Theory Visharad 1

Nayikas

(1) Vasakasajja: One waiting for union (2) Virahonkhanditha: One anguished by separation (3) Svadhinabhartruka: One who is proud of her lord (4) Kalahantharitha: One who repents after a quarrel (5) Khanditha: One who is angry with her lover (6) Vipralabdha: One who feels deceived by her lover (7) Proshitabhartruka: One who is missing her lover (8) Abhisarika: One who goes in search of her lover (9) Swadheenapathika: a woman who is sure and proud of her man

Origin of Taala and its application to dance

A Taala means a "clap, tapping one's hand on one's arm, a musical measure". It is used in Indian classical music to refer to musical meter, that is any rhythmic beat or strike that measures musical time. Taala is an ancient music concept traceable to Vedic era texts of Hinduism, such as the Samaveda and methods for singing the Vedic hymns. Theses music traditions were not considered as distinct till about the 16th century. The traditions separated and evolved into distinct forms. The taala system of the north is called Hindustani, while the south is called Carnatic. There are many taals in Hindustani music, some of the more popular ones are: Teental, Jhoomra, Rupak, Tilwada, Dhamar, Ektal, Keherwa, and Dadra. However, the taala system between them continues to have more common features than differences. While a taala carries the musical meter, it does not necessarily imply a regularly recurring pattern. In the major classical Indian music traditions, the beats are hierarchically arranged based on how the music piece is to be performed. Taala is a rhythmic cycle made up of a number of beats. In the Carnatic or South Indian rhythmic system the shortest cycle is made up of 3 beats whereas the longest cycle has 29 beats. There are 3 basic units which combine to form a Taala cycle: 1. Laghu (denoted by I) is a clap of the hand followed by counting of the fingers; these counts could vary from 3 to 4 to 5 to 7 to 9, based on the jatis, i.e. 3=tishra, 4=chatusra, 5=khanda, 7=mishra, 9=sankirna. 2. Drutam (denoted by O) is a clap of the hand followed by a wave of the hand; it is a fixed unit of two beats. 3. Anu Drutam (denoted by U) is simply a clap of the hand; it is a fixed unit of one beat

Paramelu

A dance number composed by mirroring sounds from nature and different percussion instruments. The term Paramelu is composed of the two words "para" which means "different" and "mela" which means "union." The union of different sound patterns is called Paramelu. In a Paramelu, the syllables of composition are a beautiful blend of the syllabic sounds of various percussion instruments and the Natvari Bols and even introduce sounds of birds and animals. The instruments in the piece are used with forceful effects.

Bharatanatyam

A dance of Tamil Nadu that traces its origins back to the Natyashastra, written by the mythic priest Bharata. Bharatanatyam often is used to express Hindu religious stories and devotions. Hands may be used in a series of mudras, or symbolic hand gestures, to tell a story. In this dance form the dancers use of various eye and hand movements to express different emotions. Bharatanatyam style is noted for its fixed upper torso, bent legs, and knees flexed (Aramandi) combined with footwork, and gestures of hands, eyes, and face muscles. Bharatnatyam dancers often wear fitted saris that may open like fans, as well as ghungroos. A traditional Bharatanatyam performance follows a seven-part order of presentation. This set is called margam. -Beginning Alarippu, begins with a rhythmic invocation (thank you and blessings from the gods and goddesses, the guru, and the gathered performance team) also a warm-up so the dancer can loosen their body. -The Jatiswaram a technical performance (nritta), without any expressed words. -Then the Shabdam (expressed words) is when the dancer(s) present short compositions, with words and meaning. -The performance after evolves into the Varnam, the longest section (30-45 min) The artist presents the play or the main composition. The dancer performs hands and body telling a story, whether of love and longing or of a battle between good and evil. -The Padam is next. The choreography attempts to express rasa (emotional taste and mood) -The sequence ends with a Tillana closing out the nritya portion and returning to the nritta style. -The seventh/ final item in the sequence can be Shlokam or a Mangalam where the dancer calls for blessings on the audience.

Kathak

A dance of northern India often a dance of love that features women to a lesser extent men dancing to the rhythm of footwork on the ground and is known for its twirling movements. Kathak dancers traditionally related stories and moral tales of gods and goddesses and characters from the Ramayana and Mahabharata. 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. Both sexes wear tight-fitting trousers, ankle bells and, full—gathered or pleated— ghagra skirts with a choli for women and a long-sleeved jacket and often traditional topi hat for men. Kathak dance has two main techniques: 1) nritya (pure dance) and 2) Abhinaya (expressions). In kathak the hand gestures are merely natural extensions of the dance gestures, though, of course, they carry symbolic messages. It is now regarded as one of the "classical" forms of Indian dance.

Poetry

A form of literature that uses aesthetic and often rhythmic qualities of language such as sound symbolism and evoke meanings. Poetry has a long history - dating back to prehistoric times with hunting poetry in Africa, and court poetry of the empires of the Nile, Niger, and Volta River valleys. Some of the earliest written poetry in Africa occurs among the Pyramid Texts written during the 25th century BCE. The earliest surviving Western Asian epic poetry, the Epic of Gilgamesh, was written in Sumerian. Early poems in the Eurasian continent evolved from folk songs such as the Chinese Shijing; or from a need to retell oral epics, as with the Sanskrit Vedas, the Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient Greek attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song, and comedy. Later attempts concentrated on features such as repetition, verse form, and rhyme. Poetry uses forms and conventions to suggest differential interpretations of words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia, and rhythm may convey musical or incantatory effects. The use of ambiguity, symbolism, irony, and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, figures of speech such as metaphor, simile, and metonymy establish a resonance between otherwise disparate images. Some poetry types are unique to particular cultures and genres and respond to characteristics of the language in which the poet writes.

Architecture

A general term to describe buildings and other physical structures. The art and science of designing buildings and (some) nonbuilding structures. The style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure. Knowledge of art, science, technology, and humanity. The design activity of the architect from the macro-level (urban design, landscape architecture) to the micro-level (construction details and furniture). The practice of the architect, where architecture means offering or rendering professional services in connection with the design and construction of buildings, or built environments. Architecture evolves throughout the years and differs from countries to countries Types of architecture include landscape, interior, naval, and urban design

Nikas

Nikas means "coming out" (it's a pharasi word)

Ghunghat

A headcovering or headscarf, worn in the Indian subcontinent, by some married Hindu, Jain and Sikh women to cover their heads, and often their faces. Generally aanchal or pallu, the loose end of a sari is pulled over the head and face to act as a ghunghat. A dupatta (long scarf) is also commonly used as a ghunghat. Today, facial veiling by Hindu women as part of everyday attire is now mostly limited to particularly the Haryana, Rajasthan, Uttar Pradeshand Bihar region. The ghoonghat evolved from ancient Abagunthane. In the post-Gupta period, Śūdraka, the author of Mṛcchakatika set in the fifth century AD, mentions that some females wore a thin head-veil (abagunthane) to conceal and beautify their coiffures. This hair-net of various colors was called jālaka and it was used to keep the hair from being ruffled by breezes. However, this female hair-dress was not used by women every day and at every time. It was worn on special occasions like marriage or at the time of going out.

Langvir Nritya (Uttarkhand)

A unique dance form in which a male dancer ascends a long bamboo pole and balances himself on the tip of the pole. Performing acrobatic moves while musicians play drums. Its popular in Tehri Garhwal region.

Explanation of Abhinaya

Abhinaya literally leading an audience towards the experience (bhava) of a sentiment (rasa). The concept, derived from Bharata Muni's, Natyashastra being used as an integral part of all Indian classical dance styles.Abhinaya is the art of expression which does not mean only acting, miming or facial expressions. Bharata Muni has defined four major types of Abhinaya, Angika Abhinaya, Vacika Abhinaya, Aharya Abhinaya and Sattvika Abhinaya.

Difference between a Yogi and a Dancer

According to Hindu philosophy Lord Shiva, the source of Yoga, danced the world into existence and gave it order; the universe is thus viewed as Nataraja, the 'Cosmic Dance of Shiva'. Dance and yoga have long been described as two rivers stemming from the same source (The One). Yoga and dance can be reduced to breath with movement, or breath-guided movement. This identifies one major link between these two: prana or life-force, as breath. Prana moves both the yogi and the dancer; indeed it moves us all, but they are more attuned to prana, how to use it, and how to benefit from it. Yogis and dancers use prana as a tool, whereas the large majority of the population might never even notice the breath as it moves them day after day - it's easy to take it for granted or to never think about it because somehow it's always there. The evolution of the human body made breathing such a 'brainless', involuntary task that there is virtually no need for remembering to inhale or to ever think about breathing it is a constant. The yogi and dancer, however, have a closer relationship with prana and their own breathing habits. The major difference between yoga and dance is the focus: we do yoga from a place inside the body and mind and that's where the focus should stay throughout practice; it's never about achieving the 'perfect pose', or about competition, or want to force the body into asana. Dance, on the other hand, has its focus on the outward performance, how the movements look, who is better, and the pressure of all eyes on the dancer at all times. As physical disciplines, both yoga and dance can be suited to specific goals or different levels of ability by modifications in practice pace, intensity, and anatomical focus. For example, ballerinas might concentrate one day on floor exercises that purposefully open the hip joints in order to achieve better turnouts; similarly, a restorative yoga class can be suited for those who suffer from hip injuries by focusing on a sequence of hip poses and meditation to open up and heal the hip joints. Philosophically, both yoga and dance are viewed as "ways of calling us back into our bodies to irrigate our being with prana" (Shiva Rea, in her CD Yoga Trance Dance), and in so doing are vehicles for the journey of attainment of samadhi. Some dance traditions are so linked to this self-fulfilling realization that dance has always been an integral part in certain religious rituals, ceremonies and other cultural rites of passage. Sacred dances abound in many religions and usually emphasize the union between man and the earth. As Nataraja, the Lord of Dance, Shiva performs both Lasya (a soft dance representing the creation of the world), and Tandava (an energetic dance representing the destruction of the world). Lasya and Tandava are also understood as feminine and masculine energies, which can be compared to the sun (ha) and moon (tha) energies in hatha yoga. As Yogiraj (the great yogi) or Adiyogi (the first yogi), Shiva is absorbed in a transcendental state as a supreme guru of yoga. He is said to have transmitted seven aspects of yoga into seven sages known as the Saptarishis, who distributed this knowledge to different parts of the world. Yoga is said to have maintained these seven forms today. Patanajali, the author of the Yoga Sutras (circa 200 c.e., an authoritative text on yoga) was also said to have been inspired by a divine encounter with Shiva. Yoga and dance are both traditionally taught within a guru-shishya tradition (mentorship between a guru and disciple). Students are initiated into the relationship, and the educational process is considered sacred. The formal study of both yoga and dance each requires commitment and dedication for many years (if not a lifetime). A primary purpose of dance is to evoke rasa, which is defined in the Natya Shastra as a "flavor," or a "transcendent and blissful aesthetic experience,". While yogis lays a pathway to union through introspection, dance lays a pathway to union not only through the dancer's experience of the art but also her opening of this experience for the audience members. This dual experience of transcendence (first for the dancer and second for the audience) is known as a "double blessing," Yoga and dance are both longstanding traditions with multiple historical influences that have contributed to the development of each form over time. There are similarities in the physical forms of yoga and dance. In both traditions, the movements or postures are based on the centerline of the body in relation to gravity, both traditions keep the head, neck, and spine straight and balanced, they are both grounding and stabilizing, and simultaneously necessitates and cultivate a deep presence and stillness in concentration.

Aharya Abhinaya

Aharya Abhinaya is the expression through decoration such as make up, jewelry and costumes. The dress varied in each part of the country, it suits the time and the place and the mood of the dance or drama. Dresses were even made suitable to sentiments and colored accordingly. The tilak mark in the center of the forehead is done with kasturi and chandan (sandal paste), flower patterns painted above the eyebrows, the ears decorated with earrings, the cheeks are decorated with intricate designs, the teeth are whitened to shine, Necklaces of pearls, Golden bracelets, studded with jewels and rings are the ornaments to be worn, the body is to be smeared with sandalwood paste for the dress. Bharata describes the four varieties of color for the face, swabhavika, (natural) prasanna (pleasant), rakta (red), and shyama, (dark). Swabhavika is used in natural conditions. Prasanna is used in the sentiments of wonder, Rakta is used in the heroic sentiments, Shyama is used in odious sentiments. The Soul of a person enters the body of another person, gives up his own nature and assumes another being so a person decorated with a different color and costume takes on the behavior of the costume he wear.

Anubhava

Anubhava refers to personal knowledge or aesthetic experience. Anubhavah refers to poetic, narrative, or ritual experience for the devotee or the seeker after truth, in the experience of the divine; it is a means to understand during one's own lifetime the true nature of one's own self which is the real nature of the Atman by experiencing the sublime delight of the unity with the Supreme Self. The difference between the waking state and the dreaming state becomes known through anubhava ('perception'). Anubhava is the source of all religious traditions, knowledge, and the ultimate source of spiritual knowledge; however, he happens to distinguish between internal and external experience, between knowledge gained through words heard and own experience which he finds are not similar in nature and import.

Nayak (by attitude)

Anukoola - who is faithful to the woman.(loyal) Dakshina - when rejected he pleads to be accepted by the woman. Satha - the deceitful one.

Dangi (Himachal Pradesh)

Arguably the oldest folk dance of Himachal Pradesh. Performed in temples to welcome the harvest. Involves women dancers. Different themes are to convey different stories.

Guru Sankaran Nambudri

At the age of 18 he started learning Kathakali. When the Aasaan had to leave after a year, he went to Chambakkulam and continued studies under Sankara Pillai, and assisted by Kunjupilla Panikkar. After that he learned "Koodiyattam" under Kochu Narayana Chakyar. His Brahmin background, handsome features, studies in the Natya Shastra, and able role transformation brought him to top levels. He left his famous feminine roles and became more popular "Pacha" and "Kathi" roles like Nalan ("Nalacharitham" 2nd day), Rugmaangadan, Bheeman ("Kalyana Sougandhikam"), Duryodhanan ("Utharaswayamvaram"). Ekalochanam, He believed that actors should concentrate more on expressions, eyes and body stance ("Meyyu'), than on the dance ("Nrutham"), though his own Meyyu and Alarcha (roar) were not the best. The famous dancer Uday Shankar, came to Kerala to learn Kathakali and chose him as his Guru, and later installed him as the chief instructor in his dance center at Almora in the foothills of the Himalayas. He died on stage while enacting Dussasana Vadham to an audience of nobles and royalties He was a prominent Kathakali guru and influenced many people and taught just as many people. He became proficient in acting, drumming and singing. He was instrumental in the major revamping of the "Vettam" style.

Bala Saraswati

Balasaraswati was a seventh generation representative of temple musicians and dancers (devadasis: who traditionally enjoyed high social status). Her ancestor, Papammal, was a musician and dancer patronized in the mid-eighteenth century by the court of Thanjavur. Her grandmother, Veenai Dhanammal is known as one of the most influential musicians of the early twentieth century and her mother, Jayammal was a singer who encouraged the training of Balasaraswati. Balasaraswati created a revolution for bharata natyam, a combination of the performance arts of music and dance. She learned music within the family from her infancy, and her rigorous training in dance was begun by the distinguished dance teacher K. Kandappan Pillai, a member of the famed Thanjavur Nattuvanar family. Her daughter, Lakshmi Knight became a distinguished performer of her mother's style. Famous Indian filmmaker Satyajit Ray made a documentary on her works. In 1962, Bala flew to the U.S., where she performed, taught and demonstrated at some 16 centres. Her performance at the Ted Shawn's Jacob's Pillow Festival made a critic exclaim:"Her delicate and beautiful art is timeless and knows no frontiers". Many awards, including Padma Vibhushan adorned her but Bala never shed her childlike simplicity. Bala spent her last years in the sprawling house in Kilpauk, built with her hard earned money. After a prolonged illness, she passed away on February 9, 1984.

Bindadin Maharaj

Bindadin Maharaj was the originator of Lucknow Gharana of Kathak Dance. He was born in 1830 at Handia Tehsil in Allahabad district where his father Durga Prasad used to live, Durga Prasad had three sons Bindadin had no children, whereas Kalika Prasad had three sons. Bindadin gave the utmost training to his nephew Achchan Maharaj. Bindadin, in his own turn, was trained by his father and uncle Thakur Prasad. Due to the First War of Independence in 1857, he went out of Lucknow for some time with Thakur Prasad. Thereafter he went to Nepal and from there to Bhopal and was warmly welcomed at both the places. He was not only acclaimed as a great dancer at these places, but also received a large amount of riches as gifts. He was a devotee of Lord Krishna. He died in 1918. Bindadin Mahraj also composed hundreds of Thumaris & Bandishes, specially crafted for Kathak dance. One finds his Mudra (name de plume) as "Binda Kahat'' in such compositions. Pt Birju Maharaj has compiled these compositions in the book "Ras Gunjan". He was particularly famous for his poetic interpretations and his compositional skill. He started taking lessons in dancing from the age of nine and practiced only "Tig Da Dig Dig" for three years, regularly practicing for twelve hours a day. Thakur Prasad was an employee at that time at the court. He was very much perturbed on the behavior of Bindadin and was afraid of any kind of humiliation in the court. On one side there was 12 year old Bindadin and on the other, the Pakhawaj-king Kudau Singh praying to God. Thakur Prasad asked Bindadin to stand up for his performance. Everyone was surprised to witness the dexterity of Bindadin and acknowledged that Bindadin was much more in form than Kudau Singh. Nawab Sahab was so pleased that he presented Bindadin with enormous wealth. On attaining maturity Bindadin Maharaj became very famous for his art and also earned an appreciable amount of money.

Uday Shankar

Born in Udaipur on December 8th, 1900. His father was a noted barrister and his mother was from a zamindari family and his younger brothers were Rajendra Shankar, Debendra Shankar, Bhupendra Shankar and Ravi Shankar (famous sitar player). In 1918, at the age of eighteen, he was sent to Mumbai to train at the J. J. School of Art and then to Gandharva Mahavidyalaya by now, Shyam Shankar moved to London, before becoming an amateur impresario, introducing Indian dance and music to Britain. Uday joined the Royal College of Art in London to study painting under Sir William Rothenstein. He danced at a few charity performances that his father had organized in London. This had a lasting impact on his career. From a young age, he had been exposed to both Indian classical dance and folk dance, as well as to ballet during his stay in Europe. He decided to bring elements of both the styles together to create a new dance, which he called Hi-dance. He went on to translate classical Indian dance forms to dance movements. Anna Pavlova was looking for artists to collaborate on India-based themes. This led to the creation of ballets like 'Radha-Krishna', and 'Hindu Wedding'. Later he continued to choreograph ballets, including one based on the Ajanta Caves frescoes, which was performed across the United States. On his return to Paris in 1931, he founded Europe's first Indian dance company with musicians Vishnu Dass Shirali and Timir Baran. His first dance performances were held on 3 March 1931, at the Champs-Elysees Theatre in Paris. He went on a seven-year tour through Europe and America with his own troupe, 'Uday Shankar and his Hindu Ballet'. He made his only film, Kalpana, in 1948, based on his dance, in which both he and his wife Amala Shankar danced. Uday Shankar settled in Kolkata in 1960, where the "Uday Shankar Center for Dance" was opened in 1965. This center taught dances like Kathak, Kathakali, Odissi, and Bharatnatyam. In 1962 he was awarded the highest award the Sangeet Natak Akademi Fellowship for lifetime contribution to Indian dance.

Pakshi Paran

Created by Raja Chakradhar Singh of the Raigarh gharana because he loved nature. A piece that is either directly borrowed from or meant to imitate the pakhevaj.The Pakshi Paran, like the parmelu, uses bols based on instruments. Parmelus incorporate the sounds of musical instruments and those associated with nature, like the singing of birds and the buzzing of bees. Some other really unique parans that exist in this gharana include the darja, nauhakka, etc.

Dhamyal (Haryana)

Dance is performed by men alone or with women. A Dhup (circle drum) is played by the male dancers. The spring season is known as times of celebration in Haryana and the dance contributes to the celebration.

Dance

Dance is the movement of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. Dance is a powerful impulse, but the art of dance is that impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance themselves. These two concepts of the art of dance—dance as a powerful impulse and dance as a skillfully choreographed art practiced largely by a professional few—are the two most important connecting ideas running through any consideration of the subject. In dance, the connection between the two concepts is stronger than in some other arts, and neither can exist without the other. Although the above broad definition covers all forms of the art, philosophers and critics throughout history have suggested different definitions of dance that have amounted to little more than descriptions of the kind of dance with which each writer was most familiar. The English ballet master John Weaver, writing in 1721, argued on the other hand that "Dancing is an elegant, and regular movement, harmoniously composed of beautiful Attitudes, and contrasted graceful Posture of the Body, and parts thereof." Weaver's description reflects very clearly the kind of dignified and courtly movement that characterized the ballet of his time, with its highly formalized aesthetics and lack of forceful emotion. The 19th-century French dance historian Gaston Vuillier also emphasized the qualities of grace, harmony, and beauty, distinguishing "true" dance from the crude and spontaneous movements of early man.ceremonial, competitive, erotic, martial, or sacred. Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle, usually a performance upon a stage. It often tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is often specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas. Most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre. Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group dance, or a partner dance, is undertaken primarily for a common purpose, such as social interaction or exercise. Even a solo dance may be undertaken solely for the satisfaction of the dancer. Participatory dancers often all employ the same movements and steps. Some cultures lay down strict rules as to the particular dances in which, for example, men, women and children may participate. Dance is one of the oldest fine arts, dating back to 9000 years ago from India. During the first millennium BCE in India, many texts were composed. The text elaborates various hand-gestures (mudras) and classifies movements of the various limbs, steps and so on. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and, notably, the Bollywood entertainment industry.

Rasa Lila Dance (Uttar Pradesh)

Depicts love stories of Lord Krishna. Being considered since its believed that this dance form was performed by Krishna himself. The dance is usually performed during night and goes on till daybreak by either boys or girls (only by girls in certain places). Accompanied by folk or devotional song.

Lucknow Gharana

Developed in the courts of Lucknow it was founded by Ishwari, who aimed for Kathak to be a dance in devotion to Lord Krishna. 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. Presided by Pandit Birju Maharaj and Pandit Arjun Misra smooth graceful movements, shows the great feminine styles in the dance pairing with classical music like thumri, dadra, and horis. Abhinaya (acting) is the mterm-40ain focus of this Gharana. Gatnikas are often presented by the full usage of the palm beside the fingers. Birju Maharaj, Shambhu Maharaj, and Lachhu Maharaj were all famed for the naturalness of and innovativeness of their abhinaya. In modern times, the Lucknow Gharana uses fusions of Hindu and Muslim style, it advanced beyond just Radha-Krishna dances.

Durga Lal

Durga Lal was Born in 1948. He was a renowned Kathak dancer of the Jaipur Gharana. His song "Jhee Masini" ("We Are Not Dead Yet") is considered one of the most powerful songs of the Nepal Bhasa movement. One of his popular songs is "Phool ko Aankha Maa, Phoolai Sansara" with music by Nhyu Bajracharya and sung by the vocalist Ani Chhoyang Lama. It is included in the album Moments of Bliss, on which all of the songs are written by Shrestha. He also wrote a few songs for the movie Balidan which dramatized the popular uprising against the Panchayat system and the fight to bring multiparty democracy to Nepal. He belongs to a family of traditional musicians and was initiated in the arts by his father, Shri Omkar Lal. He learnt the art of Kathak dance from the eminent Gurus of the Jaipur Gharana, Pandit Sunder Prasad and his brother, Shri Devi Lal. He also learnt the art of playing the Pakhawaj. Under the guidance of his Gurus, he has acquired proficiency in dance, percussion and vocal music. Shri Durga Lal has performed widely in India and abroad. His excellence in pure dance and rhythm is widely recognised. He has experimented with Talas and percussion instruments of the Hindustani and Carnatic music in his choreographic works. He is the recipient of several awards including the Rajasthan State Sangeet Natak Akademi Award in 1983. He is currently teaching at the Kathak Kendra in New Delhi. For his eminence in the field of Dance and his contribution to its enrichment, Shri Durga Lal received the Sangeet Natak Akademi Award for Kathak Dance for 1984. His disciples include renowned dancers Nighat Chaodhry amongst others. Nighat Chaodhry is Pandit Lal's notable student in Pakistan. In memory of Lal, Dogra has arranged the "Pandit Durga Lal Samaroh" for more than 15 years as of 2005. She made a documentary of Nirvana Through Dance on him Mangala Bhatt through her dance school Aakruti Kathak Kendra curates and organises "Antarang" every year in memory of Pt.Durga.

Raigarh Gharana

Established by the Maharaja Chakradhar Singh. The conversion of various styles and craftsmen made one of a kind situation for the improvement of new Kathak and tabla organizations drawn from different foundations. He invented a new dance form by mixing different dance forms, which led to the foundation of Raigarh Gharana. Although the youngest of all gharanas it has its own compositions of thumris, ghazals, todas and bols which are unique in themselves.

Sattvika Abhinaya

Sattvika Abhinaya is the expression through acting and different states of the mind. By Sattvika Abhinaya is meant, depicting or acting a state of mind that has been caused by a natural emotion as expressed in art. The Sattvika Bhavas are the expressions in art that represent the reality of an emotion naturally caused by external feelings or sentiments in sympathy, with others. They are eight in numbers. They hold a middle place the permanent and transitory states, and though falling within the same category of Aijtbhavas (indications) are different because they are manifest from the inner nature and one natural reaction. They are Stambha (stupeafaction ) Sveda (sweat), Romancha (goose flesh), Swarabheda (loss or change of voice) Vepathu (trembling), Vaivarnya (change of color) Ashru (tears), and Pralaya (loss of senses).

Gagri

Evokes images of bright swirling colors in the desert radiant with mirrors, with the background of decorated camels, the valor and hospitality of Rajputs, and the art and crafts of Rajasthan. The Rajasthani Ghagra is a kind of pleated skirt that is long and embroidered and worn as the lower portion of a Ghagra kanchli or Choli (blouse). It is tied around the waist and held by a drawstring. It evolved from Bhainivasani, which has its roots in the Antariya. This traditional clothing of Ghagra and Choli is worn by women in Rajasthan, Gujarat, etc. The fabrics used are cotton, silk, khadi, georgette, crepe, net, satin, brocade and chiffon. Silk and cotton are the favoured materials.The history goes back to the 5th or 6th century A.D. Garments similar to the Ghagra can be seen in Buddhist sculptures and paintings dating from the Kushana or early Gupta period - the archetype of the modern Ghagra.Its can be traced back to the courts in the Mughal era, showcasing Indian culture and arts. The length of the Ghagra which earlier skimmed the floor has been shortened to grace the ankles. A favourite for all kinds of formal and religious occasions, the choli or blouse has detailed patch work. This in turn is designed with beads, fancy stitches, shells, and sequins, the motifs commonly used are of birds, animals, and flowers. Handmade Ghagras are classic. All over India the it is still the preferred garb in places like Gujarat and Rajasthan. The Rajasthani women were content with embroidery and mirror work whereas the women in royal palaces added gold and silver, precious and semi-precious stones to the Ghagra. The fabrics favoured by royalty were brocade, satin and tanchoi. The graceful and intricate work is done by hand. The fabric is cut into panels and stitched according to the style, the motifs, embellishment. Materials like georgette, net and crepe are popular today. It takes least 20 days to get it stitched.It is known and worn for its rich craftsmanship and exquisite embroidery, patterns and vibrant colours. Worn during the festival of Navratri, the Shisha or mirror work is combined with patchwork and sometimes stitched on a yoke. For weddings and formal occasions, it is embellished with pearls, silk, sequins and zari. They are available in different cuts. The circular Ghagra as the name suggests has a wide circumference and rich to look at. .Varieties like the Seafood tail lehengas, Mermaid lehengas, Paneled lehengas, Kali Ghagras lehengas, Kalidar, A-line lehengas, Lehengas with full flair and many others are available.

Kathakali

From Kerala it is a religious dance that draws inspiration from the Ramayana and stories from Shiva traditions. Kathakali is traditionally performed by boys or men even for female roles. Costumes and makeup are elaborate, with faces made to look like painted masks and enormous headdresses.Kathakali is considered to be a combination of five elements of fine art expressions, dance, enactment, song or vocal accompaniment, instrument accompaniment. A "story play" genre of art that combines devotion, drama, dance, music, costumes, and make-up into a divine experience. It retells the great stories of the past, mostly from Indian epics. Kathakali orchestra is formed of two varieties of drums - the maddalam and chenda; a bell metal gong and cymbals. The costume is elaborate with the kireetam (huge ornamental headgear) and the kanchukam (over sized jackets), and a long skirt worn over a thick padding of cushions. The characters presented in Kathakali are well defined, and divided into three distinct groups: 1. Satvic or virtuous, noble characters 2. Rajasic or heroic characters 3. Tamasic or destructive, diabolic ones

Manipuri

From northeastern India. Often depicts scenes from the life of the god Krishna. Manipuri is characterized by smooth and graceful movements. Female roles 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.The Manipuri dance technique is characterised by a soft and graceful quality of movement, a connection with the local martial arts technique, thangta, both the floor patterns and the body movements tend to repeat the shape of an 8. Some aspects of the dances seem to reflect the influence of the Natyashastra-related tradition. Including the expressions of the rasa sentiments, mostly those of love and longing, as often in the bhakti-related dance forms.

Odissi

From the eastern state of Orissa it is a sensual style aimed at capturing human emotions of love and passion in a way that is soft and lyrical and aims to strike a balance between pure dance and expressional dance with acting. Odissa is rooted in the worship of Krishna and is based on verses of the Sanskrit which depict love and devotion to God. Dancers wear simple but colorful costumes and silver jewelry. Orissi places more emphasis on curved poses, jumps, as well as hip deflections, which are rather rare in the other classical solo forms. It is predominantly a dance for women, with postures that replicate those found in temple sculptures. Odissi is believed to be the oldest of the surviving Indian classical dances it being a very complex and expressive dance, with over fifty mudras (symbolic hand gestures) commonly used.

Make-up

Full stage makeup - foundation, eye-shadow, eye-liner, mascara, blush, lipstick, Small round bindi only - no other design. These costumes and makeup are an integral part of the dance presentation. In today's world every dance form is uniquely identified by its costume, makeup and ornaments. This is noticed, through the several changes in the costumes and makeup of Kathak dance. During this period, several emerging poets and scholars wrote about the costumes used in temple period. As we go through the writings of Surdas, it becomes very evident that he had very good knowledge about women's emotions, feelings, likes and dislikes. Surdas also mentions about women's love for decorating herself by wearing beautiful ornaments, jewelleries, makeup and dresses like Angiya, Kunchak, Choli, etc included sari. This brings a huge diversity in women's clothing

Meenakshi Sundaram Pillai

Guru Meenakshisundaram Pillai (1869-1964) is considered as the prominent founder of Pandanallur style of Bharatanatyam, Indian dance. He lived in the village of Pandanallur, in the south Indian state of Tamil Nadu. Meenakshisundaram Pillai ancestors were nattuvanars, was a descendant from the Thanjavur Quartet, which comprised four brothers: Chinnaiah, Ponniah, Sivanandam and Vadivel. The works of these four brothers, who were court composers in the early 19th century form the main classical masterpieces of Bharata Natyam. Guru Kubernath Tanjorkar (1916 - 2007), a disciple of Pillai, later established Tanjore Dance Music & Art Research Centre in Baroda, Gujarat. Thiruvallaputhur Swaminatha Pillai was one of the leading disciples of Pillai. He studied Bharathanatiyam under the Gurukula of Pillai for more than ten years while also being mentored by Ram Gopal (became one of the pioneers of Indian dance in the west).Pillai was said to have been trained by his uncle, Kumarasamy Nattuvanar. He trained several famous Bharata Natyam dancers, including Devadasis. He trained leading dancers such as Alarmel Valli and Meenakshi Chitharanjan. These works featured choreography by Pillai, who named the dramatic choreography "hands," and was also responsible for the adavu choreography for the swarapassages. Pandanallur style gives a lot of importance to abinayaha. Slow movements are used to make the salangai (ankle bells) give out a lot of noise. The strong Footwork is a result of one the Arts Music main feature of exactness and accuracy as the Dancer is required to have a Natural Rhythmic Body of expression. This Feature was mostly not possible to bring out by each and every one Student. Pillai introduced the Bharatanatyam style of Pandanallur. This style is known for the emphasis placed on linear geometry within his adavu techniques and intense abhinaya. He was the first artist to earn the status of a tani tavil or special tavil. In 1934, Meenakshisundaram Pillai was invited by Rukumini Devi to Madras and conducted thorough Bharatanatyam training for her. He did not make madras his home but visited many times. His students referred to him as "thata," used to explain grandfather, and his house was also renowned Pillai taught Bharatanatyam in Kalakshetra which is the dance school established by his disciple, Rukumini Devi.

Giddha (Punjab)

The dance performed by the women folk of Punjab where a woman or a pair of women dance while the others surrounding them clap in rhythm. It is also known as the female version of Bhangra as it expresses feminine grace.

Guru Amubi Singh

He was an important Manipuri guru born in the year 1881. His Father Samu Singh, younger brother of Maharani Kumudini was a senior Army Chief in the regime of Maharaj Chandrakirti. Guru Amubi Singh's mother was a great grand-daughter of Rajashri Baghyachandra who was one of the main creators of the classical Manipuri Raas Dances. He was six when he played the role of Krishna in traditional Manipuri Raas performance, he pioneered solo dancing in the Manipuri style, which was new because Manipuri dance is more team based. He was the founding supervisor of the Jawaharlal Nehru Manipuri Dance Academy, and also taught there and was the first winner of Sangeet Natak Akademi award from the state of Manipur which he won in 1956.He was honoured by the Government of India in 1970 with Padma Shri, the fourth highest Indian civilian award and trained by Gurus Laisram Mongoljao Singh and Chaubu Sharma. Manipuri was more widespread because he was also associated with Uday Shankar's dance academy, where he taught Manipuri dance. He is also a well known composer his style is noted for its softness mixed with aesthetic appeal He held the view that without its softness and mild intensity in expression and movements, Manipuri Dance would lose its individuality and was thus opposed to a modern trend in Manipuri Dance which emphasized too much on speed. During his lifetime, he established Guru Amubi Nritya Vidyalaya, a Manipuri Dance training center in 1948 and Manipuri Jagoi Marup, a performing troupe, in 1963 sadly he passed away on June 29th, 1972.

Mandan Lal Koser

His brilliance can be gauged from the age of 26, in 1956, he thought of setting up an institution of Pracheen Kala Kendra's stature (has now become a beacon light that guides aspiring artistes, helping them realize their true potential) Born on June 20, 1930 in an illustrious family of Gujranwala, now in Pakistan, to the parents of Lala Mela Ram and Mata Ishar Kaur, it was Koser's interest in dance that took him to various fountainheads of this art form. Despite tremendous family opposition, He started learning intricacies of dance under Guru Sudhakar, Guru Uday Shankar, and Guru Namudri at Almora learning techniques of dancing. Not contended, he further practiced Bharatanatyam in Thanjavur and Kathak in Lucknow under the able guidance of master exponents. Not only that, he even went to Manipur to master the techniques of Manipuri dance, and received training from the renowned Guru Amubi Singh, a master of Manipuri dancing. Equipped with sound theoretical and practical knowledge, Koser formed his own dancing troupe at the age of 20. At the young age of 21, he was awarded the title of 'Dwitya Tandu' (the second Shiva), a rare distinction from Manipur. Though Guru Koser had expertise in various dance forms, classical and folk, he earned name and fame as the greatest Tandav dancer in the pre and post independence era. His debut was mind-blowing ballet based on Pandit Nehru's "Discovery of India". The numerous ballets staged by him spoke about the then burning problems of the country. The technique in his presentation brought him wide recognition that the King of Ethiopia happened to witness one of his ballets and presented a Gold Medal and extended an invitation to him to visit his country. ML Koser got the unique opportunity of performing on a number of occasions before Indian and foreign dignitaries. His performances were witnessed amongst others by the Late Dr. Rajendra Prasad, Late Dr. Radha Krishanan, Late Pandit Jawahar Lal Nehru, former President, Vice-President and Prime Minister of India, respectively, and by many Governors and Chief Ministers of the different Indian states.Apart from performing in almost all the states of India before various parliamentary delegates, ambassadors and foreign dignitaries, including Marshal Bulganan, Chiei-Yen-Lie, former Chinese Prime Minister, he has toured extensively all over the world exhibiting his versatility to one and all.

Rassa 4: Vira (Courage)

It is our bravery, determination, and valor when you call upon the warrior that lives inside you.

Ballet

It's generally agreed that ballet began as a formalized court dance that originated in 15th-century western Europe, first in Italy, then, as Italian nobles and French nobles married, spread to the French courts. Catherine de Medici was an early supporter of the dance and funded early ballet companies in the court of her husband, King Henry II of France. Gradually, ballet spread beyond its court origins. By the 17th century there were professional ballet academies in several Western European cities and notably in Paris, where the ballet was first presented on stage rather than in court. For a time ballet and opera were combined in France, which is how ballet came to be associated with story-telling. When eventually the two art forms were more often shown by themselves rather than in tandem, the idea of a ballet that told a story persisted. In the 19th century, ballet migrated to Russia, giving us classics like "The Nutcracker," "Sleeping Beauty" and "Swan Lake." The Russians also contributed importantly to the evolution of ballet technique and with that the dominance of highly skilled female ballet dancers or ballerinas .The most important contributors to ballet in the 20th-century were predominantly Russian. The movement started with Diaghilev, Fokine, and, for a moment, the incredibly talented but equally unstable Nijinsky, who choreographed Rite of Spring (Le Sacre du Printemps), with music by fellow Russian Igor Stravinsky. Afterward, a Russian emigre, George Balanchine, revolutionized ballet in America. Balanchine's contribution, the origination of neoclassical ballet, expanded ballet choreography and ballet dance technique in equal measure. In most dance forms, the definition of the dance is some combination of who dances it, where it is danced and specific, characteristic dance moves. Defining ballet, on the other hand, is difficult unless one creates a definition that emphasizes its history rather than a specific choreographic vocabulary. What we know as ballet today, which is the neoclassical ballet pioneered by Balanchine, involves dance techniques that bear only the remotest resemblance to the dances that evolved as "ballet" in the Italian and French courts. Although it began as a court dance, dancing in a court environment rather than on-stage, has long ago been abandoned. What we think of as quintessentially ballet features - dancing en pointe and the foot rotations that characterize ballet's five basic positions - were completely unknown for the first three hundred years of the dance's development. Even the idea of ballet as a dance that tells a story has fallen into some disfavor except in the popular revivals of 19th-century romantic ballet. In the 21st-century, important ballet choreographers now incorporate techniques from various "non-balletic" sources.

Nati (Himachal Pradesh)

Largest folk dance with colorful sarees. The dance has a circular pattern where people tie their hands with each other and perform the steps (music helps pick up the steps)

Nayika

Meaning heroine, but for passionate and devoted lover in Indian art who represents various shades of love

Dumhal (Kashmir/Jammu)

Men with conical caps and colorful robes that perform with drums and singing. Done in select places and the men carry a banner around when the dance begins.

Music

Music is an art form, and cultural activity, whose medium is sound. General definitions of music include common elements such as pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics (loudness and softness), and the sonic qualities of timbre and texture (which are sometimes termed the "color" of a musical sound). Different styles or types of music may emphasize, de-emphasize, or omit some of these elements. Music is performed with a vast range of instruments and vocal techniques ranging from singing to rapping; there are solely instrumental pieces, solely vocal pieces (such as songs without instrumental accompaniment), and pieces that combine singing and instruments. In its most general form, the activities describing music as an art form or cultural activity include the creation of works of music (songs, tunes, symphonies, and so on), the criticism of music, the study of the history of music, and the aesthetic examination of music. Ancient Greek and Indian philosophers defined music in two parts: melodies, as tones ordered horizontally, and harmonies as tones ordered vertically. The creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including popular music, traditional music, art music, music written for religious ceremonies, and work songs such as chanteys. Music ranges from strictly organized compositions—such as Classical music symphonies from the 1700s and 1800s—through to spontaneously played improvisational music such as jazz, and avant-garde styles of chance-based contemporary music from the 20th and 21st centuries. Music can be divided into genres and genres can be further divided into subgenres. Music may be played or sung and heard live at a rock concert or orchestra performance, heard live as part of a dramatic work (a music theater show or dance), or it may be recorded and listened to on a radio, MP3 player, CD player, smartphone or as film score or TV show. In many cultures, music is an important part of people's way of life, as it plays a key role in religious rituals, rite of passage ceremonies (e.g., graduation and marriage), social activities (e.g., dancing) and cultural activities.

Natya Shastra

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, and functions styles. The core parts of the treatise are the work of the dramatist Bharata, who compiled them around the beginning of the first millennium of the common era. The work is probably a compendium of material by different authors, some of whom may predate Bharata, as he clearly describes a flourishing tradition that is already well developed. The Nātya Shāstra serves essentially as a manual on how to organize and to perform a drama, complete with passages on the characteristics of particular character types and their demeanor. The Nātya Shāstra continues to have importance today for musicians and scholars, some of whom reference contemporary practice with ancient models. The principal melodic concept of this period of ancient Indian music was jāti ("family"), a mode that is, an identifiable pattern of notes set in a scale (mūrcchana). A mūrcchana, however, derives from either of two possible heptatonic and intonational parent scales. The only difference between these two parent scales was the placement of a microtone, the shruti. The shruti ("to hear" or "that which is heard") is one of the most enigmatic ideas of this musical system. Bharata recognizes twenty-two possible microtonal divisions within an octave, although he does so in the context of mūrcchana. The distances between notes in a scale, consisting of intervals of three sizes—four, three, or two shrutis—formed the basis for ancient scales (most probably derived from the intonation patterns associated with Vedic chant). Later authors such as Venkatamakhi preserve the notion of shrutis in their systems, even if the implications of Bharata's musical system had not been in effect for well over a millennium.

Nayak (in relation to women)

Pati - married and faithful to his wife, like Rama. Upapati - is married with an emotional affair and in love with another woman like Krishna. Vaisika - a player; one who plays and enjoys women like Kovalan.

Kud Dance (Jammu & Kashmir)

Performed by both young and the old. Farmers from different villages join hands and perform to thank the local deities. Instruments like Drums, Narsingha (conch-like instrument), and flutes are used and involves 20 to 30 dancers.

Bhangra (Punjab)

Performed by the men folk during Baisakhi, Bhangra is among the most energetic Indian dances including tricks and athletic feats. During the performance the drummer is surrounded by men dressed in lungis and turbans usually bright in colors. The female version of this is more graceful known as Giddha

Rouf (Jammu/Kashmir)

Performed during festivals like Eid al-Fitr and Ramzan. Women dancers form two separate rows then they place their arms around the waist of the dancers standing next to them and dance gracefully to the rhythm of mystical poetry that supports the dance. Rouf is usually performed in spring (associated with harvest)

Baccha Nagma (Kashmir)

Performed in weddings and social gatherings in Kashmir usually performed by boys. The lead dancer begins to sing and others start dancing holding historical significance.

Gogga Dance (Haranya)

Performed only by men and is a form of worship. Devotees of Saint Gogga dance around his grave and sing praises keeping dance movements simple as the devotees focus more on gaining spiritual experiences.

Nayak (By situation of love relationships)

Proshita - the one who has gone on a journey. Virahi - who is separated from his beloved, feels pangs of separation and loneliness. Vipralabdha - one who feels he is cheated by the one he loves. Vaisika - who is seeking union with his beloved Drishta - one who is unfaithful to his beloved. He feels guilty and pleads to forgive him.

Ram Gopal

Ram Gopal, the legendary dancer, was born at the Torquay Castle (now the YMCA), Bangalore, to a Burmese mother and a Rajput father on November 20, 1912. He was given the additional name Bissano (born on 20th, bees in Hindi). Drawn to dance very early in life, Ram's debut was an impromptu performance at the Mysore Palace at the behest of the prince of Mysore. Ram's barrister father did not welcome the idea of a dancer son but his mother supported his passion and the Prince of Mysore was impressed enough to become Ram's patron. Ram went on to learn a bunch of styles of dance but mastered only Bharatanatyam. He learnt Kathakali from Guru Kunju Kurup and also learnt Bharatanatyam from two stalwarts of that time—Guru Meenakshisundaram Pillai and Guru Kattumanarakoil Muthukumaran Pillai. Ram Gopal further added to his repertoire Kathak, which he learned from Gurus Jailal and Sohanlal. It would be accurate to call him India's first international classical dancer, for it was indeed Ram Gopal who was the first one to present the variety of Indian classical dance styles and their rich vocabulary to a Western audience.' am Gopal was very concerned that there should be no monotony or repetition in his presentation, something he observed and learnt from Uday Shankar's. Even while touring India, he had realised that classical dance presentations were not widely enjoyed as the audience could not understand the language of the songs that accompanied the dance or even the meaning of the hastas (hand gestures). He worked on making each item in his repertoire very precise and compact, so the item conveyed what it had to without becoming overdrawn. He also paid special attention to costumes, reproducing for stage what he saw and understood from Indian paintings and sculptures. In the 1940s, Ram met Mahatma Gandhi several times. And it was the Mahatma who suggested that he provide some kind of an explanation, an introduction to each piece before it was danced. He died on Sunday, October 12, 2003 at the Norbury Care Home. For his services to dance, Ram Gopal received the Sangeet Natak Akademi fellowship in 1990 and an Order of the British Empire (OBE) in 1999.

Kuchipudi

Requires talent in both dancing and singing. From the state of Andhra Pradesh in southeastern India, is highly ritualized, with a formalized song-and-dance introduction, holy water, and burning of incense. Traditionally the dance was performed by men although now it is predominantly performed by women. The theoretical foundation of Kuchipudi is rooted back to the ancient Sanskrit Hindu text on the performing arts called 'Natya Shastra' which is credited to Indian theatrologist and musicologist Bharata Muni. The text was first completed between 200 BCE to 200 CE. It incorporates verses into different chapters and divides dance in two distinct types that are 'nrita' (pure technical dance) and 'nritya' (solo expressive dance) Kuchipudi evolved and connects traditionally with temples and spiritual faiths. It highlights the importance of Abhinaya by giving each of its aspect a detailed expressive description

Sculpture

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded or cast. Sculpture in stone survives far better than works of art in perishable materials, and often represents the majority of the surviving works (other than pottery) from ancient cultures, though conversely traditions of sculpture in wood may have vanished almost entirely. However, most ancient sculpture was brightly painted, and this has been lost. Sculpture has been central in religious devotion in many cultures, and until recent centuries large sculptures, too expensive for private individuals to create, were usually an expression of religion or politics. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, as well as many in Central and South America and Africa. The Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith. The revival of classical models in the Renaissance produced famous sculptures such as Michelangelo's David. Modernist sculpture moved away from traditional processes and the emphasis on the depiction of the human body, with the making of constructed sculpture, and the presentation of found objects as finished artworks.

Benaras Gharana

Selective utilization of the natwari or dance bols, that was developed by Janakiprasad. and 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.

Shobha Koser

Shobha Koser, who is a leading kathak dance guru and an avid performer. An academician, author, and art administrator, Koser is also the registrar of the Pracheen Kala Kendra. The institute with over 3,700 accredited centres in India and abroad has scaled new horizons in propagating art, under Koser's leadership. She had performed in dance festivals across India and abroad. Born in a medico family of Agra, Shobha Koser is the finest and foremost exponent of the Jaipur School of Kathak Dance. Her creativity and contribution to the art has been admired and appreciated through numerous awards and titles conferred upon her, including Amala Shankar Award and Pandit Manmohan Bhatt Memorial Award among several others. Known both for the excellence of her technique and abhinaya, she dances with a hypnotic force and subtle sensitivity combining rhythmic virtuosity with delicate expressiveness, commendable, 'tayari' with mastery in 'abhinayanga'. Her mastery over every aspect of Jaipur Gharana in executing all its finer intricacies, such as Gats, Toras, Tukras, Paran and Chakradhar Paran have, drawn great reviews from even the most discerning art critics. Subtlety of footwork, graceful movements and lyrical portrayal of emotions through 'Bhava' are her forte. At one moment she appears to float as delicately as on the wings of a soft spring breeze, at another she whirls around with astonishing verve and vigour in gay abandon. She was the Head of the Dance Department, Government College for Girls, Sector 11, Chandigarh, and during more than thirty years of service, she trained a number students who are now ambassadors of her style and sensibility in India and abroad. She later retired as Principal from the Government Post-Graduate College

Sitara Devi

Sitara Devi was an Indian Kathak dancer, a singer, and an actress. She was the recipient of several awards and accolades, and performed at several prestigious venues in India and abroad, including at the Royal Albert Hall, London and at the Carnegie Hall, New York. Sitara Devi was only 16 when she managed to impress Rabindranath Tagore with her phenomenal talent. Her prowess grew with time, and she became one of the leading exponents of the classical dance form, renowned for her stage performances as well as her expansive personality. Her dance sequences in Hindi movies helped bring kathak into the context of the Hindi film industry. She got confidence from her father's statement: If Radha could have danced for Lord Krishna, why not our girls? Her family changed their residence from Kolkata to Varanasi and her father started teaching Kathak to his own children as well as outside children. Her family got shifted to Mumbai when she was 11 where she has performed her Kathak at the Atiya Begum Palace since she was requested to perform at the Tata Palace. For this, she got a shawl and a gift of Rs. 50 as an appreciation from the Rabindranath Tagore. She followed the Indian tradition and got married to the director K. Asif when she was 8. Again she got married to Pratap Barot and had a son named Ranjit Barot. Her marriage life was not successful. She had opposed celebrating the marriage and requested her bridegroom's family to be in a school. She became famous by the name Sitara (means star) for her dance performance (at her highschool) through the Aaj news. Sitara Devi died on November 25th 2014 in the hospital at her 94. She was suffering from kidney problems and died due to the failure. She has been a choreographer for Kathak since the 1930s. Her choreography has given new ways to the film industry. She got best actress award for the movie 'Vatan' and 'Najam' in 1943. She has awarded for performing at the Royal Albert and Victoria Hall in 1967 and for prestigious Carnegie Hall, New York in 1976. She has also been awarded with the prestigious Sangeet Natak Academy award and Padma Shri award by the Indian government.

Stuthi

Song Prayers. Upon arriving on the stage, when a performer presents a prayer dance on a sloka.

Mudra

Speaking in dance via gestures in order to convey outer events or things visually is what mudras do. To convey inner feelings, two classifications of mudras (hand/finger gesture) are used in Indian Classical Dance

Bhav

Spiritual feeling or attitude; devotion; the religious attitude of immersing oneself in the thought of God. It is the way one views God, and also the way one views oneself in relation to God. One can view God as wisdom, as love, or as a particular deity. Each of these is a type of bhav. Bhav is a Sanskrit word that refers to emotions. It can be translated as sentiment, feelings, but bhav also has religious significance. In the context of Hindu and yogic philosophy, bhav is the spiritual attitude of immersing in thoughts of the Divine or Higher Self. It can be described as an intense awareness of the presence of God or the guru during one's everyday activities. It's natural to think bhav is generated by spiritual practice.Bhav can also be broken down into different types, depending on the tradition and philosophy.

Kalika Maharaj

The Kathak maestro Achchan Maharaj's father and guru Kalka Prasad was a resident of Banaras. While his brother Bindadin was a court dancer of Nawab Wajid Ali Shah, Kalka Prasad preferred to reside at Benaras and propagate the Kathak style of dancing and Thumri singing of his Gharana from that place. Both these brothers were responsible for promoting Kathak to a high pedestal of art and aesthetic. Besides dancing Kalka Prasad was an expert singer; he especially had profound knowledge of Thumri. He was an expert in Abhinaya - expressing the emotions in the Thumri songs, and in exhibiting the tenderness and Shringara Rasa. He had three sons - Achchan Maharaj, Baijnath Prasad (Lachchu Maharaj) and Shambhu Maharaj who all went on to pursue Kathak dance. Many famous female Thumri singers of that time were his disciples.

Abhinaya Darpan

The date of the Abhinaya Darpana of Nandikeshvara is rather uncertain. The scholars tend to place it in or close to the medieval period; because, it divides dance into three branches: Natya, Nrtta and Nrtya. The Abhinay Darpana views Tandava and Lasya as forms of masculine and feminine dancing. The Abhinaya-Darpana deals, predominantly, with the body movements or Gesture-language of the Nrtta class; and, is a text that is used extensively by Bharatanatya dancers. The text specifies, when the Anga moves, Pratyanga and Upanga also move accordingly. The text also suggests how such movements and expressions should be put to use in a dance sequence. The whole opening section takes up only forty verses; and, the rest are devoted to describing the movements of the individual parts of the body, which, according to the author, are of vital importance for a performance. Then the author instructs the performer to begin the performance with various stylized body movements. And, again, the Abhinaya Darpana describing the essential inner virtues (Antah-prana) of a good dancer says: A dancer must have the inherent sensibility which can be enhanced by training. Agility, steadiness, sense of line, practice in circular movement, a sharp and steady eye, effortlessness, memory, devotion, clarity of speech, sense of music - these ten are the essential qualities of a dancer. As regards the positioning of the dancer on the stage, the Abhinaya Darpana specifies : the dancer should place herself at the centre of the stage; next to her should be the best male-dancer; on to her right should stand the cymbalist; she should be flanked on either side by the drummers ; between them and behind stand the group of chorus-singers ; and , the one who keeps the drone a little behind them. Each of those, thus well ordered, should take their positions on the stage. After having completed the Purvaranga and offering flowers the Dancer should commence her performance of the Nrtya. The Abhinaya Darpana etches a lovely picture of the Dancer as she commences her performance with a soulful, melodious song. It says: Her throat full of song; her hands expressing the meaning of the lyrics; her eyes and glances full of expression (Bhava); and, her feet dancing to the rhythm (Taala), thus she enters the stage.

Nayak

The distinction between the male and the female characters

Vacika Abhinaya

The expression through words, literature and drama. But the main singer gives expression to the words of each song while the dancer interprets the meaning. This combination and understanding between dancer and musician is of extreme importance. The music helps the order that audience hears and comprehends each word of the song.

Jaipur Gharana

The founder is 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. Jai Lal, Janki Prasad, Kundan Lal, are important dancers from this Gharana. 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.

Jaati Paran

The group of powerful bols of dance or which are played on the percussion instrument which has 2,3,4 or more Avruttis (repetition). A Jaati is a pattern that gives us the basic feel of a Thalam. Bharatanatyam is that there are five Jaatis. Every jaati is denoted by a set of syllables Tishra, Chatushra, Khanda, Mishra, and Sankeerna.

Angika Abhinaya

The language of expression through the medium of the body (Sarira), the face (Mukhaja) and movement (Cestakrta). Angika Abhinava; Angika is so called because it is related to the body as a whole. The Angas are the major limbs and pratyangas and upangas the minor limbs. The major limbs to be utilised are the head, hands, chest, waist sides and feet. For instance when the arm moves, the elbows, the wrists and the fingers move along with it

Mayur Nritya (Uttar Pradesh)

The peacock dance (shows a peacock opening up its feathers before a rainstorm). It depicts the love between Radha and Krishna.

Chalanchari

The posture of a dancer is synchronized with the beats. The synchronized postures with beats are shown where the dancer strikes her left and right foot with the beats in rotation. The opening portion of the tabla solo of banaras gharana.

Bhand Pather (Kashmir)

Theater art which conveys mythological stories while incorporating contemporary social issues in a satirical manner. Folk songs are sung to support along with instruments.

Rassa 9: Vibhasta (Disgust)

This Rasa characterizes the judgmental mind meaning self pity, loathing, self hatred

Rassa 2: Hasya (Joy)

This Rasa connects us to our sense of humor through laughter, happiness and contentment.

Rassa 1: Sringara (Love)

This Rasa frees the ego and connects us to devotional love. It's the creative play between Shiva and Shakti (yin and yang).

Rassa 3: Adhuta (Wonder)

This Rasa is our playfulness and innocence which occur when we become fascinated with the very idea of life.

Ekpad

This is a type of ghumaria. Dancer stands on one foot and turns, most similar to our one step spins. Ekapada refers to a one-footed aspect of the Hindu god Shiva. This aspect is primarily found in South India and Orissa, but also occasionally in Rajasthan and Nepal. The Ekapada is primarily represented in three iconographical forms. In the Ekapada-murti ("one-footed icon") form, he is depicted as one-legged and four-armed. In the Ekapada-Trimurti ("one-footed Trinity") form, he is depicted with the torsos of the deities Vishnu and Brahma, which together with Shiva form the Hindu Trinity (Trimurti). While some scriptures also call the latter configuration Ekapada-Trimurti, some refer it to as Tripada-Trimurti ("three-footed Trinity"). In Orissa, where Ekapada is considered an aspect of Bhairava—the fearsome aspect of Shiva—the iconography of Ekapada-murti becomes more fierce, with motifs of blood sacrifice. This aspect is called Ekapada Bhairava ("one-footed Bhairava" or "the one-footed fierce one"). Ekapada represents the cosmic pillar of the universe and portrays Shiva as the Supreme Lord, from whom Vishnu and Brahma originate. Ekapada is often accompanied by ascetic attendants, whose presence emphasizes his connection to severe penance.

Gati

This is movement that starts from a static position. It denotes the dancer moves across the stage

Bharmari

This is taking a turn during dancing broadly

Painting

This is the practice of applying paint, pigment, or color to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, gesture, narration, and abstraction (as in abstract art). Paintings can be naturalistic and representational (like still life and landscape painting), photographic, abstract, narrative, symbolistic, emotive, and/or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by religious art. Examples of this kind of painting range from artwork depicting mythological figures on pottery, to Biblical scenes on the Sistine Chapel ceiling, to scenes from the life of Buddha (or other images of Eastern religious origin). Painters mainly use pigments to determine the color of their art. They also use light, shades, and coloration The oldest paintings are believed to be 60,000 years old. Different types of painting media include: Oil Pastel, Acrylic Ink, Gouache, Spray paint, and Digital art. Different tyles include: Modernism, Impressionism, Abstract styles, Photorealism, Surrealism

Rassa 6: Karuna (Compassion)

Through compassion we can relate deeply and honestly with each other, it is the bridge between us and others and helps us understand and empathize with them.

Dhananjay's Dasarupaka

Treatise on Sanskrit dramaturgy, written by Dhananjaya in the 10th century AD. The author is indebted to Bharata's Natyashastra. The Dasharupakam comprises four chapters, termed as Aloka. Dasharupakam's main contribution is a detailed analysis of the different types of heroines and a critical delineation of erotic sentiment. The writer has confined himself to a deep understanding of the ten types of Sanskrit dramas based upon the elements of Vastu (plot), Neta (heroes/heroines), and Rasa (the emotive aspect of plays). The influence of Dasharupakam is very evident on later Sanskrit dramaturgists. The most famous commentary on the work, known as Avaloka, was written by Dhanika, a younger brother of the author. 10 Rupakas According to Desharupaka are Natakam, Pakarana, ankam, eehamrugam, Dimam, samavakaram, bhanam, prahasanam, veethi, vyayogam, and Dhananjaya. His brief work, containing just about 300 verses) spread over four Prakashas (chapters or sections), focused mainly on the aspects of Drama, its various forms, and their essentials. He mostly followed Bharata closely; and, compiled the rules pertaining to Drama, in the form of a brief manual. Dhananjaya indicates that his brief compilation is mainly for the benefit of those 'slow-wit' who are likely to get confused by the diffused and elaborate treatise. At the same time, Dhananjaya , following the lead given by Bharata [who had said that he devised the dramas to give, among other things, relief to those unlucky ones afflicted with sorrow and grief or over-work, makes it clear that the prime objective of a Drama is to provide entertainment. Dhananjaya's work is mostly a collection of extracts taken from the Natyashastra; and, arranged under certain subjects. In its style, the Dasarupa is extremely condensed. The first part of his work is entirely a listing of definitions on certain technical terms and concepts that figure in the Natyashastra. Dhananjaya offers a brief explanation of the etymology, the meaning, and the application of the term. The Dasarupa is thus a highly compressed manual, avoiding lengthy descriptions or justifications, its compact and brief mode of presentation. The Dasarupaka of Dhananjaya soon gained wide popularity among the scholars, playwrights, critics, and commentators, as also among the general readers. For the later writers on prosody and Dramaturgy, Dhananjaya's compilation turned into a comprehensive useful reference-book or a source material. They made frequent use of the text by citing the rules and definitions listed in it. On the one hand, Dhananjaya carried too far the work of his abridgment; and, left out quite a number of important matters; and, on the other, he went into needless, minute classifications and subclassifications where it was not called for. In several cases, Dhananjaya tried to reduce definitions or the meaning of certain technical terms, into a single word, without offering any further explanation. The intent of Dhananjaya has to be construed by referring to parallel passages in the Natyashastra or other related text. Because of such shortcomings and the absence of even-handed treatment, Dhananjaya's work (just as either Natyashastra or Abhinavabharati) is unintelligible without the aid of a commentary.

Ghumari

When a performer spins 9, 27 or more times in their own spot with double the speed. Ghūmar is a traditional women folk dance of Haryana. It is performed by groups of women in swirling robes. This folk dance gets its name from ghūmanā (the pirouetting) which displays the spectacular colours of the flowing ghāgharā (the long skirt of Haryanvi women). There is an amazing grace as the skirts flare slowly while the women twirl in circles, their faces covered with the help of the veil. They dance in measured steps and graceful inclinations of the body, beating palms or snapping fingers at particular cadences, while singing some lilting songs.

Rassa 7: Raudra (Anger)

When anger isn't honored it can bring up irritation, violence and hatred.

Rassa 5: Shanta (Peace)

When we become quiet and at peace, we are so full that we are empty of all else but deep calmness and relaxation.

Rassa 8: Bhayanaka (Fear)

When we live our lives in fear (doubt, worry, insecurity etc.) we shut down completely.