmasri Dr.Vedantam Satyanarayana Sharma, Padmasri Dr. Shobhanaidu should find their place as their contribution is also undefinable and inexplicable.
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February 15, 2018 at 4:38 pm
the ornaments that Kuchipudi dancers wear are made of a special light weight wood called “Boorugu”
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July 9, 2018 at 6:35 pm
there are still 8 classical dances and you have mentioned 9. Chhau is a folk dance please correct.
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though very usefull
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give more notes for study
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April 9, 2021 at 7:30 pm
Diversity in classical Indian dance forms https://thecreativepost.co.in/classical-indian-dance-forms/
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September 5, 2021 at 2:03 pm
Hi, very informative. I like reading such articles. Just a small doubt, you have mentioned that probably Bharatnatyam is the oldest classical dance but in your article description Odissa was shown by the search engine. Could you put your thoughts on “which form is the oldest classical dance form?”
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All (8) Classical dance forms of India in Brief | UPSC – IAS
Table of Contents
All Classical Dance forms of India | UPSC – IAS
Dance in India has a rich and vital tradition dating back to ancient times. Excavations, inscriptions, chronicles, genealogies of kings and artists, literary sources, sculpture and painting of different periods provide extensive evidence on dance.
Myths and legends also support the view that dance had a significant place in the religious and social life of the Indian people. However, it is not easy to trace the precise history and evolution of the various dances known as the ‘art’ or ‘classical’ forms popular today.
- Each form represents the culture and ethos of a particular region or a group of people . Classical dances recognized by the Government of India are: Bharatnatyam, Kathakali, Kuchipudi, Kathak, Manipuri, Odissi and Sattriya.
Indian classical dances are dances of the mind and soul and are extremely traditional. It is very sensuous but the experience of ananda (bliss) it evokes is very spiritual.
- Rasa (mood or flavour) as the cause of ananda (bliss) is considered fundamental essence of beauty and harmony in Indian aesthetics.
- Vibhava (cause of emotion), anubhava (effect of emotion) and sanchari or vyabhichari bhava (subordinate emotions) constitute the state of rasa.
- These in their respective order change the Sthayi Bhava (primary emotion) into rasa or bliss.
All dance forms are thus structured around the nine rasas or emotions:
- Adbhuta (wonder)
- Shanta (serenity)
- Bhaya (fear)
- Hasya (happiness)
- Karuna (compassion)
- Shoka (sorrow)
- Viram (courage)
- Krodha (anger)
- Bhibasta (disgust)
Classical dances of india state wise | UPSC – IAS
All dance forms follow the same hand gestures or hasta mudras for each of these rasas. Indian dance is divided into nritta – the rhythmic elements, nritya – the combination of rhythm with expression and natya – the dramatic element (also Rules of classical dance in india).
The three aspects – the Nritta, the Nritya and the Natya lay at the heart of each of these forms.
- The Nritta is a rhythmic sequence that ends in either singing or in lyrics reciting.
- The Nritya is a sum of rhythmic patterns each following a certain pantomimic interpretation (or abhinaya)
- The Natya is a complete dance drama with a storyline and various characters.
India offers different types of classical dances in India, each of which can be traced to different parts of the country. The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles:
Bharatanatyam Dance from Tamil Nadu | UPSC – IAS
- Bharatanatyam is a classical Indian dance form originating in Tamil Nadu.
- Bharatanatyam is considered to be over 2000 years old. In Bharata Muni’s Natya Shastra Bharatanatyam is described as ekaharya in which one dancer depicts many roles. Siva as Nataraja, the Lord of Dance is depicted in various dance forms.
- Bharatnatyam leans heavily on the abhinaya or mime aspect of dance – the nritya, where the dancer expresses the sahitya through movement and mime (gestures and facial expression).
- Bharatanatyam is usually accompanied by the classical music.
- BHA- Bhava (Expression), RA- Raga (Music) and TA- Tala (Rhythm) Bharatanatyam is a traditional dance form known for its grace, purity, tenderness, and sculpturesque poses.
- It is practiced by male and female dancers.
Noted Bharatanatyam exponents are: Rukmini Devi Arundale, Mallika Sarabhai, Yamini Krishnamurthy
Kuchipudi Dance from Andhra Pradesh | UPSC – IAS
- Kuchipudi is originally from Andhra Pradesh.
- Its evolution can be traced to traditional dance – drama, known under the generic name of Yakshagaana.
- It originated in the seventh century AD.
- In 17th century A.D. Siddhendra Yogi, a talented Vaishnava poet, conceived Kuchipudi style of Yakshagaana. It begins with an invocation to Lord Ganesha followed by nritta (non-narrative and abstract dancing); shabdam (narrative dancing) and natya.
- The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, fluteand the tambura.
- Like other classical dances, Kuchipudi also comprises pure dance, mime and histrionics but it is the use of speech that distinguishes Kuchipudi’s presentation as dance drama.
Noted Kuchipudi exponents are: Raja Reddy and Radha reddy, Sonal Mansingh, Yamini Krishnamurthy
Kathak Dance from Uttar Pradesh | UPSC – IAS
- Kathak dance is originally from Uttar Pradesh. It is a combination of music, dance and narrative.
- The name Kathak is derived from the Sanskrit word katha meaning story. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or storytellers.
- The present day Kathak dance mainly depends on the medieval period Ras Lila, a local dance in the Braj region of Uttar Pradesh.
- Eventually popular Kathak became highly stylised in both Hindu and Muslim courts and came to be regarded as a sophisticated form of entertainment.
- There are three major schools or gharanas of Kathak from which performers today generally draw their lineage
Lucknow Gharana:
- It came into existence mainly in the court of Nawab Wajid Ali Shah the ruler of Awadh in the early 19th century.
- It is characterized by graceful movements, elegance and natural poise with dance. Artistically designed dance compositions, emotive vocal compositions like thumri-s, dadra-s, hori-s along with abhinaya (expressional acting) and creative improvisions are the hallmarks of this style.
- Pandit Briju Maharaj is considered the chief representative of this gharana.
Jaipur Gharana:
- The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan.
- Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas.
- There is also a greater incorporation of compositions from the pakhawaj, such as parans.
Benares Gharana:
- The Benares Gharana was developed by Janakiprasad.
- It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols.
- There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right- and the left-hand sides with equal confidence.
- There is also a greater use of the floor, for example, in the taking of sam.
Noted Kathak exponents are : Shambhu Maharaj, Sitara Devi, Pandit Birju Maharaj
Manipuri Dance from Manipur | UPSC – IAS
- Manipuri, one of the classical dances of India, originated in Manipur, the north-eastern state of India.
- The people of Manipur have been protected from outside influences, and able to retain their unique traditional culture. Manipuri dance is associated with rituals and traditional festivals.
- The cult of Radha and Krishna, particularly the raslila, is central to its themes but the dances, unusually, incorporate the characteristic symbols (kartal or manjira) and double-headed drum (pung or Manipuri mridang) of sankirtan into the visual performance.
- The most popular forms of Manipuri dance are the Ras, the Sankirtana and the Thang-Ta.
- In Manipuri Ras, the main characters are Radha, Krishna and the gopis.The themes often depict the pangs of separation of the gopis and Radha from Krishna.
- The Kirtan form of congregational singing accompanies the dance which is known as Sankirtana in Manipur. The male dancers play the Pung and Kartal while dancing. The masculine aspect of dance – the Choloms is a part of the Sankirtana tradition.
- The martial dancers of Manipur – the Thang-ta – have their origins in the days when man’s survival depended on his ability to defend himself from wild animals.Today, Manipur has an evolved and sophisticated repertoire of martial dances, the dancers use swords, spears and shields. Real fight scenes between the dancers show an extensive training and control of the body.
Noted exponents:- of Manipuri are: L Bino Devi, Darshana Zhaveri
Kathakali Dance from Kerala | UPSC – IAS
- Kathakali has evolved from many social and religious theatrical forms of Kerala.
- It is a blend of dance, music and acting and dramatizes stories, which are mostly adapted from the Indian epics. Poet Vallathol, composed the classical Kathakali dance form.
- It is a highly stylized classical Indian dance-drama noted for the attractive makeup of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion.
Kathakali is considered to be a combination of five elements of fine art:
- Expressions (Natyam, the component with emphasis on facial expressions)
- Dance (Nritham, the component of dance with emphasis on rhythm and movement of hands, legs and body)
- Enactment (Nrithyam, the element of drama with emphasis on “mudras”, which are hand gestures)
- Song/vocal accompaniment (Geetha)
- Instrument accompaniment (Vadyam)
Noted Kathakali exponents are: Kalamandalam Ramankutty Nair, Kalamandalam Gopi, Madavoor Vasudevan Nair
Odissi Dance from Odisha | UPSC – IAS
- Odissi, originally from Orissa, is a dance of love and passion touching on the divine and the human, the sublime and the mundane.
- It is the oldest surviving dance form of India on the basis of archaeological evidences.
- This dance is characterized by various Bhangas (Stance), which involves stamping of the foot and striking various postures as seen in Indian sculptures. The common Bhangas are Bhanga, Abanga, Atibhanga and Tribhanga.
- The techniques of movement are built around the two basic postures of the Chowk and the Tribhanga. The chowk is a position imitating a square – a very masculine stance with the weight of the body equally balanced. The tribhanga is a very feminine stance where the body is deflected at the neck, torso and the knees.
- The Odissi tradition existed in three schools:
- – Maharis were Oriya devadasis or temple girls, their name deriving from Maha (great) and Nari or Mahri (chosen) particularly those at the temple of Jagganath at Puri.
- – Early Maharis performed mainly Nritta (pure dance) and Abhinaya (interpretation of poetry) based on Mantras and Slokas. Later, Maharis especially performed dance sequences based on the lyrics of Jayadev’s Gita Govinda.
- – Gotipuas were boys dressed up as girls and taught the dance by the Maharis.
- – During this period, Vaishnava poets composed innumerable lyrics in Oriya dedicated to Radha and Krishna.
- – Nartaki dance took place in the royal courts.
- – During the British time the misuse of devadasis came under strong attack, so that Odissi dance withered in the temples and became unfashionable at court. Only the remnants of the Gotipua school remained.
Noted Odissi exponents are: Kelucharan Mohapatra, Sonal Mansingh
Mohiniyattam Dance from Kerala | UPSC – IAS
- It is a classical dance form from Kerala.
- It is considered a very graceful form of dance meant to be performed as solo recitals by women.
- The term Mohiniyattam comes from the words “Mohini” meaning a woman who enchants onlookers and “aattam” meaning graceful and sensuous body movements. The word “Mohiniyattam” literally means “dance of the enchantress”.
- There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi or Ocean of Milk. In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura.
- The dance involves the swaying of broad hips and the gentle movements of erect posture from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala.
- There are approximately 40 basic movements, known as atavukal.
- The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu.
Noted exponents of Mohiniyattam are: T. Chinnammu Amma, Kalamandalam Sugandhi
Sattriya Dance from Assam | UPSC – IAS
- The Sattriya dance form was introduced in the 15th century A.D by the great Vaishnava saint and reformer of Assam, Mahapurusha Sankaradeva as a powerful medium for propagation of the Vaishnava faith.
- Sankaradeva introduced this dance form by incorporating different elements from various treatises,then prevalent dance forms and local folk dances combined with his own rare outlook.
- Sattriya dance is a clear indication of the influence of the former on the latter. Other visible influences on Sattriya dance are those from Assamese folk dances namely Bihu, Bodos etc
- Many hand gestures and rhythmic syllables are strikingly similar in these dance forms.
Noted Sattriya exponents are: Indira PP Bora, Maniram Datta Moktar
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Kuchipudi Kalapams: Origin and Comparison
Srivani Vokkarane
Srivani Vokkarane is an accomplished artist trained in Bharatanatyam, Kuchipudi, Devaalaya Aaradhana Nrithyam and Kuchipudi Yakshagana. She trains students in Kuchipudi with a focus on both theoretical and practical aspects of the art form. She has completed her Masters in Kuchipudi Dance from Silicon Andhra University, California.
The origin of the dance traditions of Andhra Pradesh can be traced through various sources, such as the sculptures and inscriptions in ancient temples, Buddhist ruins, the migrations of the Arava Dravida community and various works of literature. Before the fourteenth century, when Yakshagana and Bhagavata Meḷa traditions took root in Andhra, Vaishnavism was prevalent in the region, and consequently, the Krishna cult was popular. The devadasi s (devotees of god) and the rajanartaki s (court dancers) in the Srikakulam region danced to hymns in praise of Lord Krishna.
Though there is evidence of the existence of Kuchipudi as early as the tenth century, it is believed that it was Siddhendra Yogi who, in the seventeenth century, undertook the responsibility of propagating Kuchipudi and giving it a new dimension. [1] Siddhendra Yogi hailed from Kuchipudi, went to Udupi and became a follower of Madhvacarya. He later migrated to the Krishna district in Andhra Pradesh. He was a pioneer who refined and redefined Kuchipudi. The Hemadeita (where only male Brahmins could perform, even in female roles) dance-drama tradition was followed.
There are several stories regarding the birth and life of Siddhendra Yogi. He was an ardent devotee of Lord Krishna. His studies under the influence of the Udupi Mutt propelled him towards a spiritual path. Upon his return to Srikakulam, he sought the blessings of his elders and decided to meet his wife who lived across the river Krishna. On his way across the river, a violent storm broke out, and he was almost drowned midstream. He prayed to Lord Krishna with all his might. This incident had shaken him up, and he decided to take up sanyasa and renounce conjugal life and all worldly pleasures. His teacher (guru) at Udupi Mutt preached that Radha (the consort of Krishna) was considered prakriti (nature), whereas Krishna was purusha (man). Prakriti owed her very existence to her lord. This made him conclude that sensuous love was not necessarily a sin, but it ought to be sublimated and enjoyed following dharma (righteousness). This was called the Bhama cult, later known as the Madhura Bhakti. Siddhendra thought that every devotee was a consort of Lord Krishna, and Lord Krishna was a Lokabharta (husband).
Imagining himself to be Satyabhama, who could not stand the separation from her lord, be it even for a moment, he composed many songs and titles, and the collection is known as Bhama Kalapam. The songs were of sensuous love. The viraha (separation) he experienced in his own life poured forth in the form of beautiful lyrics—the composition Bhama Kalapam is a reflection of the Jivatma-Paramatma concept, where the poet compares himself to the character of the nayika (heroine or the female counterpart), Satyabhama, who longs for union with the only supreme male or the paramatma, Lord Krishna.
Kalapam In her book, The World of Koochipudi Dance , Dr Swapnasundari states that the word kalapam has many meanings. In Sanskrit, it refers to ‘that which holds single parts together, bundle, totality, collection of several separate things, a series of four stanzas in grammatical connection.’ [2] In Telugu, too, the meaning is similar—‘an ornament, an assemblage playing a character.’ The Kalapam is a collection of ideas contained within a seemingly simple story. Although the Kalapam is not known as an uparupaka (dance drama), the salient features found in Margi literature (associated with the classical style of dance described in the Natyashastra ) resemble the format of the Kalapam. A form of the uparupaka (minor types of Sanskrit plays that emerged from Rupaka [one of the ten major plays defined by Bharata in Natyashastra ]), ‘Srigaditham’ bears the closest resemblance to the Kalapam structure.
The structure of the Srigaditham has been described in detail within Bhoja’s Sringara Prakasam (King Bhoja of Malwa, eleventh century) and Saradatanaya’s Bhava Prakasam . It is also briefly mentioned in Jayapasenani’s Nritta Ratnavali . Upon parallel comparison of Saradatanaya’s Bhava Prakasam and Bhooja’s Sringara Prakasam , the nayaka (hero) must be prasiddha (famous) and possess high quality of character. He must be so powerful that he can slay demons. He is assumed to be the incarnation of Lord Vishnu. The nayika is a kulangana (hailing from a reputed family/clan), and suffers from the separation of her beloved, and undergoes several emotional states. The emotion in the composition is vipralabha sringara (love in separation) and vṛitti (the style of dramatic production) is bharativritti (bharati–verbal).
Typically, a single protagonist presents a range of ideas and carries the story forward. The focus is on the main character rather than on the supporting role. The prominent member of the supporting cast is known as sutradhari (conductor/narrator). The dancers who perform should be well versed in singing, dancing and rendering prose dialogues as well. The storyline is conveyed through the use of daruvu s, padyam s and sloka s (literary structures of Yakshagana with specific meters) along with most other features derived from Yakshaganam . [3]
The most famous kalapams in Kuchipudi are the Bhama Kalapam, Bhagavatula Ramayya’s Golla Kalapam, Sri Vedantam Parvatisam’s Durjati Kalapam, and, in more recent times, Dr Vedantam Ramalinga Sastry’s Uma Kalapam. A kalapam brings out the effect of the dramatic sequence by the subjective exposition of the characters themselves, accompanied by a systematic dance and tune suggestive of the situation.
Siddhendra Yogi and Kalapams Siddhendra trained under Sri Narayana Tirtha, the author of Sri Krishna Lila Tarangiṇi . The story goes that when Lord Krishna appeared and told Siddhendra that he would be liberated from the mundane world, he weaved the story of Parijatapaharanam into a fine sringarakavya (erotic/love poem); he said that his master Sri Narayaṇa Tirtha would attain liberation in his next birth. This episode made Siddhendra write Parijatapaharanam , which later on came to be known as Bhama Kalapam. He gathered a few Brahmin boys, taught them and asked them to perform it as a dance drama and as an offering to Lord Krishna. They, in turn, assured him that they would retain and preserve the culture. The descendants of those Brahmin families continued this tradition of the Kuchipudi dance drama. The Brahmin artistes came to be known as Bhagavatulu, and the dance-drama from the Bhagavatamela nataka was referred to as the Kuchipudi dance drama after the name of the village. [4]
Siddhendra Yogi wrote many Kalapams. He primarily developed a unique and particular style based on the Natyasashtra and Nandikesvara’s Bharataraṇava . He initiated young Brahmin boys to Bhama Kalapam. The actual training of the actors was developed to turn them into Bhagavatula, or performers of the Bhagavata Mela Natakams (theatres), which are prevalent until this day—making glorious history in Kuchipudi.
Bhama Kalapam The main story of Bhama Kalapam is based on Satyabhama’s estrangement from Krishna. Satyabhama is annoyed that Krishna has presented the celestial flower, Parijata , to Rukmini, his previous wife. Satyabhama considers herself more beautiful and well-bred than the other wives of Krishna, and therefore feels that she deserves the gift. This forms the background of the Bhama Kalapam, although the complete episode is indirectly referred to in its performance.
The story starts with Satyabhama proclaiming her special qualities. She requests a friend to bring Krishna to her palace. The friend seeks an explanation from Satyabhama for the reason behind her separation from her lord. In response to this, Satyabhama refers to her love quarrel [5] with Krishna. She yearns for reconciliation and sends the emissary with a letter to him. Initially unresponsive, Krishna eventually returns to Satyabhama. The sutradhari enacts the dual role of Madhavi (Satyabhama’s confidante) and Madhava (friend of Krishna) without any change of costume but with imaginative use of accessories. By playing the dual role of both Satyabhama and Krishna’s friend, the sutradhari maintains the connectivity between the jivatma (which Satyabhama represents) and paramatma (embodied by Krishna). Symbolically, the confluence of jivatma with paramatma is highlighted. [6]
Although Bhama Kalapam was written in the form of a Yakshagana—it comprises daruvus, padyams, gadyam , kandartham s and dvipada s (all literary structures). It was not a dance drama in the true sense but had a complicated, traditional story and scenes. It can be referred to as prabhandakavya (a literary genre of medieval Indian Sanskrit literature) describing the different moods and feelings of the heroine Satyabhama. In her quest for Lord Krishna and her pain of separation, she experiences several nayikavastha s (physical expressions of the different aspects of the heroine's feelings and emotions) such as svadhinapatika (one who is swollen with pride of her beloved’s love and devotion), virahootkantitha (one who is distressed and desires reunion with her lover), k handita (one who sends away the deceitful lover in anger, the lover who had disappointed and saddened her), proshitabhartrika (one who is missing her beloved as he is far away on a long journey) and abhisarika (one who courageously goes out for the meeting with her lover). The dasakamavastha s as described in the Naṭyasashtra are articulated at various segments within the kalapam. The salient features or sequences of Bhama Kalapam include:
G olla Kalapam Kuchipudi dance is renowned for the dramatic practice of expanding the process of a single role within a play. Such plays with their well-defined presentational aspects are believed to be derived from a format known as vesha katha (person adorning a character). Another kalapam which stayed with Kuchipudi dance-drama is Golla Kalapam written by Bhagavatula Ramayya, who belonged to the early eighteenth century. [7]
The operatic dance drama rests on a weighty libretto with a vedantic theme containing several layers of meaning. At one level, it is simply a light-hearted exchange between a Golla Bhama and a Brahmin. At another level, it conveys a message of the universality of the human spirit and underscores the futility of caste-based distinction. The dance opera serves as a metaphor for the process of self-realisation. It abounds in the philosophy of life from birth to death. For the first time in dance-drama, the author has introduced both the spiritual and biological aspects depicting Vedic sacrifices, yagna and the process of human birth.
The story has two characters—the milkmaid and the Brahmin. The Brahmin and Golla Bhama set out on a journey engaging in a friendly repartee. The Brahmin refuses the buttermilk offered saying that a member of a higher caste would not accept anything touched by a member of a lower caste. The milkmaid is equally well versed with the sastric and puranic lores and traces her lineage to Lord Krishna, who was also a golla (a cowherd). She refutes all arguments put forward by the Brahmin who is superior by birth. The milkmaid finally emphasises the oneness of creation and the supremacy of the lord—the unique expression of his self in all his creations. [8] The salient features of Golla Kalapam as listed by Dr Swapnasundari in the book The World of Koochipudi Dance are:
Similarities and contrasts between Bhama Kalapam and Golla Kalapam The ideas emerging as vesya kathas appear to have been more sophisticated representations in kalapams. Kalapams of Kuchipudi developed all three aspects of dance— nṛitta (dance steps performed rhythmically), abhinaya (emoting the song) and natya (dramatic representation) equally.
Both Bhama Kalapam and Golla Kalapam are priceless assets to the literature of dance. They are perfect examples to show that our scriptures are poems with philosophical content and that our literature is a spiritual treatise with romantic content. They are complementary to each other to reveal the truth of the art as envisaged in ancient days, i.e. ways to reach God through art. [9]
In both the Kalapams, the format was set in such a way that the lead dancer had to have good stamina, memory, knowledge of philosophy and scriptures, and a good command over the language to render vacikam (dialogues). Both the Kalapams is a remarkable audio-visual treat to the audience and are an aesthetic experience.
The tabular representation of both the kalapams have been summarised with a few connotations below:
Notes [1] Rama, ‘Siddhendra Yogi’. [2] Sundari, ‘Kalaapam’, 69. [3] Sundari, ‘Kalaapam’ . [4] Devi, Kuchipudi Kalapas. [5] Sundari, ‘Kalaapam’, 78. [6] Kothari, Kuchipudi. [7] Sundari, ‘Kalaapam’ . [8] Kothari, K uchipudi. [9] Sarma, Kuchipudi: Gurus.
Bibliography Devi, P. Rama. Kuchipudi Kalapas: An Odyssey Rediscovered . Secunderabad: Patinjarayil Publications, 2004.
Kothari, Sunil. Kuchipudi: Indian Classical Dance Art . New Delhi: Abhinav Publications, 2001.
Rao, Uma Rama. ‘Siddhendra Yogi.’ In Kuchipudi Bharatam or Kuchipudi Dance: A South Indian Classical Dance Tradition . New Delhi: Sri Satguru Publications, 1992.
Sarma, M.N. Kuchipudi: Gurus, Performers And Performance Traditions . Hyderabad: Creative Links Publications, 2016.
Sundari, D. Swapna. ‘Kalaapam’. In The World of Koochipudi Dance . Haryana: Shubhi Publications, 2005.
http://ccrtindia.gov.in/kuchipudi.php
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Atlas of Public Management
Writing a Briefing Note
… a core concept in Communication Skills and Atlas 109
Concept description
Briefing notes are a way to quickly and succinctly provide information to a wide audience. However, their ability to do so depends on the quality of writing and, in particular, how concisely information is put forward.
In government extremely complex information often has to be communicated quickly and effectively up the decision-making chain. Whilst in the ideal world, the right person would always be around to answer questions and provide information; this isn’t always possible, especially not on a tight timeline.
[See also How to Write a Briefing Note, James Mitchell, 2021 ]
The purpose of briefing notes
Briefing notes can be used for a wide variety of purposes. Ultimately the exact content should match the reason that someone would want to read the note. A few examples are:
- Decision Notes: Which concisely present information around a particular policy issue, and a series of options for decision makers to choose from;
- Information Notes : Which provide high-level information on a particular policy, program, or area of government;
- Issues Notes : Which provide high-level summaries of particular issues that have emerged that the reader will have to know about;
- House Notes : Which provide a combination of information for Ministers speaking about particular issues in the legislature.These can overlap – decision notes will necessarily have some of the same information as issues or information notes, and so on. The important thing is to ask why a particular briefing note has been requested, and to tailor contents accordingly.
Most briefing notes include the following sections:
- Title: The title should be positioned at the top, bolded, and at a glance describe the note for the reader.
- Summary : A section with 2-3 bullet points providing the highest-level summary of the issue possible.
- Who is involved;
- What is being done;
- When it is being done;
- The government response;
- The history of the issue;
- What the public thinks.
- Above all, everything included should be factual , simple , and relevant .
- Consider whether the reader would need to know any particular piece of information. Is there an extremely important statistic or quote that would assist them? If so this should be included in a prominent position.
- Attribution : Some ministries or departments will have templates, particularly for keeping track of who authored briefing notes, and where they came from. Be sure to check if these elements, and whether there is a particular template you should follow.
There is no set style for a briefing note as they will vary depending on the audience. Indeed, there may be and official Style Guide that needs to be followed. No matter what precise style is used, keep the following points in mind:
- Length : A briefing note should be as short and to the point as possible. Ideally one page, and two pages at the absolute limit.
- Bullet points should be used, with sentences as short and concise as possible.
- Content should only include points that are directly relevant. The recent history of a policy or its political significance might be useful, but can always be asked for separately.
- Sentences should be short and to the point, using the simplest possible words, and being as jargon-free as possible (see Using Plain Language ).
- Abbreviations should be clearly spelt out the first time, with the acronym detailed, followed by the abbreviation being used each time subsequently.
Drafting a briefing note
To condense such complex topics into one page takes substantial effort, often within a condensed timeframe. A good place to start is to place all of the information that might be relevant onto a document in rough form. From this point, it can be gradually reduced with the following process:
- Re-reading the content, asking ‘so what?’ to each point, and stripping out anything that might not be relevant.
- Simplifying the remaining language;
- Reading the document as a whole to determine if the sequence of information needs to be changed, or if there are any gaps.
This process is similar to that recommended for Writing a Summary .
A Google search for “how to write a briefing note” yields a number of online resources. Among the best are:
Susan Doyle (2013), How to Write a Briefing Note, in Engl302 Writing for Government, at http://web.uvic.ca/~sdoyle/E302/Notes/WritingBriefingNotes.html , accessed 10 April 2016.
Public Sector Writing, How to Write Briefing Notes, at http://www.publicsectorwriting.com/?page_id=6 , accessed 10 April 2016.
Rob Parkinson (2016), Classic Format of a Briefing Note, Writing for Results Inc., at http://writingforresults.net/classic.pdf , accessed 10 April 2016.
Public Works and Government Services Canada, Write clear and effective briefing notes, at http://www.bt-tb.tpsgc-pwgsc.gc.ca/btb.php?lang=eng&cont=241 , accessed 10 April 2016.
Atlas topic and subject
Writing to Persuade (core topic) in Communication Skills .
Page created by: Guy Miscampbell, last modified by Ian Clark on 6 March 2021.
Image: Public Sector Writing, at http://www.publicsectorwriting.com/?page_id=6 , accessed 10 April 2016.
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Happy Women's Day 2023: Best wishes, images, messages, quotes, greetings to share with special women in your life
International women's day 2023: women's day is marked annually on march 8. celebrate the day by sharing best wishes, images, messages, quotes and greetings with all the women in your life..
Happy Women's Day: International Women's Day is an annual occasion celebrated annually on March 8. The day brings attention to the women's rights movement, gender equality issues, women's reproductive rights, women's achievements in various fields, and violence and abuse against women. This year, the International Women's Day 2023 campaign theme is #EmbraceEquity, which aims to get the world talking about 'Why equal opportunities aren't enough'.
(Also Read | International Women's Day 2023: When is Women's Day? Date, history, significance, celebration and all you need to know )
People celebrate International Women's Day by honouring the women in their lives - be it their mother, grandmother, sister, wife, girlfriend, and more. You can also make the day special by sending our curated list of best wishes, images, messages, quotes, and greetings to all the women in your life.
Women's Day 2023 Wishes, Images, Messages and Greetings:
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Kuchipudi originated in the 17th century with the creation by Sidhyendra Yogi of the dance-drama Bhama Kalapam, a story of Satyabhāma, the charming but jealous wife of the god Krishna. The dance performance begins with the sprinkling of holy water and the burning of incense.
Kuchipudi is an Indian classical dance form that originated in a village of Krishna district of Andhra Pradesh, India. Let's have a look at its history, costumes, repertoire and exponents. Cultural India : Dances of India : Indian Classical Dances : Kuchipudi Dance Kuchipudi
Kuchipudi ( / kuːtʃiˈpuːdi /) ( Telugu: te:కూచిపూడి నృత్యం) is one of the eight major Indian classical dances. [2] It originates from a village named Kuchipudi in the Indian state of Andhra Pradesh. [3] Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text of Natya Shastra.
Something important to note is that Kuchipudi has evolved over time. Today, when people search up "kuchipudi," the pictures associated with that are mostly female. Yet, Kuchipudi began as an art for men of the time, who would go traveling from village to village to perform for the people.
Kuchipudi is a classical dance form that originated in Andhra Pradesh, it derives its name from a village named Kuchelapuram located at a distance of 65 Km from Vijayawada. Kuchipudi is a dance-drama of Nritta (pure dance), Nritya (expressional dance) and Natya (drama). When was Kuchipudi invented? Kuchipudi can be traced back to 1st Century B.C.
Kuchipudi dance is a vibrant dance form which originated in Andhra Pradesh. It is one of the eight classical dance forms in India. This dance form is known because of its fast moves, lively eye expressions, hand gestures and so on. It is a mixture of the laya of the Tandava dance form and of the Lasya or the slow movement in dance speed.
Kuchipudi is one of India's eight classical dance styles. The dance form evolved from the popular theatrical art 'Kuchipudi Yakshagana,' called after the hamlet of Kuchipudi in Andhra Pradesh, where it originated. It's done as a dance drama, which means it's done in groups as well as solo.
Indian Classical Dances. India has thousands of year old tradition of fine arts and classical and folk music and dances. Some of the world-famous dance forms that originated and evolved in India are Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam and Odissi. All these dance forms use basically the same 'mudras' or signs of ...
Kuchipudi, a notable Indian classical dance form counted among the ten leading traditional dance forms of India, is a dance cum drama performance that emerged in the Krishna district of Andhra Pradesh.
Kuchipudi is a small little village in the Krishna district of Andhra Pradesh. And the dance style or dance drama is traditionally practiced by very high caste Brahmins. It is believed that it was created in the 15th century A.D. and later the saint Siddhendra Yogi added a lot of vim and vigour into the dancing.
The Kuchipudi performer apart from being a dancer and actor has to be skilled in Sanskrit and Telugu languages, music and manuscripts of the performance. It takes at least seven to ten years to master this art form. There were two parallel dance forms Nattuva Mela and Natya Mela.
kuchipudiVasanthakumarep. Unlike the other styles mentioned, kuchipudi requires talent in both dancing and singing. This dance, from the state of Andhra Pradesh in southeastern India, is highly ritualized, with a formalized song-and-dance introduction, sprinkling of holy water, and burning of incense, along with invocations of goddesses.
Kuchipudi are themes related to Vaishnavism, Lord Krishna, Rukmini, Satyabhama and other myths. Kuchipudi also holds certain specialties of Bharatnatyam and Odissi as well. Kuchipudi vs Bharatanatyam. Bharatnatyam costume has three fans of dissimilar lengths. While Kuchipudi dress has only one frill/fan lengthier than the lengthiest fan in the ...
Kuchipudi is a male-oriented dance-drama tradition that acquired its name from the village it originated from. Both the styles, Nattuva Mela and Natya Mela, suffered due to exploitation and feudalistic abuse.
hi guys..!!hope you guys understood the origin, music of the kuchipudi dance form.welcome to my channel "Nruthyamrutha kuchipudi"Ever wondered to learn dance...
Briefing Note Template: 8+ Samples & Examples. Briefing Notes make the decision makers informed about their important decisions, as they are usually responsible for them. When it comes to government, briefing notes serve as the means of communication between the managers of government and other senior officials or their ministers.
Kuchipudi is originally from Andhra Pradesh. Its evolution can be traced to traditional dance - drama, known under the generic name of Yakshagaana. It originated in the seventh century AD. In 17th century A.D. Siddhendra Yogi, a talented Vaishnava poet, conceived Kuchipudi style of Yakshagaana.
The most famous kalapams in Kuchipudi are the Bhama Kalapam, Bhagavatula Ramayya's Golla Kalapam, Sri Vedantam Parvatisam's Durjati Kalapam, and, in more recent times, Dr Vedantam Ramalinga Sastry's Uma Kalapam. A kalapam brings out the effect of the dramatic sequence by the subjective exposition of the characters themselves, accompanied ...
One Of The Seven Major Classical Dance Forms Of India, Kuchipudi In Its Solo Avatara Has Acquired A Status Of A Classical Dance Form Of Andhra Pradesh. The Story Of Kuchipudi From Its Origin As A Dance-Drama And Its Emergence As A Solo Dance Form Is One Of The Most Fascinating Phenomena Engaging Attention Of The Gurus, The Performing Dancers And The Research Scholars.
t. e. Hanuman and Ravana in tholu bommalata, the shadow puppet tradition of Andhra Pradesh, India. The culture of Andhra Pradesh is an integral part Gadwal, Venkatagiri, Pedana, Bandarulanka, Uppada and Mangalairi, the exclusive metal ware, brass, stone and wood carving from Budithi in Srikaklulam District and Veenas from Bobbili and colourful ...
No matter what precise style is used, keep the following points in mind: Length: A briefing note should be as short and to the point as possible. Ideally one page, and two pages at the absolute limit. Bullet points should be used, with sentences as short and concise as possible. Content should only include points that are directly relevant.
Simulation and Briefing Note - 25% (Mar 7 in class, Mar 18 due on quercus) Students will participate in a group exercise/simulation in class on Mar 7 on zoom. Attendance online is mandatory in order to do this assignment (1 mark). Based on this exercise in class, students will submit a formal Briefing Note the following week on Mar 18, individually.-The purpose of a briefing note is to ...
1 Pursuant to this Court's Rule 37.3(a), this amicus brief is filed with the consent of the parties. Pursuant to Rule 37.6, Amicus Curiae affirms that no counsel for any party authored this brief in whole or in part and that no person or entity other than Amicus Curiae, its members, or its counsel made a
She is a dreamer, she is a believer, she is a doer, she is an achiever, and she is You. Happy Women's Day to you, our brave soul. International Women's Day falls on March 8 annually. (HT Photo) To ...