Theory Visharad 2 (part 1)

Features of group and solo dances, their individual characteristics, and a comparative study of the two.

A solo dance is danced by an individual dancing alone, as opposed to couples dancing together but independently of others dancing at the same time, if any, and as opposed to groups of people dancing simultaneously in a coordinated manner. Solo dancers are usually the best dancers in a group or dance school. Most solo dancers start after about 6-7 years of dance or sooner. Most soloists are company kids of their dance school. They are usually in more than one dance. Group dances are danced by groups of people simultaneously, as opposed to individuals dancing alone or individually, and as opposed to couples dancing together but independently of others dancing at the same time, if any. The dances are generally, but not always, coordinated or standardized in such a way that all the individuals in the group are dancing the same steps at the same time. Alternatively, various groups within the larger group may be dancing different, but complementary, parts of the larger dance. All Indian dance forms include both pure dance (nirta), solo expressive dances (nritya), and group dramatic dancing (natya.)

Study of the Granths with regard to the development made during the ancient period of Indian dancing

Abhinaya Darpan is a comprehensive text describing various gestures, postures and movements in Dance is ascribed to Nandikeshvara. However, the identity of this Nandikeshvara; his period; and, the other works associated with him are much debated. The Abhinay Darpana views Tandava and Lasya as forms of masculine and feminine dancing, which again was an approach that was adopted during the medieval times. Though Nandikesvara acknowledges the importance of all four kinds of Abhinayas, in his work Abhinaya Darpana, he focuses, almost exclusively, on the Angika-abhinaya - gestures, postures and movements of the hands, feet and other limbs, in Dance. Abhinaya also includes elements of Vachika and Sattvika, which are meant for suggesting actions thoughts and emotional states. Natya Shastra is one of the earliest Indian treatises on the varied aspects of drama, including important sections on dance and on music (particularly instrumental music) with passages on tuning, scales, modal patterns and functions, instrument types, performance techniques, and accompaniment styles. The Natya Shastra serves essentially as a manual on how to organize and to perform a drama, complete with passages kalkon the characteristics of particular character types and theirdemeanor, how they move, and the music that should accompany them. Dasharupakam's main contribution to Sanskrit dramaturgy is a detailed analysis of the different types of heroines (Nayikabheda), and a critical delineation of erotic sentiment (Shringara Rasa).

Knowledge of the history of the indian stage, stage setting, lighting, makeup, choreography, and scenario writing

As Kathak is popular both in Hindu and Muslim communities the costumes of this dance form are made in line with traditions of the respective communities. There are two types of Hindu costumes for female dancers. While the first one includes a sari worn in a unique fashion complimented with a choli or blouse that covers the upper body and a scarf or urhni worn in some places, the other costume includes a long embroidered skirt with a contrasting choli and a transparent urhni. Costume is well complimented with traditional jewellery, usually gold, that includes the ones adorning her hair, nose, ear, neck and hand. Musical anklets called ghunghru made of leather straps with small metallic bells attached to it are wrapped in her ankles that produce rhythmic sound while she performs excellent and spectacular footwork. Head jewellery adorns her in the second case. Vivid face make-up put on helps highlight her facial expressions. Hindu male Kathak dancers usually wear a silk dhoti with a silk scarf tied on the upper part of the body which usually remain bare or may be covered by a loose jacket. A Kathak performance may include a dozen classical instruments depending more on the effect and depth required for a particular performance. However some instruments are typically used in a Kathak performance like the tabla that harmonise well with the rhythmic foot movements of the dancer and often imitates sound of such footwork movements or vice-versa to create a brilliant jugalbandi. Gestures in performance tell us about the characters, their emotions, and also about the action in the story. We can observe from the movement of the body and the gesture of the hands what a character's age and gender are, how they are feeling about something happening in the story, and the actions they take to move the story along. In Kathak dance, the rhythms of both the music and the dancers also pull us into the story and invite us to feel emotions. As a rhythm builds back and forth between musicians and dancers, and between dancers in a scene.

Indian Orchestration

At the point when we talk about the idea "harmony" even that concordance was brought into the world in the sixteenth century. Prior to that there wasn't any amicability. In this way, the individuals who accept that agreement is available in each sort of western music isn't totally obvious. For millennia there was no harmony. What we call "modular music" comes from the Greek idea of "modes". viz: Dorian, Lydian, Phrygian and Mixolydian modes. These modes are actually similar to our "raags". Their rising and diving notes are fixed, which notes are incorporated and which notes are rejected are likewise fixed. The barred notes were not played in this sort of music dependent on a specific mode. In this way, there are a few likenesses with our raag based old style music. Music played dependent on these modes were designated "modular music". This pattern proceeded for a very long time. Along these lines, fundamentally the modular music proceeded for a very long time. There is a cozy connection among music and science. Instruments developed and changed because of the headway and effect of science and innovation. From Harp came the Harpsichord which developed into Piano. There would be no Beethoven without the Piano. So,when we showed up in the sixteenth to seventeenth century we encountered a sensational change in instruments because of the effect of innovation. Violin was planned and made in Italy. Without its extension and standard tuning Paganini would not have been there and violins current prevailing part in ensembles would not be conceivable. As a matter of fact, violin came toward the finish of the eighteenth century. Before that there was another instrument called Viool which resembled a Violin, something between a Violin and a Cello It appeared as though a Violin and seemed like something between a Cello and a Violin and it was somewhat bigger than the Violin. Viool was principally utilized for organization despite the fact that it was somewhat ungainly.

Breif study of western ballet dances

Ballet is a type of overall performance dance that originated in the course of the Italian Renaissance in the fifteenth century and later developed into a live performance dance structure in France and Russia. Ballet originated in the Italian Renaissance courts of the fifteenth and sixteenth centuries. Under Catherine de' Medici's reign, it spread to France, where it developed even further. The dancers in these early courtroom ballets have been mostly noble amateurs. Ornamented costumes have been intended to galvanize viewers, but they confined performers' freedom of movement. Classical ballet is based totally on normal ballet approach and vocabulary. Different variations have emerged in special countries, such as French ballet, Italian ballet, English ballet, and Russian ballet. Romantic ballet was once an inventive motion of classical ballet and quite a few productions remain in the classical repertoire today. The Romantic era was once marked by using the emergence of pointe work, the dominance of female dancers, and longer, flowy tutus that strive to exemplify softness and a delicate aura. Neoclassical ballet is normally abstract, with no clear plot, costumes or scenery. Music choice will often include song that is also neoclassical. The roots of ballet go lower back to the Renaissance in France and Italy when courtroom wear was the establishing of ballet costumes. Ballet costumes have been round considering the early fifteenth century. Cotton and silk were mixed with flax, woven into semi transparent gauze[26] to create splendid ballet costumes. The years from about 1830 to 1850 had been a golden age for ballet.

Principles of Indian classical dancing

Contemporary classical dance forms have evolved out of the musical play or sangeet-nataka performed from the 12th century to the 19th century. The Indian classical dances have two basic aspects - Tandava (movement & rhythm) and Lasya (grace, bhava & rasa). The three main components are; Natya (the dramatic element of the dance i.e. the imitation of characters), Nritta (the dance movements in their basic form), Nritya (expressional component i.e. mudras or gestures). The nine rasas are - Love, Heroism, Pathos, Humour, Anger, Fear, Disgust, Wonder and Peace. The Natya Shastra written by Bharat Muni is the most prominent source for the Indian aestheticians for establishing the characteristics of the dances.The style of movement in Indian classical dance is very different from that of Western ballet. In ballet the emphasis is frequently on the action of the legs—in jumps, turns, and fast traveling steps, which create ballet's characteristic qualities of height, speed, and lightness—while the body itself remains relatively still and the arms simply frame the face or balance the body. In Indian dance, however, the legs are usually bent, with the feet flat rather than lifted and pointed. Jumps are usually low (though light), and the dancer rarely covers much ground or performs intricate steps, the complexity of the footwork lying more in elaborate stamping rhythms. (These stamping rhythms enhance the musicality of the dance; many dancers wear bells around their ankles, supplying their own accompaniment as well as counterpoint to the rhythms beaten out by the musicians.) The movement of the torso is graceful and fluid, shifting from side to side or turning on the axis of the spine, while the movement of the hands and arms is subtle and elaborate, every gesture having a narrative function. Indian dancers have a vast repertoire of gestures through which they express complex events, ideas, and emotions.

Study of Dashavatara of Lord Krishna life sketch and their various aspects.

Dashavatar is the mythological story of the 10 avatars of Vishu who descend to the terrestrial world to establish stability and order, time and again. The progression in the ten incarnations of Vishnu is found parallel to Darwin's theory of evolution by many. Starting from the first Vishnu avatar - Matsya or fish representing life in water, followed by Kurma or turtle signifying life in water and on land, then Varaha or boar alluding to terrestrial life and so on. The sequence of the Vishnu avatars could be taken to symbolise various stages in the evolution of life culminating in the advent of the perfect being. Matsya Avatar: Half fish, half-human form of Visnu. Matsya informs Manu, leader of the humans, of the great flood and helps him save all the motile living beings, the Vedas, and the seeds of all plants. Kurma Avatar: Half tortoise half-man form of Vishnu. During the churning of the ocean, he balances Mount Mandara on his shell to assist the gods and the demons in the churning process. He is also believed to have supported the weight of the cosmos on his back. Varaha Avatar: Half man and half boar avatar of Vishnu. Slays the demon Hiranyaksha to save Bhudevi, the personification of the earth, and restores her back to the surface from a sinking state using his tusks. Narasimha: half lion and half human avatar. Born to end the reign of the demonic king and establish peace and other elements of dharma on earth. Vamana: Dwarf Brahmin. Comes to check the growing power of the demonic king Mahabali and sends him to the underworld. Parshurama: Brahmin Kshatriya avatar. Depicted as a sage and was born to end the tyranny of the evil Kshatriyas. Rama: Kills evil king Ravana to end his terrorizing rule and to free his wife Sita, whom Ravana had kidnapped. Krishna: Known to end the reign of his tyrannical maternal uncle Kansa, and for his role as the advisor of the Pandavas and the charioteer and guide of Arjuna in Mahabharata. Buddha: Left his family and all material possession in search of enlightenment. He founded Buddhism and taught people ways to end suffering through Noble Eightfold Paths. Kalki: Avatar of Vishnu that is yet to be born. It is said that he will end all evil by defeating the demon Kali.

Role of Gharanas in the development of dances

Gharanas are very important in the development of dances. A gharana is a system of social organisation linking musicians or dancers by lineage or apprenticeship, and by adherence to a particular style. A gharana also indicates a comprehensive musicological ideology and differentiates from one school to another. It directly affects the thinking, teaching, performance and appreciation of music. There are gharanas for music, dance, and vocals. Gharanas are important for dance because they are a continuation of tradition. With gharanas, any older arts don't die out as easily because there are always people to pass on the art to. Gharanas helped sustain dance during the downfall of the Mughal Empire, and are the reason that dance methods are recorded and currently able to be taught. They also helped sustain ancient dance forms during the time of colonial British rule. Because of the linear nature of the passing of knowledge from guru to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and each one has made its own significant impact on the world of dance. The Lucknow Gharana developed in the courts of the Nawab of Oudh in Lucknow, Uttar Pradesh. It particularly emphasises grace, elegance and naturalness in the dance. Abhinaya or expressional acting, especially improvised, plays a very strong role in this style, and Birju Maharaj,Shambhu Maharaj and Lachhu Maharaj are or were all famed for the naturalness of and innovativeness of their abhinaya. 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. Speed and rhythmic challenge became the primary concern of the Kathak dancer of this gharana, to a point where often these far overshadowed grace of movement. The Benaras 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. Though the style developed in Benaras, it flourishes today from Bikaner.

Accompaniment value of an orchestration in Indian dancing

If we compare the western musical tradition and the eastern, we will see some difference in the understanding of music in its theory, philosophy and usage. This difference comes from the historically and philosophically formed, different from each other, world outlook and attitude. Music was also considered a way to connect the soul and God, a means of communication with the outside world, nature, the elements and with other people. Therefore, in musical education, greater importance was attached to mastering the harmony of the world of sounds, the art of communicating with the instrument, the ability to arrange and improvise and self-expression with the help of music and a musical instrument. The sections studied studied in Indian music: tones, rhythm (tala), melodies (raga), musical instruments, dance, and on movements and actions in rhythm of dance and singing. The system of rhythms (tals) in the Indian musical tradition is very diverse and complex, there are various musical dimensions that make up an intricate rhythmic pattern. Vocal in Indian musical culture plays a dominant role. It is believed that dance follows the laws of instrumental music, and instrumental music is an imitation of singing. This results from the fact that only in a human voice the sound appears most spontaneously, naturally, without needing an artificial mediator. Musical instruments in Indian performing arts are the physical form of music. Their appearance (form and material) depends not only on local conditions, on the available natural resources, but also on philosophical ideas. The most ancient instruments were a kind of addition to the human body ‒ they were hung on the chest, tied to hands and feet.

Knowledge of composing group and ballet dances

In the 21st-century, important ballet choreographers now incorporate techniques from various "non-balletic" sources. Tools of the choreographer used for the creation of dances such as abstraction, canon, motif, contrast, accumulation, repetition, reversal, retrograde, inversion, fragmentation, and embellishment. The first element is body shape - not the dancer's figure or proportions, but rather the configuration of his or her torso and limbs into positions that change over time. Professional dancers train for many years to make their bodies flexible and responsive, able to assume long lines that are straight or curved, or jagged, angular contours. The choreographer designs these shapes and links them with transitional movements. The next element of composition is design in space: the paths and patterns the dancer traces in the performance area. The choreographer arranges dancers on the stage and plans their travel around the available space to create visual interest and dramatic effect. Basic geometric forms include straight lines or rows that extend from wing to wing or from upstage to d ownstage. Choreographers may modify these by changing the direction the dancer faces or by adding turns. Other interesting shapes and paths include the zig-zag, square, curve, circle, figure eight, in-out spiral, serpentine and free-form or random pattern. Paths can progress clockwise or counter-clockwise. In addition to horizontal patterns along the stage floor, choreographers explore vertical space through movements like lifts and jumps. Some, like the Montréal-based Cirque du Soleil, use platforms and scaffolds to extend the vertical range of spatial design.

Light and classical dances

India has a very rich culture of dance and music, traditional, classical, folk, and Tribal dance style. These Incredible traditional dances of India originated during the ancient times and are considered the mother art of classical dances. The Classical Dances of India includes Bharatanatyam is the oldest form of classical dance in the country and one of the Most Popular Classical Dances in India and ancient Natya Shastra. Kathak is a classical dance form originating in North India. It is a narrative dance form that is characterized mainly by fast footwork (tatkar), spins (chakkar), and innovative use of bhava (expression) in abhinaya (acting). Before the evolution of Kathak as a performing art form, the Kathakars meaning "storytellers" or bards used to go to different places to recite legendary tales and epics accompanied by music, mime, and movements due to the lack of means for distance communication In Kathak, the body movements, gestures and facial expressions of the dancer draws the audience to the emotions, moods, and actions of the story. Manipuri dance has emerged from Manipur, a state in the north-eastern part of India. This dance is devotional in nature and essentially portrays the characters of Hindu deities Radha and Krishna. This form embodies delicate, graceful, and lyrical movements. Manipuri dancers primarily use rounded movements and avoid any quick, sudden, sharp, or directional movements. Bharatnatyam is one of the oldest Indian Classical Dance forms which originated in the district Tanjore of Tamil Nadu. In this dance form the dancers make significant use of various eye and hand movements to express different emotions. Bharatanatyam is also viewed as a dance form in which the dancer is believed to fuse his/her identity in moving the body as an instrument to the music and rhythm. Kathakali is a form of Indian Classical Dance originated in the state of Kerala which belongs to the South Indian region. Kathakali is considered to be a combination of five elements of fine art: expressions, dance, enactment, song or vcal accompaniment, and instrument accompaniment. This dance form mainly puts more emphasis on facial expressions, rhythm and movement of hands, legs, body and the hand gestures. It is considered a "story play" genre of art, but one distinguished by the elaborately colorful make-up, costumes and face masks that the traditionally male actor-dancers wear. Oddisi has originated from Orissa state of India and is also known to be a temple dance tradition. This dance form follows the tribhangi (three-dimensional body gesture) It includes various forms of sitting, walking, leaping and elevations which can be considered therapeutic. Generally, the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, body movement, abhinaya, and mudras. Flamenco music and dance became popular in the early 19th century as café entertainment. Canto ("song") is the core of flamenco, and like baile ("dance"), it has three forms: grande or hondo ("grand" or "deep"), intense, profound songs, tragic in tone. Individual genres. Both the text and melody of these songs, like the flamenco dance, are improvised within traditional structures such as characteristic rhythms and chords. Zapateado, intricate toe- and heel-clicking steps, characterizes the men's dance; the traditional women's dance is based more on grace of body and hand movement. The baile grande, especially, is believed to retain elements of the dance of India, where the Gypsies originated. The term Ballroom Dance may apply to any one of the several dances in which two individuals, a "leader" and a "follower," dance with physical contact through their upper or lower bodies, or simply through their arms depending on the particular dance. Since most social dancing is not choreographed, this contact is necessary for the leader to communicate the next dance move to the follower. Some knowledge of step patterns is essential for both the leader as well as for the follower to be able to effectively practice the art of ballroom dancing. Ballroom dance dates back to at least the era of court balls lavishly conducted by the Ancien Regime of France under Louis XVI in the 1700s and of the other European aristocracy of England, Austria and Russia

Growing popularity of indian dances in the west

India has always had a rich tradition of classical dance, or shastriya nritya (written and compiled under Natya Shastra, the foundational text for Indian classical dance forms). The origin of dance in India, in fact, can be traced back to 200 BC. Currently, however, the Sangeet Natak Akademi (the national-level academy for performing arts set up by the government) confers classical status to some Indian classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (north, west and central India), Kathakali (Kerala), Kuchipudi (Andhra Pradesh), Odissi (Odisha), Manipuri (Manipur) etc. The popularity of these dance forms can be gauged from the fact that not just Indians, but many western artistes, too, have, over the years, travelled to India to train in them. Many individuals may have different nationalities and tongues, and may be separated by a generation, but both are united by their common love and passion for Indian classical dance. At a time when there's a huge demand and appetite for western contemporary and fusion dances, Indian classical dance forms are innovating to stay in tune with the times to remain relevant in contemporary times. Over the years, classical dance forms in India have undergone multilayered evolution, surviving the onslaught of time and cultural shifts, while also scaling new heights.

Knowledge of the folk dances of central India and their important features.

Indian folk dances, which typically consist of a few simple steps, are performed throughout the world to celebrate several different social occasions. Most folk dances have intricately-designed costumes. In some Indian folk dances, men and women perform separately; in others, they dance together. Folk dances are passed down from generations with traditional styles. A folk dance is a dance developed by people that reflects the life of the people of a certain country or region. Not all ethnic dances are folk dances. For example, ritual dances or dances of ritual origin are not considered to be folk dances. Gaur Dance: Also known as the Bison Dance, Gaur Dance is popular in Madhya Pradesh. This amazing dance form depicts the tribe's hunting spirit. The male performers in this particular folk dance of Central India attack each other thereby chasing the female performers. The dance steps involved here are very similar to that of the movements of a bison. Male dancers can be seen wearing head-dresses decorated with 'cowries' and peacock feather plumes. Women dancers, dressed in beaded necklaces and brass fillets on their bodies, joins the male dancers, later. Saila Dance: A folk dance in Chattisgarh that is performed after the harvest season, mostly by young boys. It is a stick-dance where everyone jumps together, by moving round and round. This form of tribal dance is basically the hitting of sticks of one dancer with the other and in sync with the beats provided by a 'Mandar'. The dancers of the Saila dance usually wear pagdi and dhoti-kurta, with a towel or lungi to tie the waist. Karma Dance: Karma dance is related to fertility cult. This particular folk dance of Central India welcomes the arrival of the green branches on the trees, during the springtime. It is associated with the Karma festival that is celebrated in August. An important dance form in India and Madhya Pradesh, Karma dance usually takes place around the trees in the villages and can be viewed in its full swing during the month of August. Both women and men can be seen taking part in the dance enthusiastically. Kaksar Dance: Kaksar Dance is the dance of the Marias Hill. In this particular Indian Folk dance, the dancers are seen carrying in their shoulders, dummy horses and moving gradually in the rhythm thereby making a wide circle pattern.

Study of the main school of Indian dancing and their characteristic features (gharanas)

Lucknow Gharana was developed in the courts of Lucknow it was founded by Ishwar. It was during Wajid Ali Shah's rule that Lucknow gained maturity and perfection in this dance style. Shah was a trained Kathak dancer so it became a blend of nritya and abhinaya also influenced by Rahas .Abhinaya (acting) is the main focus of this Gharana. Gatnikas are often presented by the full usage of the palm beside the fingers. Presided by Pandit Birju Maharaj and Pandit Arjun Misra it has smooth graceful movements and shows the great feminine styles in the dance pairing with classical music. Jaipur Gharana is was founded by Bhanuji, who was trained in tandava. His grandsons were inspired by Krishna, moved to Jaipur, and began the Gharana. The significance is put on the more specialized and technical aspects of dance: complex and powerful footwork, multiple spins, and complicated compositions in different taals. The Gharana is known for its distinctive vocal aesthetics, raga repertoire, and technical aptitude. The dancers might give up some grace for the fast and stressed syllables a distinctive feature is its complex and melodic form. Benaras Gharana is done from selective utilization of the natwari or dance bols, and was developed by Janakiprasad. There are contrasts in the thaat and tatkaar. Chakkars are kept at a minimum yet are frequently taken from both the right and the left-hand sides with equivalence. It has a great utilization of the floor. The style flourishes today from Bikaner.

The place of kavit and thumri/ of raasas and bhavas in kathak dance

Producing emotions in the audience's mind is the ultimate goal of Abhinaya. On seeing any object, person or substance, or listening to something, the first thought that arises in the heart is said to be the "Bhava". It is limited to the mind, just as the wave of happiness that arises in our heart after seeing someone dear to you is known as "Bhava". In dance, emotions have importance. In fact, if seen, expressions and emotions are what govern ourselves and the world. According to the ancient scriptures, expressions reflected in poetry and other literary works are reflections of the emotions present in our society. he emotion which can not be hidden, the basic essence of "Rasa" is known as Sthayi bhava. This always resides in the heart, and is nourished by the "vibhava", "anubhav", and "sanchari" gestures and takes the form of rasa. For example, anger is a permanent emotion inside us, however it is not always visible. When we look at our enemy, then anger arises; and on seeing their actions, it takes the form of "Raudra" rasa. The total count of these emotions corresponds with the count of "Rasa" - which is 9. 1.Rati (love) 2.Utsah (excitement) 3. Jugupsa (disgust) 4. Krodh (anger) 5. Haasya (laughter) 6. Vismay (wonder) 7. Bhay (fear) 8. Shok (mourning) 9.Sham (calm). avit parans are essentially lyrical passages of Kathak with rhythmic syllables made up of onomatopoeic word sequences called parans. Essentially it is a poem which has a 'strung together' epithets of a certain god or goddess. Sometimes themes or stories are also written. Kavit parans utilise both the Vachika and the Angika abhinaya equally.Kathak uses 'Thumris' (expression-based numbers like 'Padams' and 'Javalis' of Bharatanatyam) to tell stories - stories of love, anger, separation, heroes and heroines. Thumri originated from the term 'Thumakna' which refers to rhythmic movement and stylized gait. These semi-classical compositions combined melody and rhythm with a couple of lines of text/ poetry, which was more colloquial. Some Thumris reflected Shringara rasa (the amorous flavour of love and romance) and some, 'Bhakti' (devotion).

Study of Nritya, Nayika, Opera, and Ballet

Nritya consists of footwork and abhinaya. It relates to Rasa and psychological state. Angika abhinaya relating to Hasta, eyes, eye brows, lips etc. are very important in Nritya. It can be termed as the explanatory aspect of dance where hand gestures and facial expressions convey the meaning of the lyrics of the performing song. Bhav of the dancer is of prime importance in this so it can also be considered as the miming aspect of dance. The term is believed to have derived from Nrit, meaning bodily movements. Nritya is considered to be that form of dance that suggests both Bhava and Rasa. It combines all the three forms of abhinaya, namely, Angika, Vachika, and Sattvikam. A lady who induces the feeling of attraction is known as Nayika. The traits of a Nayika are - youthful, able, smart, thankful, generous, etc. It is said that a beautiful, youthful lady is one who can impress the Nayak. However, concepts of youth and beauty can not be defined for it depends on the perspective of the Nayak. The love between Nayak and Nayika is said to happen naturally. opera, a staged drama set to music in its entirety, made up of vocal pieces with instrumental accompaniment and usually with orchestral overtures and interludes. In some operas the music is continuous throughout an act; in others it is broken up into discrete pieces, or "numbers," separated either by recitative (a dramatic type of singing that approaches speech) or by spoken dialogue. Nineteenth-century Paris was to foster and witness the birth of "grand opera," an international style of large-scale operatic spectacle employing historical or pseudohistorical librettos and filling the stage with elaborate scenery and costumes, ballets, and multitudes of supernumeraries. Ballet, theatrical dance in which a formal academic dance technique—the danse d'école—is combined with other artistic elements such as music, costume, and stage scenery. The academic technique itself is also known as ballet. This article surveys the history of ballet. Ticket prices for professional ballet performances can be high, and detractors use that fact as proof that the art serves those with money. Yet good performances require a company of extensively trained dancers and a large support apparatus. Nonetheless, high ticket prices often limit the art form's accessibility to economically disadvantaged audiences, many of whom identify as racial minorities. That same inequity can discourage children of diverse backgrounds from studying ballet. While some youth programs in the 21st century sought to recruit more students of colour, for decades ballet lessons were often limited to predominantly white middle- and upper-class children. Together with the repertoire, another aspect of 19th-century ballet has survived: the star system and the strict hierarchy of many ballet companies, which distinguish between stars, soloists, and corps de ballet. The audience admires—even practically worships—the prominent dancers and renowned choreographers in the best-known companies.

Knowledge of the dresses, makeup, and costume used in Manipuri, Bharatnatyam, Kathakali, Odissi, and Kuchipudi school of dance

Practiced in southern India, the Bharatanatyam is created on the lines of a Tamil Hindu bride. A vibrantly colorful sari with a pleated stitched cloth in the front that fans out during leg and knee movements is the most eye catching aspect. The belt a jeweled accessory is complimented with jewelry on the nose, ears, neck and sometimes the head. The hair is tied usually in a tight bun or knot adored with flowers or the gajra. The ghungroos beat away to the moves as the eyes are lined for highlight. The hands and feet may also be painted in kumkum red powder for better viewing of the gestures and movements by the audiences. Finding its roots in art forms of Kerala, Kathakali has one the most elaborate costumes. It takes a couple hours for the dancing troupes to get ready before a performance. The colorful costumes, highlighted make-up and facial paintings with make-up that is coded as colors represent the type of the character that the dancers are portraying. The make-up and colors represent the virtues of the characters and the dance form combines the colors to give deeper meaning and understanding of the characters. Odissi from Odisha is similar to that of Bharatanatyam with a colorful sari that is made from the local silk called Pattasari. There are pleats in fronts that are stitched to the garment for greater flexibility but the saris have prints and designs that are traditional to the local culture. Silver ornaments covering the ears/ necklaces and armlets are worn on the upper arm. The hands and toes may be colored in red dye called alta. From Andhra Pradesh, Kuchipudi traditionally was performed by male dancers. The female costume is similar to Bharatanatyam attire with a pleated sari and a hair style with flowers are or ornaments over the head. In Manipuri dance form the dancer is dressed as Manipuri brides in the Kumil costume the dancers wear a cylinder-shaped long stiff skirt. The decorations on the barrel-shaped skirt include gold and silver embroidery along with a velvet blouse and the head is covered in a translucent veil. Manipuri dancers do not wear anklets.

Life sketches and contribution of modern dancers in their respective fields of specialization

Sitara Devi received training in dance from her father and Shambhoo Maharaj. SukhdevMaharaj requested Achhan Maharaj also to train his daughters. Later on, Sitara Devi learned 'Lasya' from Lachhu Maharaj. Sitara Devi learned Bharatnatyam and Manipuri dance also apart from Kathak. This apart, she had an interest in Western dances also. Sitara had a natural interest in becoming a film actress also. In her time, she was a successful actress in the film world and was honored by SangeetNatak Academy, Government of Uttar Pradesh and Government of Maharashtra in the year 1974 Sunayana Hazarilal Agarwal is a Kathak artist and is broadly viewed as the solitary enduring specialist of the Benaras Gharana (Janakiprasad) of Kathak. A Padma Shri beneficiary, among her numerous honors; Hazarilal is the Overseer of Natawari Dance Foundation and has been a meeting employee of the absolute most esteemed dance establishments Shovna Narayan was prepared by the unbelievable Kathak maestro Pandit Birju Maharaj and Kundanlal Gangani is known for her compelling impulse for experimentation. A creator and a pioneer of the dance of sanctuaries, she has likewise worked with numerous western artists and performers. A Kathak Artist and the originator of Kadamb School of Dance and Music, Lakhiya is viewed as a pioneer in contemporary Kathak dance. She has visited the west broadly and gave Kathak its merited acknowledgment abroad too. A choreographer and a Kathak Master, she has created some brilliant youthful Kathak artists Rani Karna has likewise learnt Odissi, Bharatanatyam and Manipuri, aside from Kathak. She was the organizer and top of the dance branch of the Calcutta School of Music the dance office at Ahana-the music and dance wing of Aurobindo Bhavan, Calcutta. She has performed at practically all significant old style dance celebrations in India and has explored and distributed significant deals with the Kathak Dance structure.

Knowledge of various characteristics of Laasya and Tandava (include types).

The feminine form of dance, Lasya, is believed to have been introduced by Goddess Parvati. Lasya aspect of dance strengthened the spiritual fervor of Shiva's Tandava. It comprises delicate karanas, poses and body movements. Lasya is the dance form said to be performed by Apsaras, the celestial nymphs in the Hindu mythology. Sangeet Ratnaakar defines Lasya as a dance form consisting of delicate movements that awaken erotic sentiments. Lasya is known to be mainly of four types: Srinkhala: The term means chain and this form is danced in a chain form in drutakala. Lata: It consists of Rasakas. The partners holding together dance in a medium tempo. Pindi: This is a kind of Lasya having many sub divisions. A group of dancers, mostly four, together in a vilambit laya. Bhediya Ka: In this, dancers form a group, each dancing on her own role in drutakala while having ten lasyangas. The Tandava dance form was originated by Lord Shiva. Lord Shiva has been credited with many dance forms; of these foremost is Tandava dance.This dance form was re-enacted by his disciple, 'Tandu' Muni who popularized it. This dance form, practiced by Tandu Muni, came to be known as 'Tandava'. This dance form involves expressions reflecting Courage (Veerta), Extreme anger (Roudra), Hatred (Vibhatsa), Enjoyment (Anand) and Anger born out of grief and sympathy (Karuna Janit Krodh). To express these rasas, the dancer twists his limbs aggressively, which is not considered appropriate for the women. In the course of this dance, the fire of anger seems to peak, the earth seems to tremble as if the whole world is going through a process of destruction. 'Tripura Tandava': The dance performed by Lord Shiva after killing the demon Tripurasur reflected Courage (Veerta) and Extreme anger (Roudra)'. 'Anand Tandava' : After Shiva had slayed 'Tripurasur', Goddess Uma performed 'Lasya' dance which is an embodiment of Pleasure (Ullas) and Excitement (Umang) which pleased the angry Shiva. 'Gauri Tandava': In this dance form, Shiva and Parvati dance together in 'Shringar Rasa'. 'Kalika Tandava': In order to destroy evil and wicked, Shiva dances expressing his Bhairav form, which is known as 'Kalika Tandava'.

Study of the various parts of the body in relation to indian dancing

The six recognized schools of Indian classical dance developed as a part of religious ritual in which dancers worshipped the gods by telling stories about their lives and exploits. Three main components form the basis of these dances. They are natya, the dramatic element of the dance (i.e., the imitation of character); nritta, pure dance, in which the rhythms and phrases of the music are reflected in the decorative movements of the hands and body and in the stamping of the feet; and nritya, the portrayal of mood through facial expression, hand gesture, and position of the legs and feet. The style of movement in Indian classical dance is very different from that of Western ballet. In ballet the emphasis is frequently on the action of the legs—in jumps, turns, and fast traveling steps, which create ballet's characteristic qualities of height, speed, and lightness—while the body itself remains relatively still and the arms simply frame the face or balance the body. In Indian dance, however, the legs are usually bent, with the feet flat rather than lifted and pointed. Jumps are usually low (though light), and the dancer rarely covers much ground or performs intricate steps, the complexity of the footwork lying more in elaborate stamping rhythms. (These stamping rhythms enhance the musicality of the dance; many dancers wear bells around their ankles, supplying their own accompaniment as well as counterpoint to the rhythms beaten out by the musicians.) The torso, face, arms, and hands are extremely active. The head is quite mobile, with subtle changes of direction and a characteristic side-to-side movement emphasizing the dancer's changing facial expressions. The movement of the torso is graceful and fluid, shifting from side to side or turning on the axis of the spine, while the movement of the hands and arms is subtle and elaborate, every gesture having a narrative function. Indian dancers have a vast repertoire of gestures through which they express complex events, ideas, and emotions. There are, for example, 13 gestures of the head, 36 different glances, and 67 mudras, or hand gestures, that can, in various combinations, yield several thousand different meanings.

Revival of Indian dancing during the different periods.

Through two centuries of social and political motion, music and dance had effectively changed in accordance with an arrangement of movements in support as the medieval settings of the Mughal Majestic court in North India and local regal courts in South India were slowly sabotaged and added by new English provincial standard. During the nineteenth century, scenes for execution turned out to be considerably more fluctuated. Private house parties given by both tip top Indians and "Indianized" Britons quite often included amusement by proficient artists and artists, and the formal state-supported "Darbars," which built up regal and ultimately English force, given extreme presentations including music and dance execution just as extravagant motorcades of elephants, warriors, and walking groups. However, the playing out expressions' relationship with Government (both Mughal what's more, English), the spent and debauched courts, and particularly the mistresses also, accordingly the exchange made them tricky to the developing Autonomy development. A critical element of the patriot supposition that went with the development was the deliberate repossession of a solely Indian culture as a wellspring of public pride; music, dance, design, and writing expected to be praised as the rich legacy of a group deserving of fairness, self-governance, also, self-government. The restoration of Indian music and dance in this way elaborate not just a further change in support as metropolitan establishments and working class craftsmen supplanted the two courts and prostitutes, yet additionally a recovery and orderly improvement of performing expressions that separated them from their apparently wicked late past, permitting them to become quintessential images of the new and old country.